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  1. added 2018-12-30
    Imaginative Value Sensitive Design: Using Moral Imagination Theory to Inform Responsible Technology Design.Steven Umbrello - manuscript
    Safe-by-Design (SBD) frameworks for the development of emerging technologies have become an ever more popular means by which scholars argue that transformative emerging technologies can safely incorporate human values. One such popular SBD methodology is called Value Sensitive Design (VSD). A central tenet of this design methodology is to investigate stakeholder values and design those values into technologies during early stage research and development (R&D). To accomplish this, the VSD framework mandates that designers consult the philosophical and ethical literature to (...)
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  2. added 2018-12-03
    Niebo gwiaździste nad Królewcem a prawo moralne. Dyskusja Gadamera z estetyką Kanta wokół kwestii doświadczenia piękna i jego odniesienia do etyki.Paweł Dybel - 2018 - Diametros 55:112-131.
    In the article, I engage with H.G.Gadamer’s reading of Kant’s aesthetic theory. Gadamer accused Kant of subjectivizing the aesthetic experience so that it would be reduced to the free play of the cognitive faculties of the subject. Consequently, the ethical dimension of aesthetic experience that played such an important role in the preceding tradition of European humanism has been lost. Yet, this charge of Gadamer is not quite right. The connection between the experience of beauty and ethics has been maintained (...)
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  3. added 2018-10-23
    Imaginative Resistance and Variation.Eric Peterson - forthcoming - British Journal of Aesthetics.
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  4. added 2018-09-07
    Masks and Monsters: On the Transformative Power of Art.Marina Marren - 2018 - Pli: The Warwick Journal of Philosophy 29:102-112.
    Drawing on texts in psychology, philosophy, and literature the paper argues that art avails us of a distance from ourselves. Art has a potential to change our perspective on monstrosity and to make us question our moral categories and presuppositions. The study focuses on a single painting by Paul Gavarni, Two Pierrots Looking into a Box (1852), which I have discovered holds two images in one representation. I turn to Gavarni's work in order to prompt a literal gestalt shift in (...)
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  5. added 2018-09-06
    ‘It’s Just a Story’: Pornography, Desire, and the Ethics of Fictive Imagining.Christopher Bartel & Anna Cremaldi - 2018 - British Journal of Aesthetics 58 (1):37-50.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comIn the popular media, morally problematic content is often defended on the grounds that ‘it’s just a story’—that is, imaginative engagement with morally problematic content amounts merely to entertaining a story, and there is nothing morally wrong with entertaining a story. Against this, some aestheticians have argued that, in fact, there can be something intrinsically (...)
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  6. added 2018-08-15
    Dialectic of Taste.David Michalski - 2015 - New York, NY, USA: Palgrave.
    The Dialectic of Taste examines the aesthetic economy in the context of economic crises. It explains how a new concern for aesthetics, seen in artisan markets, was born out of the ashes of McDonaldization to become a potent force today, capable of both regulating social identity and sparking social change.
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  7. added 2018-08-03
    On the Study of Imaginative Resistance.Andrea Sauchelli - forthcoming - Analytic Philosophy.
    I argue that the current methodology employed to study imaginative resistance should not be used to draw general conclusions about the influence of genre on episodes of imaginative resistance caused by complex works of art. One of the main problems is that the mini stories upon which the current methodology relies are inadequate—mostly because they are artless and ‘flat’. Mini stories cannot generate imaginative experiences structurally similar to the experiences elicited by complex and interesting works of fictional art.
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  8. added 2018-06-23
    Metaphor and Metamorphosis: Paul Ricoeur and Gilles Deleuze on the Emergence of Novelty.Martijn Boven - 2016 - Dissertation, University of Groningen
    This dissertation focuses on the problem of novelty as seen from the perspective of two French philosophers: Paul Ricoeur and Gilles Deleuze. As such, a new interpretation of the works of these two philosophers is developed. I argue that two models can be derived from their works: a model that strives to make tensions productive (based on Ricoeur) and a model that aims to organize encounters between bodies (taken from Deleuze). These models are developed on their own terms without superimposing (...)
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  9. added 2018-05-15
    Ethics and Fictive Imagining.Brandon Cooke - 2014 - Journal of Aesthetics and Art Criticism 72 (3):317-327.
    Sometimes it is wrong to imagine or take pleasure in imagining certain things, and likewise it is sometimes wrong to prompt these things. Some argue that certain fictive imaginings—imaginings of fictional states of affairs—are intrinsically wrong or that taking pleasure in certain fictive imaginings is wrong and so prompting either would also be wrong. These claims sometimes also serve as premises in arguments linking the ethical properties of a fiction to its artistic value. However, even if we grant that it (...)
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  10. added 2018-05-15
    Tragedy.G. Currie - 2010 - Analysis 70 (4):632-638.
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  11. added 2018-05-01
    Consciousness.Anezka Kuzmicova - forthcoming - In Leah Price & Matthew Rubery (eds.), Further Reading. New York: Oxford University Press.
    This chapter revisits three common ideas about how consciousness works when we read fiction. Firstly, I contest the notion that the reading consciousness is a container of sorts, containing a circumscribed amount of textual stimulus. Secondly, I argue against the view that readers abstract their personal concerns away in reading, and that they do so with benefit. Thirdly, I show how the reading consciousness encompasses rather than excludes the physical situation and environment of reading. For each idea revisited, I discuss (...)
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  12. added 2018-04-16
    The Art of Doing Mathematics.Christian Helmut Wenzel - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. Routledge. pp. 313-330.
    Mathematicians often say that their theorems, proofs, and theories can be beautiful. They say mathematics can be like art. They know how to move creatively and freely in their domains. But ordinary people usually cannot do this and do not share this view. They often have unpleasant memories from school and do not have this experience of freedom and creativity in doing mathematics. I myself have been a mathematician, and I wish to highlight some of the creative aspects in doing (...)
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  13. added 2018-03-20
    On Jane Forsey’s Critique of the Sublime.Jennifer A. McMahon - 2017 - In Lars Aagaard-Mogensen (ed.), The Possibility of the Sublime: Aesthetic Exchanges. Newcastle upon Tyne: Cambridge Scholars Publishing. pp. 81-91.
    The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...)
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  14. added 2018-03-04
    The Content-Dependence of Imaginative Resistance.Hanna Kim, Markus Kneer & Michael T. Stuart - forthcoming - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. Bloomsbury.
    An observation of Hume’s has received a lot of attention over the last decade and a half: Although we can standardly imagine the most implausible scenarios, we encounter resistance when imagining propositions at odds with established moral (or perhaps more generally evaluative) convictions. The literature is ripe with ‘solutions’ to this so-called ‘Puzzle of Imaginative Resistance’. Few, however, question the plausibility of the empirical assumption at the heart of the puzzle. In this paper, we explore empirically whether the difficulty we (...)
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  15. added 2018-02-17
    In Praise of Plato's Poetic Imagination.Sonja Tanner - 2010 - Lexington Books.
    This book examines the role Plato accords to imagination in the ancient quarrel between poetry and philosophy. Claiming that the function of imagination evokes a realm of praxis within Plato's dialogues heretofore largely unrecognized, this book offers an interpretation of Plato that challenges the more orthodox view in which poetry and the arts are denigrated, and indeed, seen as eradicable from the dialogues altogether.
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  16. added 2017-12-16
    Irving Singer, Feeling and Imagination and Explorations in Love and Sex. [REVIEW]Julian Friedland - 2003 - Philosophy in Review 23 (1):69-71.
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  17. added 2017-11-18
    Feeling, Emotion and Imagination: In Defence of Collingwood's Expression Theory of Art.Nick Wiltsher - 2018 - British Journal for the History of Philosophy 26 (4):759-781.
    ABSTRACTIn ‘The Principles of Art’, R. G. Collingwood argues that art is the imaginative expression of emotion. So much the worse, then, for Collingwood. The theory seems hopelessly inadequate to the task of capturing art’s extension: of encompassing all the works we generally suppose should be rounded up under the concept. A great number of artworks, and several art forms, have nothing to do with emotion. But it would be surprising were Collingwood philistine enough to think that art is only (...)
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  18. added 2017-11-03
    Imaginative Transportation.Samuel Kampa - 2018 - Australasian Journal of Philosophy 96 (4):683-696.
    Actors, undercover investigators, and readers of fiction sometimes report “losing themselves” in the characters they imitate or read about. They speak of “taking on” or “assuming” the beliefs, thoughts, and feelings of someone else. I offer an account of this strange but familiar phenomenon—what I call imaginative transportation.
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  19. added 2017-09-06
    How Transparent is Disgust?Filippo Contesi - 2017 - European Journal of Philosophy 25 (4):1810-1823.
    According to the so-called transparency thesis, what is disgusting in nature cannot but be disgusting in art. This paper critically discusses the arguments that have been put forward in favour of the transparency thesis, starting with Korsmeyer's (2011) sensory view of disgust. As an alternative, it offers an account of the relationship between disgust and representation that explains, at least in part, whatever truth there is in the transparency thesis. Such an account appeals to a distinction between object-centric and situation-centric (...)
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  20. added 2017-05-15
    Schema und Bild: Kant, Heidegger und das Verhältnis von Repräsentation und Abstraktion.Thomas Khurana - 2013 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 58 (2):203-224.
    The way in which a schema represents something is precisely by abstracting from some of its features; in a schema, representation and abstraction are thus not opposed to each other but rather internally related. The first part of this paper investigates this internal relation by delineating Kant’s concept of schema as the term mediating concept and intuition. Due to its pivotal position, however, the schema tends to collapse either into the conceptual or into the intuitive. The second part of the (...)
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  21. added 2017-04-21
    Thought Experiments in Aesthetics.Paisley Livingston & Mikael Pettersson - 2016 - In K. Brownlee, D. Coady & K. Lippert-Rasmussen (eds.), A Companion to Applied Philosophy. Wiley-Blackwell. pp. 501–513.
    In the burgeoning literature on thought experiments (e.g., Cohen 2005; Freese 1995; Gendler 2000; Häggqvist 1996, 2009; Ierodiakonou and Roux 2011; Sorensen 1992), examples are drawn from almost all areas of philosophy. One exception, however, is aesthetics. There are good reasons why this is so: there are very few interesting theory‐ oriented thought experiments in aesthetics, which is unsurprising since there are few well‐developed theories to test in this field (see Chapter 34, Applied Aesthetics). We argue in this chapter, however, (...)
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  22. added 2017-02-16
    Creative Experience.M. P. Follett - 1924 - Philosophical Review 33 (5):505-510.
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  23. added 2017-02-15
    How to Think Seriously About the Planet: The Case for an Environmental Conservatism, by Roger Scruton.Daniel E. Ritchie - 2014 - Faith and Philosophy 31 (3):357-361.
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  24. added 2017-02-15
    Creative Becoming and the Patiency of Matter.Patrice Haynes - 2014 - Angelaki 19 (1):129-150.
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  25. added 2017-02-15
    Scruton, Roger. The Soul of the World. [REVIEW]Rod Jenks - 2014 - Review of Metaphysics 68 (2):443-445.
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  26. added 2017-02-15
    A New Definition of Creativity.Alan Dorin & Kevin Korb - unknown
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  27. added 2017-02-15
    Artistic Character, Creativity, and the Appreciation of Conceptual Art.Matthew Kieran - 2009 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
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  28. added 2017-02-15
    Willing Creation: The Yin and Yang of the Creative Life.Dean Keith Simonton - 2008 - In John Baer, James C. Kaufman & Roy F. Baumeister (eds.), Are We Free?: Psychology and Free Will. Oup Usa.
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  29. added 2017-02-15
    Reflections on Teaching Playwrighting in the Schools.Jonathan Levy - 1992 - Journal of Aesthetic Education 26 (3):103.
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  30. added 2017-02-15
    Creative Ventures.Paul Weiss - 1992 - Southern Illinois University Press.
    Paul Weiss systematically maps creativity in its many manifestations—creative ventures in the arts, in mathematics and the sciences, in moral development, in social movements, and in government.
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  31. added 2017-02-15
    The Process/Product Dichotomy and Its Implications for Creative Dance.Sheryle Bergmann - 1992 - Journal of Aesthetic Education 26 (2):103.
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  32. added 2017-02-15
    Dewey, Imagination, and Music: A Fugue on Three Subjects.Mary J. Reichling - 1991 - Journal of Aesthetic Education 25 (3):61-78.
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  33. added 2017-02-15
    Criticism: Foundation and Recommendation for Teaching.David K. Holt - 1991 - Journal of Aesthetic Education 25 (2):81.
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  34. added 2017-02-15
    Creativity, Self-Expression, and Dance.Peter J. Arnold - 1986 - Journal of Aesthetic Education 20 (3):49.
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  35. added 2017-02-14
    Psychoanalysis as a Creative Process.Richard G. Abell - forthcoming - Humanitas. Journal of the Institute of Man.
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  36. added 2017-02-14
    The Aesthetics of Imagination in Design.Mads Nygaard Folkmann - 2013 - MIT Press.
    In "The Aesthetics of Imagination in Design," Mads Folkmann investigates design in both material and immaterial terms.
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  37. added 2017-02-14
    Science, Order and Creativity.David Bohm & F. David Peat - 2010 - Routledge.
    One of the foremost scientists and thinkers of our time, David Bohm worked alongside Oppenheimer and Einstein. In Science, Order and Creativity he and physicist F. David Peat propose a return to greater creativity and communication in the sciences. They ask for a renewed emphasis on ideas rather than formulae, on the whole rather than fragments, and on meaning rather than mere mechanics. Tracing the history of science from Aristotle to Einstein, from the Pythagorean theorem to quantum mechanics, the authors (...)
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  38. added 2017-02-14
    Perspectives on Artistic Creativity: A Review of 'The Artful Mind'(Mark Turner. [REVIEW]L. M. Gabora - 2007 - Philosophical Psychology 20 (5):669-674.
  39. added 2017-02-14
    Computer Testing of Operator's Creative Thinking.Ae Kiv, Vg Orischenko, Ld Tavalika & Sue Holmes - 2000 - Science and Society 4 (2):107-109.
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  40. added 2017-02-14
    Margaret A. Boden (Ed.), Dimensions of Creativity.D. W. Salt - 1997 - Journal of Consciousness Studies 4:380-380.
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  41. added 2017-02-14
    Beyond Unity: Religious Experience, Creativity, and Psychology.Kevin Fauteux - 1995 - Journal of Aesthetic Education 29 (2):93.
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  42. added 2017-02-14
    Networks of Enterprise in Creative Scientific Work.Howard E. Gruber - 1989 - In Barry Gholson (ed.), Psychology of Science: Contributions to Metascience. Cambridge University Press. pp. 246--274.
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  43. added 2017-02-14
    Roger Scruton, From Descartes to Wittgenstein: A Short History of Modern Philosophy Reviewed By.Leonard G. Miller - 1983 - Philosophy in Review 3 (6):304-306.
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  44. added 2017-02-13
    Liminal Mind, Creative Consciousness: From the Artists’ Vantage Point.Pam Payne - 2012 - Technoetic Arts 9 (2-3):189-195.
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  45. added 2017-02-13
    Performing the World: Agency, Anticipation and Creativity.Kirsten Hastrup - 2007 - In Elizabeth Hallam & Tim Ingold (eds.), Creativity and Cultural Improvisation. Berg. pp. 44.
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  46. added 2017-02-13
    The Captive Mind and Creative Development1.Syed Hussein Alatas - 2004 - In Partha N. Mukherji & Chandan Sengupta (eds.), Indigeneity and Universality in Social Science: A South Asian Response. Sage Publications.
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  47. added 2017-02-13
    Creativity and its Criteria.V. V. Vidwans, P. R. Bhat & M. S. Malshe - 1997 - Indian Philosophical Quarterly 24 (3):401-412.
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  48. added 2017-02-12
    Interpretation, Creativity and the Limits of a Work of Art.Michal Sedik - 2013 - Filozofia 68 (7):583-594.
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  49. added 2017-02-12
    Artistic Creativity and Human Evolution–Art Theory and the Work of André Leroi-Gourhan.Konstantinos Vassiliou - 2013 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 58 (2):273-287.
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  50. added 2017-02-12
    On'Shock:'The Artistic Imagination of Benjamin and Brecht.Mara Polgovsky Ezcurra - 2012 - Contemporary Aesthetics 10.
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1 — 50 / 542