78 found
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  1. The complete work.Kelly Trogdon & Paisley Nathan Livingston - 2014 - Journal of Aesthetics and Art Criticism 72 (3):225-233.
    Defense of a psychological account of what it is for an artwork to be complete.
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  2. On an apparent truism in aesthetics.Paisley Nathan Livingston - 2003 - British Journal of Aesthetics 43 (3):260-278.
    It has often been claimed that adequate aesthetic judgements must be grounded in the appreciator's first-hand experience of the item judged. Yet this apparent truism is misleading if adequate aesthetic judgements can instead be based on descriptions of the item or on acquaintance with some surrogate for it. In a survey of responses to such challenges to the apparent truism, I identify several contentions presented in its favour, including stipulative definitions of ‘aesthetic judgement’, assertions about conceptual gaps between determinate aesthetic (...)
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  3.  35
    Art and Intention.Paisley Nathan Livingston - 2005 - Tijdschrift Voor Filosofie 68 (2):414-415.
    In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...)
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  4.  23
    Art and Intention: A Philosophical Study.Paisley Nathan Livingston - 2005 - Journal of Aesthetics and Art Criticism 65 (3):299-305.
    In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...)
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  5. Artwork completion: a response to Gover.Kelly Trogdon & Paisley Nathan Livingston - 2015 - Journal of Aesthetics and Art Criticism 73 (4):460-462.
    Response to Gover (2015) on Trogdon and Livingston (2015) on artwork completion.
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  6.  83
    Artistic Collaboration and the Completion of Works of Art.Paisley Nathan Livingston & Carol Archer - 2010 - British Journal of Aesthetics 50 (4):439-455.
    We present an analysis of work completion couched in terms of an effective completion decision identified by its characteristic contents and functions. In our proposal, the artist's completion decision can take a number of distinct forms, including a procedural variety referred to as an ‘extended completion decision’. In the second part of this essay, we address ourselves to the question of whether collaborative art-making projects stand as counterexamples to the proposed analysis of work completion.
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  7.  77
    Counting fragments, and Frenhofer’s paradox.Paisley Nathan Livingston - 1999 - British Journal of Aesthetics 39 (1):14-23.
    It is quite common to draw a distinction between complete and unfinished works of art. For example, it is uncontroversial to think that Vermeer had actually completed View of Delft before inept restorers added layers of coloured varnish to give the picture an antique quality, and there is very good evidence to support the related claim that the artist had not finished the work before he effected several pentimenti, including the painting over of a figure in the foreground on the (...)
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  8.  52
    Intentionalism in aesthetics.Paisley Nathan Livingston - unknown
    Intentionalism in aesthetics is, quite generally, the thesis that the artist's or artists' intentions have a decisive role in the creation of a work of art, and that knowledge of such intentions is a necessary component of at least some adequate interpretive and evaluative claims. In this paper I develop and defend this thesis. I begin with a discussion of some anti-intentionalist arguments. Surveying a range of intentionalist responses to them, I briefly introduce and criticize a fictionalist version of intentionalism (...)
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  9.  24
    Counting fragments, and Frenhofer’s paradox.Paisley Nathan Livingston - unknown
    It is quite common to draw a distinction between complete and unfinished works of art. For example, it is uncontroversial to think that Vermeer had actually completed View of Delft before inept restorers added layers of coloured varnish to give the picture an antique quality, and there is very good evidence to support the related claim that the artist had not finished the work before he effected several pentimenti, including the painting over of a figure in the foreground on the (...)
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  10.  57
    Narrativity and Knowledge.Paisley Nathan Livingston - 2009 - Journal of Aesthetics and Art Criticism 67 (1):25-36.
    The ever-expanding literature on narrative reveals a striking divergence of claims about the epistemic valence of narrative. One such claim is the oftstated idea that narratives or stories generate both “hot” and “cold” epistemic irrationality. A familiar, rival claim is that narrative has an exclusive capacity to embody or convey important types of knowledge. Such contrasting contentions are not typically presented as statements about the accidents or effects of particular narratives; the ambition, rather, has been to identify a strong link (...)
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  11. On Authorship and Collaboration.Paisley Nathan Livingston - 2011 - Journal of Aesthetics and Art Criticism 69 (2):221-225.
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  12.  25
    History of the ontology of art.Paisley Nathan Livingston - unknown
    Questions central to the ontology of art include the following: what sort of things are works of art? Do all works of art belong to any one basic ontological category? Do all or only some works have multiple instances? Do works have parts or constituents, and if so, what is their relation to the work as a whole? How are particular works of art individuated? Are they created or discovered? Can they be destroyed? Explicit and extensive treatments of these topics (...)
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  13.  22
    Discussion paper : when a work is finished : a response to Darren Hudson Hick.Paisley Nathan Livingston - unknown
    [Discussion article, no abstract is available].
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  14. History of the Ontology of Art.Paisley Nathan Livingston - 2011 - Stanford Encyclopedia of Philosophy.
    First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.
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  15.  30
    Bolzano on Beauty.Paisley Nathan Livingston - 2014 - British Journal of Aesthetics 54 (3):269-284.
    This paper sets forth Bolzano’s little-known 1843 account of beauty. Bolzano accepted the thesis that beauty is what rewards contemplation with pleasure. The originality of his proposal lies in his claim that the source of this pleasure is a special kind of cognitive process, namely, the formation of an adequate concept of the object’s attributes through the successful exercise of the observer’s proficiency at obscure and confused cognition. To appreciate this proposal we must understand how Bolzano explicated a number of (...)
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  16.  33
    Bolzano on Art.Paisley Nathan Livingston - 2016 - British Journal of Aesthetics 56 (4):333-345.
    In his little-known essay published posthumously in 1849, Über die Eintheilung der schönen Künste, Bernard Bolzano proposes an explication of the concept of beautiful art as well as a classification of these arts. Bolzano’s divisions allowed him not only to provide a principled and comprehensive classification of actual, well-established arts, but also to anticipate kinds of beautiful art that would not exist or be widely recognized until decades after his death, such as moving pictures, abstract paintings, and what he called (...)
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  17. Nested art.Paisley Nathan Livingston - 2003 - Journal of Aesthetics and Art Criticism 61 (3):233–246.
    Explores the artistic metarepresentation of nested art. Nested artistic structure; Contrast between artistic nesting and metafiction; Definition of nested art.
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  18.  64
    C. I. Lewis and the outlines of aesthetic experience.Paisley Nathan Livingston - 2004 - British Journal of Aesthetics 44 (4):378-392.
    The current essay describes aspects of C. I. Lewis’s rarely cited contributions to aesthetics, focusing primarily on the conception of aesthetic experience developed in An Analysis of Knowledge and Valuation. Lewis characterized aesthetic value as a proper subset of inherent value, which he understood as the power to occasion intrinsically valued experiences. He distinguished aesthetic experiences from experiences more generally in terms of eight conditions. Roughly, he proposed that aesthetic experiences have a highly positive, preponderantly intrinsic value realized through contemplation, (...)
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  19.  16
    C.I. Lewis and the outlines of aesthetic experience.Paisley Nathan Livingston - unknown
    The current essay describes aspects of C. I. Lewis’s rarely cited contributions to aesthetics, focusing primarily on the conception of aesthetic experience developed in An Analysis of Knowledge and Valuation. Lewis characterized aesthetic value as a proper subset of inherent value, which he understood as the power to occasion intrinsically valued experiences. He distinguished aesthetic experiences from experiences more generally in terms of eight conditions. Roughly, he proposed that aesthetic experiences have a highly positive, preponderantly intrinsic value realized through contemplation, (...)
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  20. Philosophical Perspectives on Fictional Characters.Paisley Nathan Livingston & Andrea Sauchelli - 2011 - New Literary History 42 (2):337-360.
    This paper takes up a series of basic philosophical questions about the nature and existence of fictional characters. We begin with realist approaches that hinge on the thesis that at least some claims about fictional characters can be right or wrong because they refer to something that exists, such as abstract objects. Irrealist approaches deny such realist postulations and hold instead that fictional characters are a figment of the human imagination. A third family of approaches, based on work by Alexius (...)
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  21.  61
    Du Bos' Paradox.Paisley Nathan Livingston - 2013 - British Journal of Aesthetics 53 (4):393-406.
    What is now generally known as the paradox of art and negative affect was identified as a paradox by the Abbé Jean-Baptiste Du Bos in 1719. In his attempt to explain how people can admire and enjoy representational works that ‘afflict’ them, Du Bos claims that such representations give rise to ‘artificial’ emotions, provide a pleasurable relief from boredom, and offer us epistemic, artistic, and moral rewards. The paper delineates Du Bos’ proposal, considers the question of Du Bos’ originality, and (...)
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  22.  37
    What's the Story?Paisley Nathan Livingston - 1993 - Substance 22 (2/3):98.
    People often ask each other “what happens” in a novel or film, and they are inclined to think that some answers are better than others. Some claims about what happens in a story are deemed inaccurate or false, while others are the object of a fairly widespread consensus. The fact that a statement about a narrative discourse is deemed accurate does not mean that it will or should be accepted as an adequate statement about the story told in the discourse. (...)
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  23.  15
    Intentions and Interpretations.Alfred R. Mele & Paisley Nathan Livingston - 1992 - MLN 107 (5):931-949.
    Even if everything is up for grabs in philosophy, some things are very difficult to doubt. It is hard to believe, for example, that no one ever acts intentionally. Even the most powerful arguments for the unreality of intentional action could do no more, we believe, than place one in roughly the position in which pre-Aristotelian Greeks found themselves when presented with one of Zeno's arguments that nothing can move from any given point A to any other point B. One (...)
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  24.  36
    On the appreciation of cinematic adaptations.Paisley Nathan Livingston - unknown
    This article explores basic constraints on the nature and appreciation of cinematic adaptations. An adaptation, it is argued, is a work that has been intentionally based on a source work and that faithfully and overtly imitates many of this source's characteristic features, while diverging from it in other respects. Comparisons between an adaptation and its source are essential to the appreciation of adaptations as such. In spite of many adaptation theorists' claims to the contrary, some of the comparisons essential to (...)
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  25.  5
    Literary aesthetics and the aims of criticism.Paisley Nathan Livingston - unknown
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  26. Models of desire : René Girard and the psychology of mimesis.Paisley Nathan Livingston - unknown
    To some, Rene Girard is best known for his views on sacred myth and ritual. To others, he is the eminent structuralist critic who offers challenging readings of major literary works. Still others know him for his analyses of the Bible. Central to all aspects of Girard's work is his theory of mimesis, a basic hypothesis about the structures of human motivation, Yet nowhere in his writings does Girard offer a systematic presentation of the mimetic theory. In fact, key terminology (...)
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  27.  20
    Arguing over intentions.Paisley Nathan Livingston - 1996 - Revue Internationale de Philosophie 50 (198):615-633.
  28.  8
    A response to Michael Sprinker.Paisley Nathan Livingston - unknown
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  29.  8
    A response to Michael Sprinker.Paisley Nathan Livingston - unknown
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  30.  6
    Artistic self-reflexivity in Strindberg and Bergman.Paisley Nathan Livingston - unknown
    In an essay first published in 1959, Roland Barthes declared that modern literature had become “a mask pointing to itself ”.1 Barthes described this self-reflexivity as an anxious, even tragic condition, a tortured process in which literature divides itself into the two logically distinct, yet inter-related levels of object-language and meta-language. Asking itself continually the single, self-absorbing question of its own identity, literature becomes a meta-language and thereby ceases to be an object-language capable of depicting or describing anything other than (...)
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  31.  36
    Bernard Bolzano: On the Concept of the Beautiful - A Philosophical Essay.Paisley Nathan Livingston - 2015 - Estetika: The European Journal of Aesthetics 52 (2):203-266.
    An intorduction to an English translation of Bernad Bolzano´s On the Concept of the Beautiful. A neglected gem in the history of aesthetics, Bolzano’s essay on beauty is best understood when read alongside his other writings and philosophical sources. This introduction is designed to contribute to such a reading. In Part I, I identify and discuss three salient ways in which Bolzano’s account can be misunderstood. As a lack of familiarity with Bolzano’s background assumptions is one source of these misunderstandings, (...)
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  32.  2
    Beyond literary knowledge.Paisley Nathan Livingston - unknown
  33.  17
    Book symposium on : Seeing fictions in film : the epistemology of movies, by George M. Wilson.Paisley Nathan Livingston - unknown
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  34.  7
    Creativity.Paisley Nathan Livingston - unknown
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  35.  85
    Creativity and Art: Three Roads to Surprise by boden, margaret a.Paisley Nathan Livingston - 2011 - Journal of Aesthetics and Art Criticism 69 (4):423-425.
    [Book review article for Creativity and Art: Three Roads to Surprise by Boden, Margaret A, no abstract is available.].
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  36.  27
    Creativity and Art: Three Roads to Surprise by boden, margaret a.Paisley Nathan Livingston - unknown
    [Book review article for Creativity and Art: Three Roads to Surprise by Boden, Margaret A, no abstract is available.].
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  37.  28
    Cinema and the Artificial Passions: a Conversation with the Abbé Du Bos.Paisley Nathan Livingston - 2013 - Revista Portuguesa de Filosofia 69 (3-4):419-430.
    Resumo Na entrevista ficcional que se segue, as ideias de Abbé Jean-Baptiste Du Bos sobre as artes de representação serão aplicadas a aspectos relevantes do cinema. Du Bos argumenta que, normalmente, as obras de ficção cinematográfica são projectadas para dar origem a “paixões artificiais”, que têm a função de fornecer alívio ao tédio, sem as consequências negativas que muitas actividades alternativas têm. Também será considerada a questão, se os filmes têm um significado filosófico. O resultado é uma perspectiva desconhecida, do (...)
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  38.  9
    Cinema and the artificial passions : a conversation with the Abbé Du Bos.Paisley Nathan Livingston - unknown
    In the following fictional interview, the Abbé Jean-Baptiste Du Bos’ ideas about the representational arts are applied to relevant aspects of the cinema. Du Bos argues that normally works of cinematic fiction are designed to give rise to ‘artificial passions’ that have the function of providing relief from boredom without the negative consequences that many alternative pursuits would have. Du Bos’ solution to the paradox of negative affect and his position on Aristotle’s doctrine of catharsis are also set forth in (...)
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  39.  1
    Coherence, discourse.Paisley Nathan Livingston - unknown
    What is a discourse? What makes a discourse coherent or incoherent? Investigation into these difficult questions has yielded so many sophisticated proposals that a short, comprehensive survey is well out of reach.
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  40.  61
    Conversational implicature.Paisley Nathan Livingston - unknown
    The British philosopher Herbert Paul Grice observed that the total significance of an utterance embraces not only “what is said” but what is implied. His term of art for the latter was “implicature,” and he identified conversational implicature as an important type of implicit meaning or signification.
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  41.  12
    Communicative intention.Paisley Nathan Livingston - unknown
    Late twentieth-century discussion of the nature of communicative intention was dominated by the theories of British philosopher Herbert Paul Grice. Grice initially argued that the primary intended effect of an indicative utterance was to get the hearer to believe the proposition expressed; an essential component of this communicative intention was the intention to have this effect be achieved through the hearer's recognition of that intention. He eventually acknowledged that there were counterexamples to this analysis and subsequently proposed that the primary (...)
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  42.  7
    Coherence, logical.Paisley Nathan Livingston - unknown
    Logicians generally employ coherence and consistency as synonyms naming the absence of contradictions in a group of SENTENCES, propositions, or beliefs, where a contradiction is the conjunction of a proposition and its negation. In metaphysical terms, logical incoherence or contradiction is the impossible instantiation of a property and some other, incompatible property, as in "the circle was square." Epistemically, a contradiction is an irrational belief in both a proposition and its denial.
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  43.  25
    Cooperative principle.Paisley Nathan Livingston - unknown
    Introduced by the British philosopher Herbert Paul Grice, the cooperative principle and related maxims are part of his theory of CONVERSATIONAL IMPLICATURE.
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  44.  5
    Comic treatment : Molière and the farce of medicine.Paisley Nathan Livingston - unknown
    When Comedy, Music and Ballet step forward at the end of L'Amour medecin, the audience learns that in Moliere's theater the farcical passage from sickness to health is much more than a theme. Claiming to have a real therapeutic value, the three arts ask to be recognized as the grands medecins, and present themselves as an alternative to a dubious and rather mercenary medical profession.
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  45. Contribution to a book forum on Athenes kammer.Paisley Nathan Livingston - 2001 - SATS 2 (1):166-168.
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  46.  1
    Disciplining film : code and specificity.Paisley Nathan Livingston - unknown
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  47. Discussion: On Authorship and Collaboration.Paisley Nathan Livingston - 2011 - Journal of Aesthetics and Art Criticism 69 (2):217-220.
     
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  48.  7
    Decision theory and the philosophy of action.Paisley Nathan Livingston - unknown
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  49.  8
    Film and the new psychology.Paisley Nathan Livingston - unknown
    This paper identifies and critiques some of the interdisciplinary strategies adopted in recent trends in cinema studies. Prevalent psychological assumptions and normative claims are examined, and some alternative approaches are proposed. Typical theses about narrative in the cinema provide a particular point of focus.
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  50.  12
    Fiction, truth in.Paisley Nathan Livingston - unknown
    Consider Thomas Hardy's 1895 novel, Jude the Obscure. It is true in the fiction that in spite of his humble origins, Jude Fawley aspires to a life of scholarship. It is also true in the fiction that the stonecutter sends letters to five academics expressing his desire to study at Christminster University. The only answer he receives is from T. Tetuphenay, the master of Biblioll College, who curtly advises him to abandon his scholarly ambitions. It is true in the fiction (...)
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