Jason Leddington
Bucknell University
Despite its enduring popularity, theatrical magic remains all but ignored by art critics, art historians, and philosophers. This is unfortunate, since magic offers a unique and distinctively intellectual aesthetic experience and raises a host of interesting philosophical questions. Thus, this article initiates a philosophical investigation of the experience of magic. Section I dispels two widespread misconceptions about the nature of magic and discusses the sort of depiction it requires. Section II asks, “What cognitive attitude is involved in the experience of magic?” and criticizes three candidate replies; Section III then argues that Tamar Szabó Gendler's notion of “belief-discordant alief” holds the key to a correct answer. Finally, Section IV develops an account of the experience of magic and explores some of its consequences. The result is a philosophically rich view of the experience of magic that opens new avenues for inquiry and is relevant to core issues in contemporary aesthetics.
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DOI 10.1111/jaac.12290
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References found in this work BETA

Alief and Belief.Tamar Szabó Gendler - 2008 - Journal of Philosophy 105 (10):634-663.
On What Is Strictly Speaking True.Charles Travis - 1985 - Canadian Journal of Philosophy 15 (2):187 - 229.

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Citations of this work BETA

Art and Ontography.Simon Weir - 2020 - Open Philosophy 3 (1):400-412.
Race Magic and the Yellow Peril.Meilin Chinn - 2019 - Journal of Aesthetics and Art Criticism 77 (4):423-433.
Sonic Pictures.Jason P. Leddington - forthcoming - Journal of Aesthetics and Art Criticism.
Comic Impossibilities.Jason Leddington - 2020 - Journal of Aesthetics and Art Criticism 78 (4):547-558.

View all 6 citations / Add more citations

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