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  1. Imagination: A Lens, Not a Mirror.Nick Wiltsher - 2019 - Philosophers' Imprint 19.
    The terms "imagination'' and "imaginative'' can be readily applied to a profusion of attitudes, experiences, activities, and further phenomena. The heterogeneity of the things to which they're applied prompts the thoughts that the terms are polysemous, and that there is no single, coherent, fruitful conception of imagination to be had. Nonetheless, much recent work on imagination ascribes implicitly to a univocal way of thinking about imaginative phenomena: the imitation theory, according to which imaginative experiences imitate other experiences. This approach is (...)
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  2. Against the Additive View of Imagination.Nick Wiltsher - 2016 - Australasian Journal of Philosophy 94 (2):266-282.
    According to the additive view of sensory imagination, mental imagery often involves two elements. There is an image-like element, which gives the experiences qualitative phenomenal character akin to that of perception. There is also a non-image element, consisting of something like suppositions about the image's object. This accounts for extra- sensory features of imagined objects and situations: for example, it determines whether an image of a grey horse is an image of Desert Orchid, or of some other grey horse. The (...)
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  3. Art and Imagination.Nick Wiltsher & Aaron Meskin - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. New York: Routledge. pp. 179–191.
    It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular element (...)
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  4. 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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  5. The Aesthetics of Electronic Dance Music, Part II: Dancers, DJs, Ontology and Aesthetics.Nick Wiltsher - 2016 - Philosophy Compass 11 (8):426-436.
    What's aesthetically interesting or significant about electronic dance music? The first answer I consider here is that dancing is significant. Using literature on groove, dance and expression, I sketch an account of club dancing as expressive activity. I next consider the aesthetic achievements of DJs, introducing two conceptions of what they do. These thoughts lead to discussions of dance music's ontology. I suggest that the fundamental work of dance music is the mix and that mixes require their own ontology, distinct (...)
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  6.  49
    The Moving Image.Nick Wiltsher & Aaron Meskin - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 49-69.
    Films typically provide an experience that is very much like the experience of ordinary motion. It is for this reason that they are commonly known as moving pictures or, slightly more broadly, moving images. Our focus in this chapter is on making sense of that experience. We begin our chapter by exploring the centrality of the experience of movement to film. We turn then to various explanations of that experience. Perhaps film images are transparent and allow us to indirectly see (...)
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  7. Imagination, selves and knowledge of self: Pessoa’s dreams in The Book of Disquiet.Nick Wiltsher & Bence Nanay - 2021 - In Amy Kind & Christopher Badura (eds.), Epistemic Uses of Imagination. New York, NY: Routledge. pp. 298-318.
    This chapter explores insights concerning the relations among imagination, imagined selves, and knowledge of one’s own self that are to be found in Fernando Pessoa’s The Book of Disquiet. The insights are explored via close reading of the text and comparison with contemporaries of Pessoa. First, a tempting account of the importance of imagination in The Book of Disquiet is set out. On this reading, Pessoa is immersed in miasmatic boredom, but able to temporarily rise above it through the restorative (...)
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  8. The Aesthetics of Electronic Dance Music, Part I: History, Genre, Scenes, Identity, Blackness.Nick Wiltsher - 2016 - Philosophy Compass 11 (8):415-425.
    Electronic dance music has much about it to interest philosophers. In this article, I explore facets of dance music cultures, using the issue of authenticity as a framing question. The problem of sorting real or authentic dance music from mainstream or commercial clubbing can be treated as a matter of history and genre-definition; as a matter of defining scenes or subcultures; and as a matter of blackness. In each case, electronic dance music, and critical discourse surrounding it, offers fresh illumination (...)
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  9. Imagining novel colours.Nick Wiltsher - 2024 - In Íngrid Vendrell-Ferran & Christiana Werner (eds.), Imagination and Experience: Philosophical Explorations. New York, NY: Routledge. pp. 215-231.
    Some philosophers, most notably David Hume, think that you can imagine colours that you’ve never seen before. Other philosophers, among them David Lewis, L.A. Paul, and Hume again, think that you can’t imagine sensory qualities that lie outwith your past experience. An easy way to reconcile these views is to say that you can imagine colours and other qualities sufficiently similar to those you’ve experienced before: a missing shade of blue, but not totally novel properties. Hence the widespread intuition that (...)
     
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  10.  38
    Lonely Arts: The Status of Aesthetics as A Sub‐Discipline.Nick Wiltsher - 2017 - Metaphilosophy 48 (5):798-812.
    This article offers five things: first, a description of the current status of aesthetics as a sub-discipline of philosophy, showing that it's currently not regarded as part of the field's core; second, a case history asserting that the particular interests and approaches of aestheticians active in the twenty years or so after 1945 started trends that have defined the sub-discipline ever since; third, a diagnosis arguing that this definition, which involves a narrow focus on certain questions about art, is responsible (...)
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  11.  48
    Dominic Gregory, Showing, Sensing, and Seeming. Reviewed by Nick Wiltsher. [REVIEW]Nick Wiltsher - 2015 - Philosophy in Review 35 (3):143-145.
    Review of Dominic Gregory's "Showing, Sensing, and Seeming".
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  12.  44
    Review of Perception and Knowledge: A Phenomenological Account and Perception: Essays After Frege. [REVIEW]Nick Wiltsher - 2015 - Philosophical Quarterly 65 (260):596-600.
    Review of Walter Hopp's "Perception and Knowledge" and Charles Travis' "Perception".
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  13.  23
    What is Fiction For? Literary Humanism Restored. [REVIEW]Nick Wiltsher - 2018 - Philosophical Quarterly 68 (272):654-657.
    Review of Harrison, "What is Fiction For?", and Miller, "Communities in Fiction".
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