| Paul Crowther |
The Need for Art, and the Aesthetics of the Self: A Copernican Turn |
1-21 |
| The Aesthetics Group |
Turn, Turn, Turn: Civic Instrumentalisation and the Promotion of Autonomy in Contemporary Arts Funding |
22-45 |
| Gemma Argüello Manresa |
Participatory Computer-Based Art and Distributed Creativity: the Case of Tactical Media |
46-67 |
| Zsolt Bátori |
Photographic Deception |
68-78 |
| Alessandro Bertinetto |
Gombrich, Danto, and the Question of Artistic Progress |
79-92 |
| Stefan Bird-Pollan |
Benjamin’s Artwork Essay from a Kantian Perspective |
93-103 |
| The Branch Collective |
Towards Gesture as Aesthetic Strategy |
104-114 |
| Camille Buttingsrud |
Thinking Toes…? Proposing a Reflective Order of Embodied Self-Consciousness in the Aesthetic Subject |
115-123 |
| Ilinca Damian |
On What Lies Beneath the Process of Creation |
124-136 |
| Wiebke Deimling |
Moralism about Propaganda |
137-147 |
| Daniel Dohrn |
According to the Fiction: A Metaexpressivist Account |
148-171 |
| Damla Dönmez |
Saving ‘Disinterestedness’ in Environmental Aesthetics: A Defense against Berleant and Saito |
172-187 |
| Luis Eduardo Duarte Valverde |
Net.Art as Language Games |
188-196 |
| Colleen Fitzpatrick |
Empathy, Anthropormorphism and Embodiment in Vischer’s Contribution to Aesthetics |
197-209 |
| Jane Forsey |
Form and Function: The Dependent Beauty of Design |
210-220 |
| James Garrison |
The Aesthetic Life of Power: Recognition and the Artwork as a Novel ‘Other’ |
221-233 |
| Aviv Reiter & Ido Geiger |
Kant on Form, Function and Decoration |
234-245 |
| Carmen González García |
Facing the Real: Timeless Art and Performative Time |
246-258 |
| Nathalie Heinich |
Beyond Beauty: The Values of Art — Towards an Interdisciplinary Axiology |
259-263 |
| Kai-Uwe Hoffmann |
Thick Aesthetic Concepts — Neue Perspektiven |
264-279 |
| Gioia Laura Iannilli |
The Aesthechnics of Everyday Life: Suggestions for a Reconsideration of Aesthetics in the Age of Wearable Technologies |
280-296 |
| Jèssica Jaques Pi |
Repenser Picasso. Le Désir Attrapé par la Queue et les Iconographies Culinaires de l’Absurde et de la Stupeur |
297-316 |
| Mojca Küplen |
Art and Knowledge: Kant’s Perspective |
317-331 |
| Iris Laner |
Science, Art, and Knowing-How: Merleau-Ponty on the Epistemic Qualities of ‘Experimental Practices’ |
332-362 |
| Regina-Nino Mion |
The Unpredictability of the Political Effect of Art |
363-369 |
| Vitor Moura |
Kundry Must Die — Stage Direction and Authenticity |
370-390 |
| Michaela Ott |
Aesthetics as Dividual Affections |
391-405 |
| E. L. Putnam |
‘Bring a Camera with You’: The Posthumous Collaboration of Ahmed Basiony and Shady El Noshokaty |
406-415 |
| James Risser |
Sensible Knowing in Kant’s Aesthetics |
416-427 |
| Salvador Rubio Marco |
Philosophizing through Moving-Image Artworks: An Alternative Way Out |
428-438 |
| Lisa Katharin Schmalzried |
Beauty and the Sensory-Dependence-Thesis |
439-463 |
| Niklas Sommer |
Schiller’s Interpretation of the ‘Critique of the Power of Judgement’ — A Proposal |
464-475 |
| Tak-Lap Yeung |
Hannah Arendt’s Interpretation of Kant’s ‘Judgment’ and its Difficulties |
476-493 |
| Elena Tavani |
Giacometti’s ‘Point to the Eye’ and Merleau-Ponty’s Painter |
494-511 |
| Daniel Tkatch |
Transcending Equality: Jacques Rancière and the Sublime in Politics |
512-528 |
| Connell Vaughan |
Authorised Defacement: Lessons from Pasquino |
529-551 |
| Oana Vodă |
Is Gaut’s Cluster Account a Classificatory Account of Art? |
552-562 |
| Katarzyna Wejman |
Plot and Imagination Schemata, Metaphor and Aesthetic Idea — A Ricoeurian Interpretation of the Kantian Concept of Imagination |
563-578 |
| Zsófia Zvolenszky |
Artifactualism and Inadvertent Authorial Creation |
579-593 |
| Vladimir Marchenkov |
The Chronotope in Myth, Epic, and the Novel |
594-638 |
| The Aesthetics Group |
A 100 % Unique Press Conference |
Appendix |
