Parts two and three lay the groundwork for an account of the experience of magic in terms of Tamar Szabó Gendler's notion of “belief-discordant alief.” On this basis, part four presents an account of the experience of magic and connects it to both the Kantian mathematical sublime and Socratic aporia.
Part one dispels two misconceptions about the nature of magic and discusses the special sort of depiction it requires. Thus, the purpose of this paper is to initiate a philosophical investigation of the experience of magic. This longstanding critical inattention is unfortunate, since magic seems to offer a unique and distinctively intellectual aesthetic experience, and reflection on magic raises a host of interesting philosophical and psychological questions. Part V will be incorporated into a separate article (now in progress).*** Despite its enduring popularity, theatrical magic remains all but ignored by art critics, art historians, and philosophers. ***NB: The published version of this paper concludes after Part IV.
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