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Music, Value and the Passions

Mind 109 (434):387-390 (1995)

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  1. Imagining Dinosaurs.Michel-Antoine Xhignesse - forthcoming - Journal of Aesthetics and Art Criticism.
    There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...)
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  • Expressive perception as projective imagining.Paul Noordhof - 2008 - Mind and Language 23 (3):329–358.
    I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...)
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  • Have computation, animatronics, and robotic art anything to say about emotion, compassion, and how to model them? The survivor project.Ephraim Nissan, Ricardo Cassinis & Laura Maria Morelli - 2008 - Pragmatics and Cognition 16 (1):3-36.
    We discuss robotic art, emotion in robotic art, and compassion in the philosophy of art. We discuss a particular animated artwork, survivor, the walking chair, symbolising survivors of landmine blasts, learning to use crutches, and maimed emotionally as well as physically. Its control incorporates mutual relations between very rudimentary representations of distinct emotions. This artwork is intended for sensitising viewers to the horror experienced by those who survive, and those who don't. We can only give a small sample, here, of (...)
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  • Emotional Depth.John M. Monteleone - 2018 - Philosophical Quarterly 68 (273):779-800.
    Some philosophers hold that the depth of an emotion is a question of how embedded it is among the person’s other mental states. That means, the emotion is inter-connected with other states such that its alteration or removal would lead to widespread changes in the mind. This paper argues that it is necessary to distinguish two different concepts of embeddedness: the inter-connections could either be rational or causal. The difference is non-trivial. This paper argues that the rational approach cannot admit (...)
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  • Whimsical desires.Tony Milligan - 2007 - Ratio 20 (3):308–319.
    To desire is to want, but not necessarily to be disposed to do anything. That is to say, desiring does not necessarily involve having any disposition to act. To lend plausibility to this view I appeal to the example of whimsical desires that no action could help us to realise. What may lead us to view certain desires as whimsical is precisely the absence of any possibility of realizing them. While such desires might seem less than full-blooded, I argue that (...)
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