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 of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading
Imagination is one of the most distinctive characteristics of human thought. The supreme powers of f...
Imagination will remain a mystery—we will not be able to explain imagination—until we can break it i...
This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading...
It is intuitively plausible that art and imagination are intimately connected. This chapter explores...
This paper surveys historical and recent philosophical discussions of the relations between imaginat...
My intention is to show that, starting from an empiricist philosophy of mind, it is possible to give...
[Pre-peer review draft available to download.] Our imaginative capacities shape the making of images...
The chapter examines the relationships between imaginative episodes and the mental images that commo...
This work presents a new theory of imagination which tries to overcome the overly narrow perpectives...
In The Principles of Art, R. G. Collingwood pursues, on the one hand, a ‘definition’ of art, and, on...
This paper explores how anthropology might engage with the aesthetic imagination. Specifically it as...
Philosophers in the Western tradition have both theorized about imagination and used imagination in ...
This thesis is an attempt to discover and to give an account oi the origins of the (Romantic) idea o...
Where is the area, in which dream and art unite and in which they mingle situated, and, on the contr...
The standard cognitive theory of art claims that art can be insightful while maintaining that imagin...
Imagination is one of the most distinctive characteristics of human thought. The supreme powers of f...
Imagination will remain a mystery—we will not be able to explain imagination—until we can break it i...
This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading...
It is intuitively plausible that art and imagination are intimately connected. This chapter explores...
This paper surveys historical and recent philosophical discussions of the relations between imaginat...
My intention is to show that, starting from an empiricist philosophy of mind, it is possible to give...
[Pre-peer review draft available to download.] Our imaginative capacities shape the making of images...
The chapter examines the relationships between imaginative episodes and the mental images that commo...
This work presents a new theory of imagination which tries to overcome the overly narrow perpectives...
In The Principles of Art, R. G. Collingwood pursues, on the one hand, a ‘definition’ of art, and, on...
This paper explores how anthropology might engage with the aesthetic imagination. Specifically it as...
Philosophers in the Western tradition have both theorized about imagination and used imagination in ...
This thesis is an attempt to discover and to give an account oi the origins of the (Romantic) idea o...
Where is the area, in which dream and art unite and in which they mingle situated, and, on the contr...
The standard cognitive theory of art claims that art can be insightful while maintaining that imagin...
Imagination is one of the most distinctive characteristics of human thought. The supreme powers of f...
Imagination will remain a mystery—we will not be able to explain imagination—until we can break it i...
This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading...