المراجع | علم الجمال: مقدمة قصيرة جدًّا

الفصل الأول: تائه في المتحف

The Gombrowicz quote is from his Diaries (New Haven: Yale University Press, 2012), p. 39.
The Léger story is in his: The Machine Aesthetic, Bulletin de l’effort moderne (Paris, 1924).
The Newman quote is from John P. O’Neill (ed.), Barnett Newman: Selected Writings and Interviews (New York: Alfred A. Knopf, 1990), p. 25.
The “influential strand in Western aesthetics” goes back to Immanuel Kant’s Critique of Judgement.
On the importance of the aesthetics of everyday scenes, see Sherri Irvin, The Pervasiveness of the Aesthetic in Ordinary Experience, British Journal of Aesthetics 48 (2008): 29–44; Bence Nanay, Aesthetic Experience of Artworks and Everyday Scenes, The Monist 101 (2018): 71–82; Yuriko Saito, Everyday Aesthetics (Oxford: Oxford University Press, 2007).

الفصل الثاني: الجنس والمخدرات وموسيقى الروك

A good exposition of the “sex, drugs, and rock “n” roll” problem is in Jerrold Levinson’s The Pleasures of Aesthetics (Ithaca, NY: Cornell University Press, 1996).
What I call the “beauty-salon approach” can be found in almost all “Western” texts on beauty from Plato to Mary Mothersill: see Mary Mothersill, Beauty Restored (Oxford: Clarendon Press, 1984).
The Oscar Wilde quote is from his 1879 lecture to art students, In his Essays and Lectures (London: Methuen, 1911), p. 111.
A very democratic account of beauty, and one that is broadly congruous with my approach is in Dominic Lopes’s Being for Beauty (Oxford: Oxford University Press, 2018).
The Léger quote is from: The Machine Aesthetic: The Manufactured Object, the Artisan and the Artist, Bulletin de l’effort moderne (Paris, 1924).
For Kant’s concept of disinterested pleasure, see Immanuel Kant, Critique of Judgement, trans. W. S. Pluhar (Indianapolis: Hackett, 1987, originally 1790).
A good summary of the distinction between restoration pleasure and tonic pleasure is in Michael Kubovy, On the Pleasures of the Mind, In: D. Kahneman, E. Diener, and N. Schwartz (eds), Well-Being: Foundations of Hedonic Psychology (New York: Russell Sage Foundation, 1999), pp. 134–49.
The best worked-out account of aesthetic pleasure as sustaining pleasure is Mohan Matthen’s theory. See his The Pleasure of Art, Australasian Philosophical Review 1 (2017): 6–28. What I call “relief pleasure”, Matthen calls “r-pleasure” (and Kubovy “restoration pleasure”); what I call “sustaining pleasure”, Matthen calls “f-pleasure” (and Kubovy “tonic pleasure”).
Laura Mulvey’s article was published in Screen 16/3 (1975): 6–18. The Iris Murdoch quote is from her Existentialist Hero, The Listener 23 (March 1950), p. 52.
The Kubler quote is from George Kubler, The Shape of Time (New Haven: Yale University Press, 1962), p. 80.
On wonder as an aesthetic emotion, see Jesse Prinz, Works of Wonder (New York: Oxford University Press, forthcoming).
On being moved as an aesthetic emotion, see Florian Cova and Julien Deonna, Being Moved, Philosophical Studies 169 (2014): 447–66 (although they never make the claim that this is a universal feature of all aesthetic engagement).
On contemplation of formal features as an aesthetic emotion, see Clive Bell, Art (London: Chatto and Windus, 1914).
For an argument that all actions are emotional actions, see Bence Nanay, All Actions are Emotional Actions. Emotion Review 9 (2017): 350–2.
The quote by Fernando Pessoa is from his: The Book of Disquiet (London: Serpent’s Tail, 1991), p. 27 (29 [87]).
The Sontag quote is in her essay On Style (1965), in her Against Interpretation (New York: Farrar Straus Giroux, 1986), p. 27.
A good example of the “valuing for its own sake” approach is chapter 3 of Robert Stecker’s Aesthetics and Philosophy of Art (Lanham, Md: Rowman and Littlefield, 2005).
For more on the trophy–process balance, see (https://www.psychologytoday.com/intl/blog/psychology-tomorrow/201812/the-trophy-process-balance).
The Huxley book is: The Doors of Perception (London: Chatto and Windus, 1954).
The Proust quote is from his Sodom and Gomorrah, chapter II, paragraph 25 (p. 138 in the Moncrieff translation).

الفصل الثالث: الخبرة والانتباه

For some more visual examples of the difference attention can make in your aesthetic and non-aesthetic experiences, see (https://aestheticsforbirds.com/2014/06/16/paying-aesthetic-attention-bence-nanay/).
The Gorilla experiment: D. J. Simmons and C. F. Chabris, Gorillas in our Midst: Sustained Inattentional Blindness for Dynamic Events, Perception 28 (1999): 1059–74. There are some dissenting voices that construe the phenomenon not as inattentional blindness, but as inattentional amnesia (we see the gorilla but then immediately forget that we have seen it). See J. M. Wolfe, Inattentional Amnesia, In: V. Coltheart (ed.), Fleeting Memories. Cognition of Brief Visual Stimuli (Cambridge, Mass.: MIT Press, 1999).
A good summary of the psychological research on focused versus distributed attention is in Arien Mack, Is the Visual World a Grand Illusion? Journal of Consciousness Studies 9 (2002): 102–10.
For a more detailed account of focused versus distributed attention, see Bence Nanay, Aesthetics as Philosophy of Perception (Oxford: Oxford University Press, 2016).
The Danièle Huillet line is from a 2005 interview with Tag Gallagher, Senses of Cinema, 2005, Issue 37.
The Maria Abramovic quote is from a 2012 interview with Ross Simonini, Globe and Mail 20 February 2012.
The quote by Fernando Pessoa is from his The Book of Disquiet (London: Serpent’s Tail, 1991), p. 77 (76 [389]).
On the role of experience in Sanskrit aesthetics and Rasa theory in general, see Sheldon Pollock (ed.), A Rasa Reader (New York: Columbia University Press, 2016).
A good summary of the transparency of perception is in Laura Gow’s The Limitations of Perceptual Transparency, Philosophical Quarterly 66 (2016): 723–44.

الفصل الرابع: الجماليات والذات

The findings about the importance of aesthetic preferences for the self started with the publication of Nina Strohminger and Shaun Nichols, The Essential Moral Self, Cognition 131 (2014): 159–71, and various responses to this paper. See esp. J. Fingerhut, J. Gomez-Lavin, C. Winklmayr, and J. J. Prinz, The Aesthetic Self, In: Frontiers in Psychology (forthcoming).
On the findings about the constant changes in our aesthetic preferences, see Cambeon Pugach, Helmut Leder, and Daniel J. Graham, How Stable are Human Aesthetic Preferences across the Lifespan, Frontiers in Human Neuroscience 11 (2017): 289. doi: 10.3389/fnhum.2017.00289.
The phenomenon that we think we don’t change but we do even has a fancy label, “The End of History Illusion”, See (https://www.ted. com/talks/bence_nanay_the_end_of_history_illusion).
The mere exposure effect experiment with the impressionist paintings is reported in James E. Cutting, The Mere Exposure Effect and Aesthetic Preference. In: P. Locher et al. (eds), New Directions in Aesthetics, Creativity and the Psychology of Art (New York: Baywood, 2007), pp. 33–46, See also Bence Nanay, Perceptual Learning, the Mere Exposure Effect and Aesthetic Antirealism, Leonardo 50 (2017): 58–63.
For a good illustration of how judgement-centred aesthetics is, see Malcolm Budd, Aesthetic Judgements, Aesthetic Principles and Aesthetic Properties, European Journal of Philosophy 7/3 (1999): 295–311.
A good exposition of how aesthetics should not bypass talking about the pleasure we take in aesthetic phenomena is Jerrold Levinson’s Pleasure and the Value of Works of Art, in his: The Pleasures of Aesthetics (Ithaca, NY: Cornell University Press, 1996).
The Susan Sontag quote is from her essay On Style (originally published in 1965), reprinted in her: Against Interpretation (New York: Farrar Straus Giroux, 1986), p. 21.
Hume’s essay is: Of the Standard of Taste (1757), in Essays: Moral, Political and Literary, ed. Eugene Miller (Indianapolis: Liberty, 1985). A very thorough analysis of Hume’s argument is in Jerrold Levinson’s Hume’s Standard of Taste: The Real Problem, Journal of Aesthetics and Art Criticism 60/3 (2002): 227–38.
On the role of experience in Islamic aesthetics, see Valerie Gonzalez, Beauty and Islam: Aesthetics in Islamic Art and Architecture (London: I. B. Tauris, 2001), See also J. N. Erzen, Islamic Aesthetics: An Alternative Way to Knowledge, Journal of Aesthetics and Art Criticism 65/1 (2007): 69–75.
On the concept of “tabritu” in Assyro-Babylonian aesthetics, see Irene J. Winter, The Eyes Have lt: Votive Statuary, Gilgamesh’s Axe, and Cathected Viewing in the Ancient Near East, In: Robert S. Nelson (ed.), Visuality Before and Beyond the Renaissance: Seeing as Others Saw (Cambridge: Cambridge University Press, 2000), pp. 22–44.

الفصل الخامس: الجماليات والآخر

Here is what Pauline Kael said: “I regard criticism as an art, and if in this country and in this age, it is practised with honesty, it is no more remunerative than the work of an avant-garde film artist.” See her: I Lost It at the Movies: The Essential Kael Collection 54–65 (London: Marion Boyars, 2002), p. 234.
The Eagleton quote is in his The Function of Criticism (London: Verso, 1984), p. 7.
The Malraux line is from André Malraux, Museum without Walls (New York: Doubleday, 1967), p. 236.

الفصل السادس: الجماليات والحياة

The Berenice Abbott quote is from Julia Van Haaften, Berenice Abbott: A Life in Photography (New York: W. W. Norton, 2018).
The Robert Musil quip is in his novel: The Man without Qualities, trans. Eithne Wilkins and Ernst Kaiser (London: Picador, 1979) (1930/2), Volume II, p. 336.
The Camus quote is in his posthumously published: A Happy Death (New York: Penguin, 2002).
A vivid expression of Oscar Wilde’s line on being the spectator of one’s own life is in his novel The Picture of Dorian Grey (New York: Barnes and Noble, 1995), p. 121.
Arthur Schopenhauer was another influential proponent of the idea of aesthetic contemplation. See esp. his The World as Will and Representation (Cambridge: Cambridge University Press, 2011).
The Sontag quote is in her essay On Style (1965), in her: Against Interpretation (New York: Farrar Straus Giroux, 1986), p. 27.
The André Gide quote is from his Diary, 25 July 1934.
The Stendhal quote is in chapter 23 of his novel: Charterhouse of Parma.
The quote by Giorgio de Chirico is from his “Meditations of a Painter, 1912”, In Herschel B. Chipp (ed.), Theories of Modern Art (Berkeley: University of California Press, 1968), pp. 397-8.
The general idea of art working against our habits is often associated with Russian formalism. See e.g. Victor Shklovsky, “Art as Technique” (1917), In Russian Formalist Criticism: Four Essays, ed. Lee T. Lemon and Marion J. Reis (Lincoln, Nebr.: University of Nebraska Press, 1965), See also Bence Nanay, Defamiliarization and the Unprompted (not Innocent) Eye, Nonsite 24 (2018): 1–17.
The Duchamp quote is from Calvin Tomkins, The Afternoon Interviews (Brooklyn: Badlands, 2013), p. 55.
The long Proust quote is from Within a Budding Grove, trans. C. K. Scott Moncrieff (New York: Vintage, 1970), p. 325.
The Ad Reinhardt quote is from his “How to Look at Things through a Wine-glass”, PM, 7 July 1946.

الفصل السابع: الجماليات العالمية

The De Kooning train-track analogy is from his: “The Renaissance and Order,” Trans/formation 1 (1951): 86-7.
For a summary of the literature on top–down influences on perception, see Christoph Teufel and Bence Nanay, How to (and how not to) Think about Top-down Influences on Perception, Consciousness and Cognition 47 (2017): 17–25.
For the cross-cultural findings about what we attend to when we are looking at an aquarium, see Takahiko Masuda and Richard E. Nisbett, Attending Holistically versus Analytically: Comparing the Context Sensitivity of Japanese and Americans, Journal of Personality and Social Psychology 81 (2001): 922–34.
On mental imagery and the important role it plays in aesthetics, see Bence Nanay, Seeing Things You Don’t See (Oxford: Oxford University Press, forthcoming).
On the multimodality of our aesthetic experiences in the Rasa tradition, see K. M. Higgins, An Alchemy of Emotion: Rasa and Aesthetic Breakthroughs. Journal of Aesthetics and Art Criticism 65/1 (2007): 43–54; see also Bence Nanay, The Multimodal Experience of Art, British Journal of Aesthetics 52 (2012): 353–63.
On “hidden beauty” or Yugen, see T. Izutsu, and T. Izutsu, The Theory of Beauty in the Classical Aesthetics of Japan (The Hague: Martinus Nijhoff, 1981). See also Y. Saiko, The Japanese Aesthetics of Imperfection and Insufficiency, Journal of Aesthetics and Art Criticism 55/4 (1997): 377–85.
On Avicenna and imagery, see Valerie Gonzales, Beauty and Islam (London: I. B. Tauris Publishers, 2001), esp., pp. 16–18.
The Wölfflin quote is from his 1915 Principles of Art History (New York: Dover, 1932), p. 11.
More on the history of vision debate in Bence Nanay, The History of Vision, Journal of Aesthetics and Art Criticism 73 (2015): 259–71.
On just how much we know about how paintings were looked at in 15th-century Italy, see Michael Baxandall, Painting and Experience in Fifteenth Century Italy (Oxford: Oxford University Press, 1972).
On “ifarahon” and Yoruba aesthetics in general, see Stephen F. Sprague: Yoruba photography, African Art 12 (1978): 52–107.
On Xie He’s aesthetics of painting, see H. Saussy, The Problem of a Chinese Aesthetic (Stanford, Calif.: Stanford University Press, 1993).
The Vishnudharmottara is freely available online: Stella Kramrisch, The Vishnudharmottara Part III: A Treatise on Indian Painting and Image-Making (Calcutta: Calcutta University Press, 1928).
On pictorial organization in Japanese aesthetics, see Ken-ichi Sasaki, Perspectives East and West, Contemporary Aesthetics 11 (2013): spo.7523862.0011.016.
For more on surface and scene pictorial organization, see Bence Nanay, Two-Dimensional versus Three-Dimensional Pictorial Organization, Journal of Aesthetics and Art Criticism 73 (2015): 149–57.
The Baxandall quote is from his: Patterns of Intention (New Haven: Yale University Press, 1985), p. 109.