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Steve Humbert-Droz
University of Geneva
  1.  27
    Lost in Intensity: Is There an Empirical Solution to the Quasi-Emotions Debate?Steve Humbert-Droz, Amanda Ludmilla Garcia, Vanessa Sennwald, Fabrice Teroni, Julien Deonna, David Sander & Florian Cova - 2020 - Aesthetic Investigations 4:460-482.
    Contrary to the emotions we feel in everyday contexts, the emotions we feel for fictional characters do not seem to require a belief in the existence of their object. This observation has given birth to a famous philosophical paradox (the ‘paradox of fiction’), and has led some philosophers to claim that the emotions we feel for fictional characters are not genuine emotions but rather “quasi-emotions”. Since then, the existence of quasi-emotions has been a hotly debated issue. Recently, philosophers and psychologists (...)
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  2.  10
    Art (Entrée académique).Constant Bonard & Steve Humbert-Droz - 2020 - Encyclopédie Philosophique.
    Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...)
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  3. De Gustibus Est Disputandum: An Empirical Investigation of the Folk Concept of Aesthetic Taste.Bonard Constant Charles, Florian Cova & Steve Humbert-Droz - forthcoming - In Jeremy Wyatt, Julia Zakkou & Dan Zeman (eds.), Perspectives on Taste.
    Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...)
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  4.  65
    Les Opérateurs Epistémiques (trans. of Dretske, F. I. (1970), “Epistemic Operators”).Steve Humbert-Droz & François Pellet - 2014 - Repha 8:87-108.
    French translation of Dretske's article "Epistemic Operators", The Journal of Philosophy, 67 (24): 1007-23.
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  5.  61
    Aphantasia and the Decay of Mental Images.Steve Humbert-Droz - 2019 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. Londres, Royaume-Uni: Bloomsbury Academic. pp. 167-174.
    Testimonies about aphantasia are still surprisingly rare, more than a century after Galton. It is therefore difficult to understand how a person devoid of (a kind of) imagination actually thinks. In order to outline "what it is like" to be aphantasic, I will start by compiling two qualitative interviews with aphantasics that I will then compare with other testimonies collected in literature and online. The fact that aphantasia is poorly documented may also explain why few philosophers (with the notable exception (...)
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  6. Margherita Arcangeli, Supposition and the Imaginative Realm. A Philosophical Inquiry, Routledge: New York, 2018, 148 Pp., US$150 (Hardback), ISBN: 978‐1138223042. [REVIEW]Steve Humbert-Droz - 2019 - Wiley: Dialectica 73 (4).
    Dialectica, Volume 73, Issue 4, Page 598-602, December 2019.
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  7.  12
    Margherita Arcangeli, Supposition and the Imaginative Realm. A Philosophical Inquiry, Routledge: New York, 2018, 148 Pp., US$150 , ISBN: 978‐1138223042. [REVIEW]Steve Humbert-Droz - 2019 - Dialectica 73 (4):598-602.
    In her excellent monograph, Margherita Arcangeli offers a defense of supposition as a sui generis kind of imagination. Endorsing a simulationist account of imagination according to which every imaginative attitude simulates/re‐creates a genuine counterpart, she argues against this backdrop that supposition is a re‐creative state of acceptance. Arcangeli's inquiry concentrates on the most recent literature. She starts by critically examining certain putative features of supposition that place them outside of the realm of imagination. She then explores the positive features of (...)
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