- Submit
-
Browse
- All Categories
- Metaphysics and Epistemology
- Value Theory
- Science, Logic, and Mathematics
- Science, Logic, and Mathematics
- Logic and Philosophy of Logic
- Philosophy of Biology
- Philosophy of Cognitive Science
- Philosophy of Computing and Information
- Philosophy of Mathematics
- Philosophy of Physical Science
- Philosophy of Social Science
- Philosophy of Probability
- General Philosophy of Science
- Philosophy of Science, Misc
- History of Western Philosophy
- Philosophical Traditions
- Philosophy, Misc
- Other Academic Areas
- More
Switch to: References
Citations of:
The Experience of Magic
Journal of Aesthetics and Art Criticism 74 (3):253-264 (2016)
Add citations
You must login to add citations.
|
|
|
Graham Harman describes the allure of art as the tension and fusion of a real object to sensual qualities so that it makes it seem that the inwardness of reality is opened to us. Yet real objects are withdrawn; how are we aware of their fusion? Since Harman’s ontology mandates that contact between real objects occurs only through sensual objects, this essay explores the idea that art’s allure must be a tension between sensual objects that draw the experiencer to believe, (...) |
|
|
Argues for the controversial and initially counterintuitive thesis that theatrical magic (that is, the performance of conjuring tricks) is a form of standup comedy. |
|
|
Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs (...) |
|
|
In this thesis, I address the metaphysical question `What is humour?' and the ethical question `When is humour immoral?' Consulting a dictionary reveals a circle of definitions between `amusement', `funniness', and `humour'. So I split the metaphysical question `What is humour?' into three questions: `What is amusement?', `What is funniness?' and `What is humour?' By critically analysing then synthesising recent research in philosophy, psychology and linguistics, I give the following answers: x amuses y if and only if: y is in (...) |
|
|
Theatrical magic is designed to elicit negative emotions such as feelings of vulnerability, loss of control, apprehension, fear, confusion, and bafflement. This commentary suggests that the DISTANCE-EMBRACING model proposed by Menninghaus et al. can help us to understand how the experience of magic can be aesthetically pleasurable, not despite, rather thanks to, some of the strong negative emotions it provokes. |
|
|
David Lewis introduced the idea of a quasi-miracle to overcome a problem in his initial account of counterfactuals. Here we put the notion of a quasi-miracle to a different and new use, showing that it offers a novel account of the phenomenon of poetic justice, where characters in a narrative get their due by happy accident. The key to understanding poetic justice is to see what makes poetically just events remarkable coincidences. We argue that remarkable coincidence is to be understood (...) |
|
|
There is a sustained phenomenological tradition of describing the character of photographic pictorial experience to consist in part of a feeling of contact with the subject of the photograph. Philosophers disagree, however, about the exact cause of the ‘contact phenomenon’ and whether there is a difference in the phenomenal character between the pictorial experiences of photographs and handmade pictures so that, if a viewer mistakes the type that a token image belongs to, their sense of contact can alter. I argue (...) |
|
|
|
|
|
When engaging with magic, we are moved by seemingly impossible events that contradict what we believe to be possible in the real world. We are surprised, curious, and baffled when we cannot explain how the magic we are witnessing is possible. We generally understand the events to be illusions. But how is it possible to be moved by something we know to be unreal? This problem is related to the paradox of fiction in aesthetics. Here, we introduce the problem in (...) |
|
|
|
PhilPapers logo by Andrea Andrews and Meghan Driscoll.
This site uses cookies and Google Analytics (see our terms & conditions for details regarding the privacy implications). Use of this site is subject to terms & conditions.
All rights reserved by The PhilPapers Foundation
Server: philpapers-web-6f97f49787-r597v uwo