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  1. The Metaphysics of Beauty.Nick Zangwill - 2001 - Cornell University Press.
    In The Metaphysics of Beauty, Zangwill argues that it is essential to beauty that it depends on the ordinary features of things.
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  • Pretense and Imagination.Shen-yi Liao & Tamar Szabó Gendler - 2011 - Wiley Interdisciplinary Reviews 2 (1):79-94.
    Issues of pretense and imagination are of central interest to philosophers, psychologists, and researchers in allied fields. In this entry, we provide a roadmap of some of the central themes around which discussion has been focused. We begin with an overview of pretense, imagination, and the relationship between them. We then shift our attention to the four specific topics where the disciplines' research programs have intersected or where additional interactions could prove mutually beneficial: the psychological underpinnings of performing pretense and (...)
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  • Aesthetic Adjectives Lack Uniform Behavior.Shen-yi Liao, Louise McNally & Aaron Meskin - 2016 - Inquiry: An Interdisciplinary Journal of Philosophy 59 (6):618-631.
    The goal of this short paper is to show that esthetic adjectives—exemplified by “beautiful” and “elegant”—do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  • The Artful Mind Meets Art History: Toward a Psycho-Historical Framework for the Science of Art Appreciation.Nicolas J. Bullot & Rolf Reber - 2013 - Behavioral and Brain Sciences 36 (2):123-137.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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  • Pictorial Colour: Aesthetics and Cognitive Science.Dominic McIver Lopes - 1999 - Philosophical Psychology 12 (4):415-428.
    The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then (...)
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  • The Past and Future of Experimental Philosophy.Thomas Nadelhoffer & Eddy Nahmias - 2007 - Philosophical Explorations 10 (2):123 – 149.
    Experimental philosophy is the name for a recent movement whose participants use the methods of experimental psychology to probe the way people think about philosophical issues and then examine how the results of such studies bear on traditional philosophical debates. Given both the breadth of the research being carried out by experimental philosophers and the controversial nature of some of their central methodological assumptions, it is of no surprise that their work has recently come under attack. In this paper we (...)
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  • Aesthetics and Cognitive Science.Dustin Stokes - 2009 - Philosophy Compass 4 (5):715-733.
    Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...)
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  • Dual Character Concepts and the Normative Dimension of Conceptual Representation.Joshua Knobe, Sandeep Prasada & George E. Newman - 2013 - Cognition 127 (2):242-257.
    Five experiments provide evidence for a class of ‘dual character concepts.’ Dual character concepts characterize their members in terms of both (a) a set of concrete features and (b) the abstract values that these features serve to realize. As such, these concepts provide two bases for evaluating category members and two different criteria for category membership. Experiment 1 provides support for the notion that dual character concepts have two bases for evaluation. Experiments 2-4 explore the claim that dual character concepts (...)
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  • Are Artworks More Like People Than Artifacts? Individual Concepts and Their Extensions.George E. Newman, Daniel M. Bartels & Rosanna K. Smith - 2014 - Topics in Cognitive Science 6 (4):647-662.
    This paper examines people's reasoning about identity continuity and its relation to previous research on how people value one-of-a-kind artifacts, such as artwork. We propose that judgments about the continuity of artworks are related to judgments about the continuity of individual persons because art objects are seen as physical extensions of their creators. We report a reanalysis of previous data and the results of two new empirical studies that test this hypothesis. The first study demonstrates that the mere categorization of (...)
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  • The Development of Imaginative Cognition.Deena Skolnick Weisberg - 2014 - Royal Institute of Philosophy Supplement 75:85-103.
    Over the last ten years or so, many cognitive scientists have begun to work on topics traditionally associated with philosophical aesthetics, such as issues about the objectivity of aesthetic judgments and the nature of aesthetic experience. An increasingly interdisciplinary turn within philosophy has started to take advantage of these connections, to the benefit of all. But one area that has been somewhat overlooked in this new dialogue is developmental psychology, which treats questions about whether and to what extent children's intuitions (...)
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  • What Belongs in a Fictional World?Deena Skolnick Weisberg & Joshua Goodstein - 2009 - Journal of Cognition and Culture 9 (1-2):69-78.
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  • Moral Objectivism Across the Lifespan.James R. Beebe & David Sackris - 2016 - Philosophical Psychology 29 (6):912-929.
    We report the results of two studies that examine folk metaethical judgments about the objectivity of morality. We found that participants attributed almost as much objectivity to ethical statements as they did to statements of physical fact and significantly more objectivity to ethical statements than to statements about preferences or tastes. In both studies, younger participants attributed less objectivity to ethical statements than older participants. Females were observed to attribute slightly less objectivity to ethical statements than males, and we found (...)
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  • Experimental Philosophy.Joshua Knobe - 2007 - The Philosophers' Magazine 50:72-73.
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  • Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. WALTON - 1990 - Harvard University Press.
    Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.
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  • Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. WALTON - 1990 - Inquiry: An Interdisciplinary Journal of Philosophy 36:335.
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  • A Philosophical Enquiry Into the Origin of Our Ideas of the Sublime and Beautiful.Edmund Burke - 1759 - Dover Publications.
    This eloquent 1757 treatise examines how interactions with the physical world affect formulation of ideals related to beauty and art. Tremendously influential on the development of aesthetic theory, this formative dissertation was among the first explorations of the concept of the sublime and remains a thought-provoking study for modern readers.
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  • Image and Mind: Film, Philosophy, and Cognitive Science.Gregory Currie - 1995 - Cambridge University Press.
    This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...)
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  • The Nature of Fiction.Gregory Currie - 1990 - Cambridge University Press.
    This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...)
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  • Pictures and the Representational Mind.Dominic McIver Lopes - 2003 - The Monist 86 (4):632-652.
    Several recent books indicate that the philosophy of art has embarked upon a new alliance with cognitive science. One impetus for this is the move, beginning in the 70s and 80s, away from general aesthetics to a greater concern with the philosophies of the individual arts. Questions about the nature of art, expression, aesthetic experience and aesthetic properties as generic phenomena are still with us but many philosophers now approach them by means of specialized studies of music, literature, film, the (...)
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  • The Science of Art: A Neurological Theory of Aesthetic Experience.Vilayanur S. Ramachandran & William Hirstein - 1999 - Journal of Consciousness Studies 6 (6-7):15-41.
    We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...)
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  • The Psychology of Meta-Ethics: Exploring Objectivism.Geoffrey P. Goodwin & John M. Darley - 2008 - Cognition 106 (3):1339-1366.
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  • Empirically Investigating Imaginative Resistance.Shen-yi Liao, Nina Strohminger & Chandra Sekhar Sripada - 2014 - British Journal of Aesthetics 54 (3):339-355.
    Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...)
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  • Aesthetic Adjectives: Experimental Semantics and Context-Sensitivity.Shen-yi Liao & Aaron Meskin - 2017 - Philosophy and Phenomenological Research 94 (2):371–398.
    One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic evaluations. And despite the wealth of (...)
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  • Experimental Philosophy.Wesley Buckwalter, Joshua Knobe, Shaun Nichols, N. Ángel Pinillos, Philip Robbins, Hagop Sarkissian, Chris Weigel & Jonathan M. Weinberg - 2012 - Oxford Bibliographies Online (1):81-92.
    Bibliography of works in experimental philosophy.
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  • Mere Exposure to Bad Art.Aaron Meskin, Mark Phelan, Margaret Moore & Matthew Kieran - 2013 - British Journal of Aesthetics 53 (2):139-164.
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  • Can Folk Aesthetics Ground Aesthetic Realism?Florian Cova & Nicolas Pain - 2012 - The Monist 95 (2):241-263.
    We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having shown (...)
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  • Morality, Fiction, and Possibility.Brian Weatherson - 2004 - Philosophers' Imprint 4:1-27.
    Authors have a lot of leeway with regard to what they can make true in their story. In general, if the author says that p is true in the fiction we’re reading, we believe that p is true in that fiction. And if we’re playing along with the fictional game, we imagine that, along with everything else in the story, p is true. But there are exceptions to these general principles. Many authors, most notably Kendall Walton and Tamar Szabó Gendler, (...)
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  • Toward a General Psychological Model of Tension and Suspense.Moritz Lehne & Stefan Koelsch - 2015 - Frontiers in Psychology 6.
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  • Dual Character Art Concepts.Shen-yi Liao, Aaron Meskin & Joshua Knobe - manuscript
    Our goal in this paper is to articulate a novel account of the ordinary concept ART. At the core of our account is the idea that a puzzle surrounding our thought and talk about art is best understood as just one instance of a far broader phenomenon. In particular, we claim that one can make progress on this puzzle by drawing on research from cognitive science on dual character concepts. Thus, we suggest that the very same sort of phenomenon that (...)
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  • A Cognitive Theory of Pretense.Stephen P. Stich & Shaun Nichols - 2000 - Cognition 74 (2):115-147.
    Recent accounts of pretense have been underdescribed in a number of ways. In this paper, we present a much more explicit cognitive account of pretense. We begin by describing a number of real examples of pretense in children and adults. These examples bring out several features of pretense that any adequate theory of pretense must accommodate, and we use these features to develop our theory of pretense. On our theory, pretense representations are contained in a separate mental workspace, a Possible (...)
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  • Experimental Philosophy of Art.Richard Kamber - 2011 - Journal of Aesthetics and Art Criticism 69 (2):197-208.
    Although experimental philosophers have been busy kindling fires under well-worn armchairs in areas of philosophy as varied as epistemology, normative ethics, theories of reference, and the free will controversy, the philosophy of art has remained largely untouched. As Denis Dutton observes: “There is precious little reference to empirical psychology in contemporary philosophical aesthetics, almost as if philosophers of art have wanted to protect their patch from incursions by psychologists.” I intend to show how techniques borrowed from experimental psychology can bring (...)
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  • Being Moved.Florian Cova & Julien Deonna - 2013 - Philosophical Studies (3):1-20.
    In this paper, we argue that, barring a few important exceptions, the phenomenon we refer to using the expression “being moved” is a distinct type of emotion. In this paper’s first section, we motivate this hypothesis by reflecting on our linguistic use of this expression. In section two, pursuing a methodology that is both conceptual and empirical, we try to show that the phenomenon satisfies the five most commonly used criteria in philosophy and psychology for thinking that some affective episode (...)
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  • Morals in Fiction and Fictional Morality.Kendall L. Walton & Michael Tanner - 1994 - Proceedings of the Aristotelian Society, Supplementary Volumes( 68:27-66.
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  • Are Children Moral Objectivists? Children's Judgments About Moral and Response-Dependent Properties.Shaun Nichols & Trisha Folds-Bennett - 2003 - Cognition 90 (2):23-32.
    Researchers working on children's moral understanding maintain that the child's capacity to distinguish morality from convention shows that children regard moral violations as objectively wrong. Education in the moral domain. Cambridge: Cambridge University Press). However, one traditional way to cast the issue of objectivism is to focus not on conventionality, but on whether moral properties depend on our responses, as with properties like icky and fun. This paper argues that the moral/conventional task is inadequate for assessing whether children regard moral (...)
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  • Art and Authenticity: The Importance of Originals in Judgments of Value.George E. Newman & Paul Bloom - 2012 - Journal of Experimental Psychology: General 141 (3):558-569.
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  • Experimental Philosophy and Free Will.Tamler Sommers - 2010 - Philosophy Compass 5 (2):199-212.
    This paper develops a sympathetic critique of recent experimental work on free will and moral responsibility. Section 1 offers a brief defense of the relevance of experimental philosophy to the free will debate. Section 2 reviews a series of articles in the experimental literature that probe intuitions about the "compatibility question"—whether we can be free and morally responsible if determinism is true. Section 3 argues that these studies have produced valuable insights on the factors that influence our judgments on the (...)
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  • Analytic Epistemology and Experimental Philosophy.Joshua Alexander & Jonathan M. Weinberg - 2007 - Philosophy Compass 2 (1):56–80.
    It has been standard philosophical practice in analytic philosophy to employ intuitions generated in response to thought-experiments as evidence in the evaluation of philosophical claims. In part as a response to this practice, an exciting new movement—experimental philosophy—has recently emerged. This movement is unified behind both a common methodology and a common aim: the application of methods of experimental psychology to the study of the nature of intuitions. In this paper, we will introduce two different views concerning the relationship that (...)
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  • Experiencing Narrative Worlds: On the Psychological Activities of Reading.David Herman & Richard J. Gerrig - 1997 - Substance 26 (1):167.
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  • In Defense of a Broad Conception of Experimental Philosophy.David Rose & David Danks - 2013 - Metaphilosophy 44 (4):512-532.
    Experimental philosophy is often presented as a new movement that avoids many of the difficulties that face traditional philosophy. This article distinguishes two views of experimental philosophy: a narrow view in which philosophers conduct empirical investigations of intuitions, and a broad view which says that experimental philosophy is just the colocation in the same body of (i) philosophical naturalism and (ii) the actual practice of cognitive science. These two positions are rarely clearly distinguished in the literature about experimental philosophy, both (...)
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  • Experimental Philosophy.Joshua Knobe - 2007 - Philosophy Compass 2 (1):81–92.
    Claims about people's intuitions have long played an important role in philosophical debates. The new field of experimental philosophy seeks to subject such claims to rigorous tests using the traditional methods of cognitive science – systematic experimentation and statistical analysis. Work in experimental philosophy thus far has investigated people's intuitions in philosophy of language, philosophy of mind, epistemology, and ethics. Although it is now generally agreed that experimental philosophers have made surprising discoveries about people's intuitions in each of these areas, (...)
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  • Pictorial Representation: When Cognitive Science Meets Aesthetics.Mark Rollins - 1999 - Philosophical Psychology 12 (4):387 – 413.
    Pictorial representation is a subject of interest to both cognitive science and aesthetics. Standard theories of depiction often draw on vision science, and vision science must give an account of picture perception. I offer a critical overview of standard theories of depiction and argue that none of them is adequate. I then describe ways in which new theories of perception blend elements of representationalism with an emphasis on attention and motor control. Such theories, in effect, limit the reliance on mental (...)
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  • Aesthetics—What? Why? And Wherefore?Kendall Walton - 2007 - Journal of Aesthetics and Art Criticism 65 (2):147–161.
    It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.
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  • Doing Without Concepts.Edouard Machery - 2009 - Oxford University Press.
    Over recent years, the psychology of concepts has been rejuvenated by new work on prototypes, inventive ideas on causal cognition, the development of neo-empiricist theories of concepts, and the inputs of the budding neuropsychology of concepts. But our empirical knowledge about concepts has yet to be organized in a coherent framework. -/- In Doing without Concepts, Edouard Machery argues that the dominant psychological theories of concepts fail to provide such a framework and that drastic conceptual changes are required to make (...)
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  • The Metaphysics of Beauty.Nick Zangwill - 2004 - Mind 113 (449):221-226.
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  • The Paradox Of Suspense.Robert Yanal - 1996 - British Journal of Aesthetics 36 (2):146-158.
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  • The Philosophy of Horror: Or, Paradoxes of the Heart.Noel Carroll - 1990 - Routledge.
    Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...)
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  • Aesthetics and the Sciences of Mind.Greg Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.) - 2014 - Oxford University Press.
    How far should philosophical accounts of the value and interpretation of art be sensitive to the scientific approaches used by psychologists, sociologists, and evolutionary thinkers? A team of experts urge different answers to this question, and explore how empirical inquiry can shed light on problems traditionally regarded as philosophical.
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  • Recreative Minds: Imagination in Philosophy and Psychology.Gregory Currie & Ian Ravenscroft - 2002 - Oxford University Press.
    Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.
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  • Puzzling Over the Imagination: Philosophical Problems, Architectural Solutions.Jonathan M. Weinberg & Aaron Meskin - 2006 - In Shaun Nichols (ed.), The Architecture of the Imagination: New Essays on Pretence, Possibility, and Fiction. Oxford University Press. pp. 175-202.
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  • Does the Paradox of Fiction Exist?Katherine Tullmann & Wesley Buckwalter - 2014 - Erkenntnis 79 (4):779-796.
    Many philosophers have attempted to provide a solution to the paradox of fiction, a triad of sentences that lead to the conclusion that genuine emotional responses to fiction are irrational. We suggest that disagreement over the best response to this paradox stems directly from the formulation of the paradox itself. Our main goal is to show that there is an ambiguity regarding the word ‘exist’ throughout the premises of the paradox. To reveal this ambiguity, we display the diverse existential commitments (...)
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