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We propose an epistemic theory of micro-economic interactions, termed Economic Harmony. In the theory, we modify the standard utility, by changing its argument from the player's actual payoff, to the ratio between the player's actual payoff and his or her aspired payoff. We show that the aforementioned minor epistemic modification of the concept of utility is quite powerful in generating plausible and successful predictions of experimental results, obtained in the standard ultimatum game, and the sequential common pool resource dilemma (CPR) game. Notably, the cooperation and fairness observed in the studied games are accounted for without adding an other-regarding component in the players' utility functions. For the standard ultimatum game, the theory predicts a division of Φ and 1 - Φ, for the proposer and responder, respectively, where Φ is the famous Golden Ratio (≈0.618), most known for its aesthetically pleasing properties. We discuss possible extensions of the proposed theory to repeated and evolutionary ultimatum games. [ABSTRACT FROM AUTHOR]

In this article, I present two objections against the view that aesthetic judgements - that is, judgemental ascriptions of aesthetic qualities like elegance or harmony - are justified non-inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower-level features of the objects concerned. The second objection maintains that non-inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and other objects is limited to only some of their lower-level features that realise their higher-level aesthetic qualities. Although my concern with the view that aesthetic judgements are subject to non-inferential justification is very general, my discussion is primarily structured around Sibley's well-developed and influential version of this view. [ABSTRACT FROM AUTHOR]

Copernicus claimed that his system was preferable in part on the grounds of its superior harmony and simplicity, but left very few hints as to what was meant by these terms. Copernicus’s pupil, Rheticus, was more forthcoming. Kepler, influenced by Rheticus, articulated further the nature of the virtues of harmony and simplicity. I argue that these terms are metaphors for the structural features of the Copernican system that make it more able to effectively exploit the available data. So it is a mistake to conclude that early Copernicans could only offer aesthetic or pragmatic arguments; they could and did offer evidential ones as well. Moreover, the evidential arguments they offered parallel current arguments in the philosophical literature. [Copyright &y& Elsevier]

The article explores the aesthetic harmony of how life should be lived through the unity of exchange between emotion and thinking. It also demonstrates the significance of art or aesthetics as a category of philosophical instruction. Meanwhile, on the second part of the essay, the authors present an overview on how philosophers lived their lives, including Van Gogh, Socrates and Friedrich Nietzshe. The authors also discuss the pedagogical implication of their investigation in terms of cognitive function of art. Moreover, the authors present conclusion along with some general remarks in relation to the importance of teaching introduction to philosophy through art or aesthetics.

The article focuses on the concepts of function and beauty. It explores the need for further distinction between functionalism and aesthetics since the former serves as the broad principle of applied and fine arts while the latter refers to harmony and proportionateness. The author assesses Japanese folkcraft and notes that the essence of the exquisite design found in the country had been lost due to the consciousness of various individuals with significant interest on Western standards and taste. Background of the Japanese art is offered.

The article offers information about the theory of Frances Hutcheson about aesthetic perception which analyzes the concept of beauty. According to his theory titled "Inquiry Concerning Beauty, Order, Harmony, Design," the concept of beauty is taken from the idea which has been instilled in human beings. This theory raises problems in the interpretation of Hutcheson's idea of beauty as inidicated in the diverse notions of contemporary scholars. In line with this, the article provides some views of scholars regarding Hutcheson's concept of beauty.

The paper discusses the connection between rhythm and meaning based on Augustine's De musica. This central topic is illuminated by the analysis of other particular aesthetic concepts that one can find in Augustine (such as sentience and desire, in its many Latin variations), as well as in reference to modern aesthetics. The result is the emergence of a relationship between aesthetics and the making of meaning in a co-creative operation between the divine and the human based upon an understanding of rhythm. [ABSTRACT FROM AUTHOR]