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... Otto Muehl, letter to Erika Stocker, 1961, in Von der Aktionsmakerei zum Aktionismus: Wien 19601965, ed. by Museum Fridericianum, Kassel, Kunstmuseum ... It's not a question of whether it's full of violence or cruelty, as... more
... Otto Muehl, letter to Erika Stocker, 1961, in Von der Aktionsmakerei zum Aktionismus: Wien 19601965, ed. by Museum Fridericianum, Kassel, Kunstmuseum ... It's not a question of whether it's full of violence or cruelty, as another Actionist Hermann Nitsch described his work, it ...
Research Interests: Philosophy and Inquiry
I discuss Roger Scruton's conception of the object of sexual desire, identify a tension in his position, and find it present in his more recent philosophy of religion.
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... April Gornik: The Nature of Painting. Autores: Jonathan Gilmore; Localización: Art in America, ISSN 0004-3214, Nº. 9, 2005 , págs. 152-155. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario.... more
... April Gornik: The Nature of Painting. Autores: Jonathan Gilmore; Localización: Art in America, ISSN 0004-3214, Nº. 9, 2005 , págs. 152-155. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. Mi Dialnet. ...
... Richard Pettibone at Leo Castelli. Autores: Jonathan Gilmore; Localización: Art in America, ISSN 0004-3214, Nº. 6, 2005 , pág. 188. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña.... more
... Richard Pettibone at Leo Castelli. Autores: Jonathan Gilmore; Localización: Art in America, ISSN 0004-3214, Nº. 6, 2005 , pág. 188. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. Mi Dialnet. ...
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It is a commonplace now among art historians that to say, with Ruskin, that an artist had an "innocent eye" was to give the artist an empty compliment. It would have been to say that the artist possessed something no one could... more
It is a commonplace now among art historians that to say, with Ruskin, that an artist had an "innocent eye" was to give the artist an empty compliment. It would have been to say that the artist possessed something no one could possess, and that, if we follow EH Gombrich, the artist was not ...
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... Otto Muehl, letter to Erika Stocker, 1961, in Von der Aktionsmakerei zum Aktionismus: Wien 19601965, ed. by Museum Fridericianum, Kassel, Kunstmuseum ... It's not a question of whether it's full of violence or cruelty, as... more
... Otto Muehl, letter to Erika Stocker, 1961, in Von der Aktionsmakerei zum Aktionismus: Wien 19601965, ed. by Museum Fridericianum, Kassel, Kunstmuseum ... It's not a question of whether it's full of violence or cruelty, as another Actionist Hermann Nitsch described his work, it ...
Research Interests: Philosophy and Inquiry
Research Interests:
... AR Penck at Michael Werner. Autores: Jonathan Gilmore; Localización: Art in America, ISSN 0004-3214, Nº. 6, 2005 , pág. 174. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña.... more
... AR Penck at Michael Werner. Autores: Jonathan Gilmore; Localización: Art in America, ISSN 0004-3214, Nº. 6, 2005 , pág. 174. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. Mi Dialnet. ...
... Pollock & Krasner at Robert Miller; Pollock at Washburn; Pollock & Louis Comfort Tiffany at Tilton. Autores: Jonathan Gilmore; Localización: Art in America, ISSN 0004-3214, Nº. 8, 2006 , págs. 167-168. Fundación Dialnet.... more
... Pollock & Krasner at Robert Miller; Pollock at Washburn; Pollock & Louis Comfort Tiffany at Tilton. Autores: Jonathan Gilmore; Localización: Art in America, ISSN 0004-3214, Nº. 8, 2006 , págs. 167-168. Fundación Dialnet. Acceso de usuarios registrados. ...
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How do our engagements with fictions and other products of the imagination compare to our experiences of the real world? Are the feelings we have about a novel's characters modelled on our thoughts about actual people? If it is wrong to... more
How do our engagements with fictions and other products of the imagination compare to our experiences of the real world? Are the feelings we have about a novel's characters modelled on our thoughts about actual people? If it is wrong to feel pleasure over certain situations in real life, can it nonetheless be right to take pleasure in analogous scenarios represented in a fantasy or film? Should the desires we have for what goes on in a make-believe story cohere with what we want to happen in the actual world? In Apt Imaginings, Gilmore develops a new framework to pursue these questions, marshalling a wide range of research in aesthetics, the science of the emotions, moral philosophy, neuroscience, cognitive psychology, and film and literary theory. Gilmore argues that, while there is a substantial empirical continuity in our feelings across art and life, the norms that govern the appropriateness of those responses across the divide are discontinuous. In this view, the evaluative criteria that determine the fit, correctness, or rationality of our emotions and desires for what is internal to a fiction can be contrary to those that govern our affective attitudes toward analogous things in the real world. In short, it can be right to embrace within a story what one would condemn in real life. The theory Gilmore defends in this volume helps to explain our complex and sometimes conflicted attitudes toward works of the imagination; challenges the popular view that fictions serve to refine our moral sensibilities; and exposes a kind of autonomy of the imagination that can render our responses to art immune to standard real-world epistemic, practical, and affective kinds of criticism.