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Profile: Paisley Livingston (Lingnan University, Hong Kong)
  1. Paisley Livingston (2005). Art and Intention: A Philosophical Study. Oxford University Press.
    In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...)
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  2.  9
    Paisley Nathan Livingston & Kelly Trogdon, Artwork Completion : A Response to Gover.
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  3.  70
    Berys Nigel Gaut & Paisley Livingston (eds.) (2003). The Creation of Art: New Essays in Philosophical Aesthetics. Cambridge University Press.
    Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this new collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas (...)
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  4.  49
    Kelly Trogdon & Paisley Livingston (2015). Artwork Completion: A Response to Gover. Journal of Aesthetics and Art Criticism 73 (4):460-462.
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  5. Paisley Livingston (2003). Nested Art. Journal of Aesthetics and Art Criticism 61 (3):233–246.
    Explores the artistic metarepresentation of nested art. Nested artistic structure; Contrast between artistic nesting and metafiction; Definition of nested art.
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  6.  44
    Paisley Livingston (2003). On an Apparent Truism in Aesthetics. British Journal of Aesthetics 43 (3):260-278.
    It has often been claimed that adequate aesthetic judgements must be grounded in the appreciator's first-hand experience of the item judged. Yet this apparent truism is misleading if adequate aesthetic judgements can instead be based on descriptions of the item or on acquaintance with some surrogate for it. In a survey of responses to such challenges to the apparent truism, I identify several contentions presented in its favour, including stipulative definitions of ‘aesthetic judgement’, assertions about conceptual gaps between determinate aesthetic (...)
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  7.  40
    Paisley Livingston (1999). Counting Fragments, and Frenhofer's Paradox. British Journal of Aesthetics 39 (1):14-23.
    It is quite common to draw a distinction between complete and unfinished works of art. For example, it is uncontroversial to think that Vermeer had actually completed View of Delft before inept restorers added layers of coloured varnish to give the picture an antique quality, and there is very good evidence to support the related claim that the artist had not finished the work before he effected several pentimenti, including the painting over of a figure in the foreground on the (...)
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  8. Paisley Livingston & Andrea Sauchelli (2011). Philosophical Perspectives on Fictional Characters. New Literary History 42 (2):337-360.
    This paper takes up a series of basic philosophical questions about the nature and existence of fictional characters. We begin with realist approaches that hinge on the thesis that at least some claims about fictional characters can be right or wrong because they refer to something that exists, such as abstract objects. Irrealist approaches deny such realist postulations and hold instead that fictional characters are a figment of the human imagination. A third family of approaches, based on work by Alexius (...)
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  9.  12
    Paisley Livingston, Authorship.
    What is authorship? How are answers to that question related to ideas aboutthe understanding, interpretation, or appreciation of literary works? In what follows I provide a selective survey of the voluminous literature on thesedivisive questions, offer criticisms of some influential theories, and present an alternative.
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  10.  36
    Kelly Trogdon & Paisley Livingston (2014). The Complete Work. Journal of Aesthetics and Art Criticism 72 (3):225-233.
    What is it for a work of art to be complete? In this article, we argue that an artwork is complete just in case the artist has acquired a completion disposition with respect to her work—a disposition grounded in certain cognitive mechanisms to refrain from making significant changes to the work. We begin by explaining why the complete/incomplete distinction with respect to artworks is both practically and philosophically significant. Then we consider and reject two approaches to artwork completion. Finally, we (...)
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  11.  49
    Paisley Livingston (2006). Theses on Cinema as Philosophy. Journal of Aesthetics and Art Criticism 64 (1):11–18.
    The article explores the link between motion pictures and philosophy, citing film's contribution to philosophy, and the illustrative and heuristic roles of films. The philosophical contributions of films may be examined in the films "Vredens Dag," or "Day of Wrath," where filmmaker, Carl Theodor Dreyer used various specifically cinematic means to express ideas pertaining to ethical and epistemic issues, while "The Seventh Seal," provides some ideas about religion.
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  12.  3
    Kelly Trogdon & Paisley Nathan Livingston, The Complete Work.
    What is it for a work of art to be complete? In this article, we argue that an artwork is complete just in case the artist has acquired a completion disposition with respect to her work - a disposition grounded in certain cognitive mechanisms to refrain from making significant changes to the work. We begin by explaining why the complete/ incomplete distinction with respect to artworks is both practically and philosophically significant. Then we consider and reject two approaches to artwork (...)
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  13.  85
    Paisley Livingston (2010). Teaching & Learning Guide For: Cinema as Philosophy. Philosophy Compass 5 (4):359-362.
    The idea that films can be philosophical, or in some sense ‘do’ philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The Matrix, make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important observation (...)
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  14.  21
    Paisley Livingston (2012). On Cinematic Genius: Ontology and Appreciation. Royal Institute of Philosophy Supplement 71:85-104.
    is often associated with the idea that artistic creativity is entirely a matter of an involuntary sort of inspiration visited upon the individual artist. [1] My aim in referring to cinematic genius is not, however, to defend that dubious thesis, but to direct attention to the remarkable artistic achievements that some film-makers, working individually or in collaborative teams, have managed to bring about in their intentional and often painstaking creation of cinematic works. Genius, as I understand it, is the exceptional (...)
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  15. Paisley Livingston (1988). Literary Knowledge: Humanistic Inquiry and the Philosophy of Science. Cornell University Press.
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  16.  6
    Paisley Livingston (2015). Bernard Bolzano: On the Concept of the Beautiful - A Philosophical Essay. Estetika: The Central European Journal of Aesthetics 52 (2):203-266.
    An intorduction to an English translation of Bernad Bolzano´s On the Concept of the Beautiful. A neglected gem in the history of aesthetics, Bolzano’s essay on beauty is best understood when read alongside his other writings and philosophical sources. This introduction is designed to contribute to such a reading. In Part I, I identify and discuss three salient ways in which Bolzano’s account can be misunderstood. As a lack of familiarity with Bolzano’s background assumptions is one source of these misunderstandings, (...)
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  17.  67
    Paisley Livingston & Carl R. Plantinga (eds.) (2008). The Routledge Companion to Philosophy and Film. Routledge.
    The Routledge Companion to Philosophy and Film is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film.
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  18.  54
    Paisley Livingston (2011). On Authorship and Collaboration. Journal of Aesthetics and Art Criticism 69 (2):221-225.
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  19.  48
    Paisley Livingston, History of the Ontology of Art. Stanford Encyclopedia of Philosophy.
    First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.
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  20.  41
    Paisley Livingston (2011). Creativity and Art: Three Roads to Surprise by Boden, Margaret A. Journal of Aesthetics and Art Criticism 69 (4):423-425.
    [Book review article for Creativity and Art: Three Roads to Surprise by Boden, Margaret A, no abstract is available.].
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  21. Paisley Livingston (2005). Art and Intention: A Philosophical Study. Oxford University Press Uk.
    Do the artist's intentions have anything to do with the making and appreciation of works of art? In Art and Intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the (...)
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  22. Paisley Livingston (2001). Narrative. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge
     
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  23.  54
    Paisley Livingston (2008). Recent Work on Cinema as Philosophy. Philosophy Compass 3 (4):590-603.
    Although the cinematic medium can be used in philosophically valuable ways, bold contentions about how films 'do philosophy' in an independent, innovative and exclusively cinematic manner are highly problematic. Philosophers' interpretations of the stories conveyed in cinematic fictions do not actually support such bold claims about film's independent philosophical value; nor do they offer adequate appreciations of the films' artistic value. Different kinds of interpretations having different goals and conditions of success should be kept in view if we are to (...)
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  24. Paisley Livingston & Alfred Mele (1997). Evaluating Emotional Responses to Fiction. In Mette Hjort & Sue Laver (eds.), Emotion and the Arts.
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  25. Paisley Livingston (2005). Intention in Art. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. OUP Oxford
     
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  26. Paisley Livingston (1989). The Ways of Desire: New Essays in Philosophical Psychology on the Concept of Wanting J. MARKS. [REVIEW] Philosophical Psychology 2 (1):125.
     
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  27.  40
    Paisley Livingston (2008). Authorship Redux: On Some Recent and Not-so-Recent Work in Literary Theory. Philosophy and Literature 32 (1):pp. 191-197.
    Did Roland Barthes, Michel Foucault, Jacques Derrida, or other "poststructuralist" theorists writing in the wake of May '68 come up with any good ideas about authorship and related topics in the philosophy of literature? The three volumes under review have a common point of departure in that broad question, but offer a number of contrasting responses to it. In what follows I describe and assess some of the various perspectives on offer in these 700 or so pages. The short answer (...)
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  28.  11
    Paisley Livingston (2002). Rationality and Emotion. SATS 3 (2):7-24.
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  29.  9
    Paisley Livingston (2013). Du Bos' Paradox. British Journal of Aesthetics 53 (4):393-406.
    What is now generally known as the paradox of art and negative affect was identified as a paradox by the Abbé Jean-Baptiste Du Bos in 1719. In his attempt to explain how people can admire and enjoy representational works that ‘afflict’ them, Du Bos claims that such representations give rise to ‘artificial’ emotions, provide a pleasurable relief from boredom, and offer us epistemic, artistic, and moral rewards. The paper delineates Du Bos’ proposal, considers the question of Du Bos’ originality, and (...)
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  30.  9
    Paisley Livingston (2008). Solid Objects, Solid Objections : On Virginia Woolf and Philosophy. In Garry Hagberg (ed.), Art and Ethical Criticism. Blackwell Pub. 123--143.
    This chapter contains sections titled: “Solid Objects” and Its Interpretations Towards an Alternative Interpretation “Solid Objects” as a reductio ad absurdum of One Kind of Aesthetic Theory Rapture does not Suffice.
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  31.  32
    Paisley Livingston (2004). C. I. Lewis and the Outlines of Aesthetic Experience. British Journal of Aesthetics 44 (4):378-392.
    The current essay describes aspects of C. I. Lewis’s rarely cited contributions to aesthetics, focusing primarily on the conception of aesthetic experience developed in An Analysis of Knowledge and Valuation. Lewis characterized aesthetic value as a proper subset of inherent value, which he understood as the power to occasion intrinsically valued experiences. He distinguished aesthetic experiences from experiences more generally in terms of eight conditions. Roughly, he proposed that aesthetic experiences have a highly positive, preponderantly intrinsic value realized through contemplation, (...)
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  32.  25
    Paisley Livingston (2009). Narrativity and Knowledge. Journal of Aesthetics and Art Criticism 67 (1):25-36.
    The ever-expanding literature on narrative reveals a striking divergence of claims about the epistemic valence of narrative. One such claim is the oftstated idea that narratives or stories generate both “hot” and “cold” epistemic irrationality. A familiar, rival claim is that narrative has an exclusive capacity to embody or convey important types of knowledge. Such contrasting contentions are not typically presented as statements about the accidents or effects of particular narratives; the ambition, rather, has been to identify a strong link (...)
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  33.  4
    Paisley Livingston (1993). Le dilemme de Bratman : problèmes de la rationalité dynamique. Philosophiques 20 (1):47-67.
    Cet article propose une reconstruction de la théorie de la rationalité dynamique esquissée par Michael Bratman dans Intention, Plans, and Practical Reason. Evaluer la rationalité de l'agent, dit Bratman, ce n'est pas simplement évaluer les raisons d'agir qu'avait l'agent au moment de sa décision. Il faut se demander non seulement si l'agent était rationnel lorsqu'il a formé son intention d'agir, mais aussi s'il l'était encore en gardant ou en abandonnant cette même intention. Il s'agit d'une perspective interne dans la mesure (...)
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  34.  24
    Paisley Livingston (1994). What is Mimetic Desire? Philosophical Psychology 7 (3):291 – 305.
    This essay provides a conceptual analysis and reconstruction of the notion of mimetic desire, first proposed in Girard (1961). The basic idea behind the idea of mimetic desire is that imitation can play a key role in human motivational processes. Yet mimetic desire is distinguished from related notions such as social modelling and imitation. In episodes of mimetic desire, the process in which the imitative agent's desires are formed is oriented by a particular species of belief about the model or (...)
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  35.  5
    Paisley Livingston (1991). T. S. Eliot and the Philosophy of Criticism, by Richard Shusterman. Philosophy and Phenomenological Research 51 (2):459-462.
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  36.  6
    Paisley Livingston (2014). Bolzano on Beauty. British Journal of Aesthetics 54 (3):269-284.
    This paper sets forth Bolzano’s little-known 1843 account of beauty. Bolzano accepted the thesis that beauty is what rewards contemplation with pleasure. The originality of his proposal lies in his claim that the source of this pleasure is a special kind of cognitive process, namely, the formation of an adequate concept of the object’s attributes through the successful exercise of the observer’s proficiency at obscure and confused cognition. To appreciate this proposal we must understand how Bolzano explicated a number of (...)
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  37.  3
    Paisley Livingston (1996). Arguing Over Intentions. Revue Internationale de Philosophie 50 (198):615-633.
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  38. Paisley Livingston (1999). Cinematic Authorship. In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. OUP Oxford
     
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  39.  3
    Paisley Livingston (2000). Søren Kjørup. Kunstens Filosofi: En Indføring I Œstetik. Roskilde: Roskilde Universitets Forlag, 2000, 213 Pp. [REVIEW] SATS 1 (2).
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  40.  19
    Paisley Livingston (2006). Utile Et Dulce: A Response to Noël Carroll. British Journal of Aesthetics 46 (3):274-281.
    l Carroll's criticisms of my essay on C. I. Lewis's conception of aesthetic experience, I discuss reasons given in support of axiological accounts of aesthetic experience, including Lewis's contentions about the intrinsic valence of all experiences and his emphasis on the interests motivating philosophical classifications of experience. I also respond to Carroll's remarks about a possible explanatory requirement on a conception of aesthetic experience and the idea that artists have aesthetic experiences as they make a work of art.
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  41.  5
    Paisley Nathan Livingston (2011). Discussion: On Authorship and Collaboration. Journal of Aesthetics and Art Criticism 69 (2):217-220.
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  42.  4
    Paisley Livingston (2005). L'ontologie et la valeur artistique. Philosophiques 32 (1):224-229.
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  43.  1
    Paisley Livingston (2015). The Critical Imagination, by James Grant. Oxford: Oxford University Press, 2013, Xii + 192pp. ISBN: 978-0-19-966179-4 Hb £32. [REVIEW] European Journal of Philosophy 23:e13-e16.
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  44.  1
    Paisley Livingston (2010). Authorial Intention and the Varieties of Intentionalism. In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell
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  45.  1
    Paisley Livingston (2013). Cinema and the Artificial Passions: A Conversation with the Abbé Du Bos. Revista Portuguesa de Filosofia 69 (3-4):419-430.
    Resumo Na entrevista ficcional que se segue, as ideias de Abbé Jean-Baptiste Du Bos sobre as artes de representação serão aplicadas a aspectos relevantes do cinema. Du Bos argumenta que, normalmente, as obras de ficção cinematográfica são projectadas para dar origem a “paixões artificiais”, que têm a função de fornecer alívio ao tédio, sem as consequências negativas que muitas actividades alternativas têm. Também será considerada a questão, se os filmes têm um significado filosófico. O resultado é uma perspectiva desconhecida, do (...)
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  46.  1
    Alfred R. Mele & Paisley Livingston (1992). Intention and Literature. Stanford French Review 16:173-196.
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  47.  2
    Alfred R. Mele & Paisley Livingston (1992). Intentions and Interpretations. MLN 107:931-949.
    Even if everything is up for grabs in philosophy, some things are very difficult to doubt. It is hard to believe, for example, that no one ever acts intentionally. Even the most powerful arguments for the unreality of intentional action could do no more, we believe, than place one in roughly the position in which pre-Aristotelian Greeks found themselves when presented with one of Zeno's arguments that nothing can move from any given point A to any other point B. One (...)
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  48.  7
    Paisley Livingston (1996). From Work to Work. Philosophy and Literature 20 (2):436-454.
    Is it legitimate to interpret and evaluate works in terms of their place within the writer's Oeuvres complètes? Is the notion of the life-work, and of relations between works and the life-work to which they belong, theoretically uninteresting, or worse, unjustifiable? The publication of a beautiful, five-volume edition of Roland Barthes's Oeuvres complètes is a good thing, but if we were to rely on this theorist's meta-hermeneutical dicta alone, it would be hard to say why. Barthes and other advocates of (...)
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  49.  1
    Berys Gaut & Paisley Livingston (2005). The Creation of Art. Philosophical Review 114 (1):139-141.
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  50.  5
    Paisley Livingston (2008). When a Work Is Finished: A Response to Darren Hudson Hick. Journal of Aesthetics and Art Criticism 66 (4):393-395.
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