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S Scolnicov (2003). Plato's Parmenides. University of California Press. p.21. ISBN 0520925114 . Retrieved May 12, 2015. Honderich, Ted (2005). "Aesthetic judgment". The Oxford Companion to Philosophy. Oxford University Press. Archived from the original on January 29, 2021 . Retrieved February 10, 2021. Monk, Samuel Holt (1960). The Sublime: A Study of Critical Theories in XVIII-century England. Ann Arbor: University of Michigan Press. pp. 6–9, 141. OCLC 943884. 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.

M Garani (2007). Empedocles Redivivus: Poetry and Analogy in Lucretius. Routledge. ISBN 978-1135859831. Archived from the original on February 3, 2023 . Retrieved May 12, 2015. a b c "Beauty and Ugliness". www.encyclopedia.com. Archived from the original on 24 December 2021 . Retrieved 9 February 2021. a b A Preus (1996). Notes on Greek Philosophy from Thales to Aristotle (parts 198 and 210). Global Academic Publishing. ISBN 1883058090 . Retrieved May 12, 2015. Grosswiler, Paul (2010). Transforming McLuhan: Cultural, Critical, and Postmodern Perspectives. Peter Lang Publishing. p.13. ISBN 978-1433110672 . Retrieved 10 March 2015. F Nake (1974). Ästhetik als Informationsverarbeitung. ( Aesthetics as information processing). Grundlagen und Anwendungen der Informatik im Bereich ästhetischer Produktion und Kritik. Springer, 1974, ISBN 978-3211812167Beauty is one of the main subjects of aesthetics, together with art and taste. [37] [38] Many of its definitions include the idea that an object is beautiful if perceiving it is accompanied by aesthetic pleasure. Among the examples of beautiful objects are landscapes, sunsets, humans and works of art. Beauty is a positive aesthetic value that contrasts with ugliness as its negative counterpart. [39] Gary Martin (2007). "Beauty is in the eye of the beholder". The Phrase Finder. Archived from the original on 30 November 2007 . Retrieved 4 December 2007. The term aesthetics was appropriated and coined with new meaning by the German philosopher Alexander Baumgarten in his dissertation Meditationes philosophicae de nonnullis ad poema pertinentibus (English: "Philosophical considerations of some matters pertaining the poem") in 1735; [8] Baumgarten chose "aesthetics" because he wished to emphasize the experience of art as a means of knowing. Baumgarten's definition of aesthetics in the fragment Aesthetica (1750) is occasionally considered the first definition of modern aesthetics. [9] Armstrong, Thomas; Detweiler-Bedell, Brian (December 2008). "Beauty as an Emotion: The Exhilarating Prospect of Mastering a Challenging World". Review of General Psychology. 12 (4): 305–329. CiteSeerX 10.1.1.406.1825. doi: 10.1037/a0012558. S2CID 8375375.

Holm, Ivar (2006). Ideas and Beliefs in Architecture and Industrial design: How attitudes, orientations, and underlying assumptions shape the built environment. Oslo School of Architecture and Design. ISBN 8254701741. Emmie Te Nijenhuis (1974). Indian Music: History and Structure. Brill Academic. ISBN 978-9004039780.Artists such as Thomas Hirschhorn have indicated that there are too many exceptions to Dutton's categories. For example, Hirschhorn's installations deliberately eschew technical virtuosity. People can appreciate a Renaissance Madonna for aesthetic reasons, but such objects often had (and sometimes still have) specific devotional functions. "Rules of composition" that might be read into Duchamp's Fountain or John Cage's 4′33″ do not locate the works in a recognizable style (or certainly not a style recognizable at the time of the works' realization). Moreover, some of Dutton's categories seem too broad: a physicist might entertain hypothetical worlds in his/her imagination in the course of formulating a theory. Another problem is that Dutton's categories seek to universalize traditional European notions of aesthetics and art forgetting that, as André Malraux and others have pointed out, there have been large numbers of cultures in which such ideas (including the idea "art" itself) were non-existent. [33] Aesthetic ethics [ edit ]

Guyer, Paul (2005). Values of Beauty: Historical Essays in Aesthetics. Cambridge University Press. ISBN 978-0521606691.a b Phillips, Mike (January 29, 2005). "Review: On Beauty edited by Umberto Eco". the Guardian . Retrieved June 3, 2023. Carol Armstrong and Catherine de Zegher (eds.), Women Artists at the Millennium. Massachusetts: October Books/MIT Press, 2006. ISBN 026201226X One difficulty in understanding beauty is because it has both objective and subjective aspects: it is seen as a property of things but also as depending on the emotional response of observers. Because of its subjective side, beauty is said to be "in the eye of the beholder". [2] It has been argued that the ability on the side of the subject needed to perceive and judge beauty, sometimes referred to as the "sense of taste", can be trained and that the verdicts of experts coincide in the long run. This would suggest that the standards of validity of judgments of beauty are intersubjective, i.e. dependent on a group of judges, rather than fully subjective or fully objective.