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Augros, Robert M., Stanciu, George N., The New Story of Science: mind and the universe, Lake Bluff, Ill.: Regnery Gateway, 1984. ISBN 0895268337 (has significant material on Art, Science and their philosophies) Emmie Te Nijenhuis (1974). Indian Music: History and Structure. Brill Academic. ISBN 978-9004039780. Berys Gaut and Dominic McIver Lopes (eds.), Routledge Companion to Aesthetics. 3rd ed. London and New York: Routledge, 2013. D. Konstan (2014). Beauty - The Fortunes of an Ancient Greek Idea. published by Oxford University Press. ISBN 978-0199927265 . Retrieved November 24, 2015.

Elaine Scarry (November 4, 2001). On Beauty and Being Just. Princeton University Press. ISBN 0-691-08959-0. Gaut and Livingston define the intentionalists as distinct from formalists stating that: "Intentionalists, unlike formalists, hold that reference to intentions is essential in fixing the correct interpretation of works." They quote Richard Wollheim as stating that, "The task of criticism is the reconstruction of the creative process, where the creative process must in turn be thought of as something not stopping short of, but terminating on, the work of art itself." [48] Derivative forms of aesthetics [ edit ] a b c d e f g h i j k l m n o p q r s t u v Sartwell, Crispin (2017). "Beauty". The Stanford Encyclopedia of Philosophy. Metaphysics Research Lab, Stanford University. Archived from the original on February 26, 2022 . Retrieved February 10, 2021.Gleiser, Marcelo (2010). A Tear at the Edge of Creation: A Radical New Vision for Life in an Imperfect Universe. Free Press. ISBN 978-1439108321. Judgments of beauty seem to occupy an intermediary position between objective judgments, e.g. concerning the mass and shape of a grapefruit, and subjective likes, e.g. concerning whether the grapefruit tastes good. [13] [10] [9] Judgments of beauty differ from the former because they are based on subjective feelings rather than objective perception. But they also differ from the latter because they lay claim on universal correctness. [10] This tension is also reflected in common language. On the one hand, we talk about beauty as an objective feature of the world that is ascribed, for example, to landscapes, paintings or humans. [14] The subjective side, on the other hand, is expressed in sayings like "beauty is in the eye of the beholder". [3] Main articles: Physical attractiveness and Feminine beauty ideal The bust of Nefertiti, 14th century BC The classical Greek noun that best translates to the English-language words "beauty" or "beautiful" was κάλλος, kallos, and the adjective was καλός, kalos. However, kalos may and is also translated as "good" or "of fine quality" and thus has a broader meaning than mere physical or material beauty. Similarly, kallos was used differently from the English word beauty in that it first and foremost applied to humans and bears an erotic connotation. [23] The Koine Greek word for beautiful was ὡραῖος, hōraios, [24] an adjective etymologically coming from the word ὥρα, hōra, meaning "hour". In Koine Greek, beauty was thus associated with "being of one's hour". [25] Thus, a ripe fruit (of its time) was considered beautiful, whereas a young woman trying to appear older or an older woman trying to appear younger would not be considered beautiful. In Attic Greek, hōraios had many meanings, including "youthful" and "ripe old age". [25] Another classical term in use to describe beauty was pulchrum ( Latin). [26]

Ames-Lewis, Francis (2000), The Intellectual Life of the Early Renaissance Artist, New Haven, Connecticut: Yale University Press, p.194, ISBN 0-300-09295-4 Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-8120810570. The philosophical study of the aesthetic object. This approach reflects the view that the problems of aesthetics exist primarily because the world contains a special class of objects toward which we react selectively and which we describe in aesthetic terms. The usual class singled out as prime aesthetic objects is that comprising works of art. All other aesthetic objects (landscapes, faces, objets trouvés, and the like) tend to be included in this class only because, and to the extent that, they can be seen as art (or so it is claimed). In the 1990s, Jürgen Schmidhuber described an algorithmic theory of beauty. This theory takes the subjectivity of the observer into account and postulates that among several observations classified as comparable by a given subjective observer, the most aesthetically pleasing is the one that is encoded by the shortest description, following the direction of previous approaches. [76] [77] Schmidhuber's theory explicitly distinguishes between that which is beautiful and that which is interesting, stating that interestingness corresponds to the first derivative of subjectively perceived beauty. He supposes that every observer continually tries to improve the predictability and compressibility of their observations by identifying regularities like repetition, symmetry, and fractal self-similarity. [78] [79] [80] [81]a b c d e f g h i j De Clercq, Rafael (2013). "Beauty". The Routledge Companion to Aesthetics. Routledge. Archived from the original on January 13, 2022 . Retrieved February 10, 2021. Moshagen, M.; Thielsch, M.T. (2010). "Facets of visual aesthetics". International Journal of Human-Computer Studies. 68 (10): 689–709. doi: 10.1016/j.ijhcs.2010.05.006. S2CID 205266500. Archived from the original on 25 July 2020 . Retrieved 2 June 2020. Roger Scruton, The Aesthetic Understanding: Essays in the Philosophy of Art and Culture (1983) ISBN 1890318027 Aesthetic Quality Inference Engine – Instant Impersonal Assessment of Photos". Penn State University. Archived from the original on 9 May 2009 . Retrieved 21 June 2009.

Sigmund Freud inaugurated aesthetical thinking in Psychoanalysis mainly via the "Uncanny" as aesthetical affect. [58] Following Freud and Merleau-Ponty, [59] Jacques Lacan theorized aesthetics in terms of sublimation and the Thing. [60]Beauty is mainly discussed in relation to concrete objects accessible to sensory perception. It has been suggested that the beauty of a thing supervenes on the sensory features of this thing. [10] It has also been proposed that abstract objects like stories or mathematical proofs can be beautiful. [11] Beauty plays a central role in works of art and nature. [12] [10] Reber, R; Brun, M; Mitterndorfer, K (2008). "The use of heuristics in intuitive mathematical judgment". Psychonomic Bulletin & Review. 15 (6): 1174–1178. doi: 10.3758/pbr.15.6.1174. hdl: 1956/2734. PMID 19001586. S2CID 5297500. a b c d e "Aesthetics". Encyclopedia Britannica. Archived from the original on February 28, 2022 . Retrieved February 9, 2021. G. E. Moore explained beauty in regard to intrinsic value as "that of which the admiring contemplation is good in itself". [21] [5] This definition connects beauty to experience while managing to avoid some of the problems usually associated with subjectivist positions since it allows that things may be beautiful even if they are never experienced. [21] Jahanian, Ali (2016). Quantifying Aesthetics of Visual Design Applied to Automatic Design. Cham: Springer. pp.11–12. ISBN 978-3319314853.