I begin this article with an increasingly accepted claim: that emotions lend differential weight to states of affairs, helping us conceptually carve the world and make rational decisions. I then develop a more controversial assertion: that environments have non-subjective emotional qualities, which organize behavior and help us make sense of the world. I defend this from ecological and related embodied standpoints that take properties to be interrelational outcomes. I also build on conceptions of experience as a cultural phenomenon, one that (...) coheres around shared environmental contours and public emotional concerns, introducing normative constraints (or what might be called “world grammars”). Endorsing this outlook suggests an argument for the view that cultural spaces have affectively charged, non-subjective, normative openings and closures. These openings and closures engender selectively permeable barriers which cordon space without physically preventing entry, as seen with decorative half walls and elevation changes. An area with such barriers may look emotionally hostile to, say, the dispirited homeless who are in fact less welcome there. Outcomes like these might be thought of as “political affordances.” These affordances can be regarded as normative openings and closures that implicitly filter, and hence segregate, according to various social divisions. Although registering political affordances requires more than the detection of ambient arrays, the notion retains core Gibsonian ideas: that affordances are values, that these values are linked with how a space can be used, and that the existence and nature of such affordances is not a subjective matter. (shrink)

Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. We (...) want to engage with the musical expression and rely on visual and physical cues. Considering that the ears of today's listeners are used to technologically mediated music, in this paper I explore the unique qualities of musical live performances and examine if our conception allows for new mechatronic inventions, in particular robotic musicians, to participate in this art form. Some of Godlovitch's main thoughts expounded in his work on "musical performance" [11] serve as a reference and starting point for this investigation. His concept of `personalism', which deprives computer-/program-based musical performances from expressive potential and creative accomplishment is an issue that I want to challenge by pointing out new approaches arising from a reective discourse on technology, embodiment and expression. The enquiry conducted illustrates, how in reasoning about machine performers and algorithmic realization of music, we also examine the perceptual, physical and social aspects of human musicianship, reconceptualizing our understanding of a musical live performance. (shrink)

This article focuses on situations and emotional perception. To this end, I start with the Kuleshov effect wherein identical shots of performers manifest different expressions when cut to different contexts. However, I conducted experiments with a twist, using Darth Vader and non-primates, and even here expressions varied with contexts. Building on historically and conceptually linked Gibsonian, Gestalt, phenomenological and pragmatic schools, along with consonant experimental work, I extrapolate these results to defend three interconnected points. First, I argue that while perceiving (...) expression is sometimes about reading minds, it is more squarely about perceiving solicitations or closures for action. Second, I frame expressions as a subcategory of Gibson’s affordances. This includes those showing up through context, in turn suggesting Kuleshov-like scenarios are not mere perceptual tricks. Third, I maintain that situations—with or without other human beings—have action-motivating expressive qualities or what Gestalt theorists called physiognomic characters, following Werner. These likewise emerge through ecological relations, and are very much like affordances and in the world as much as them. With resemblance theories, my account agrees that we perceive expression in the world. However, it indicates a broad range of cases in which expression shows up as consequences of overall situations that solicit or close actions, as opposed to mere resemblance between entities and human expressions. (shrink)

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)

This paper explores early Australasian philosophy in some detail. Two approaches have dominated Western philosophy in Australia: idealism and materialism. Idealism was prevalent between the 1880s and the 1930s, but dissipated thereafter. Idealism in Australia often reflected Kantian themes, but it also reflected the revival of interest in Hegel through the work of ‘absolute idealists’ such as T. H. Green, F. H. Bradley, and Henry Jones. A number of the early New Zealand philosophers were also educated in the idealist tradition (...) and were influential in their communities, but produced relatively little. In Australia, materialism gained prominence through the work of John Anderson, who arrived in Australia in 1927, and continues to be influential. John Anderson had been a student of Henry Jones, who might therefore be said to have influenced both main strands of Australian philosophical thought. (shrink)

The currently standard approach to fiction is to define it in terms of imagination. I have argued elsewhere that no conception of imagining is sufficient to distinguish a response appropriate to fiction as opposed to non-fiction. In her contribution Kathleen Stock seeks to refute this objection by providing a more sophisticated account of the kind of propositional imagining prescribed by so-called ‘fictive utterances’. I argue that although Stock's proposal improves on other theories, it too fails to provide an adequate criterion (...) of fictionality. I conclude by sketching an alternative account according to which fiction is a genre. (shrink)

This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow us (...) to synthesize or reject traditional philosophical differences. (shrink)

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)

This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.

This essay reviews Iain Morley’s The Prehistory of Music, an up-to-date and authoritative overview of recent research on evolution and cognition of musicality from an interdisciplinary viewpoint. Given the diversity of the project explored, integration of evidence from multiple fields is particularly pressing, required for any novel evolutionary account to be persuasive, and for the project’s continued progress. Moreover, Morley convincingly demonstrates that there is much more to understanding musicality than is supposed by some theorists. I outline Morley’s review of (...) the archaeological and ethnographic literature, and then go on to critique his assessment of philosophical and evolutionary theories, offering some alternative perspectives that might better benefit his project. (shrink)

In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.

It is common to distinguish between attributive and predicative goodness. There are good reasons to think that artistic value is a kind of attributive goodness. Surprisingly, however, much debate in philosophical aesthetics has proceeded as though artistic value is a kind of predicative goodness. As I shall argue, recognising that artistic value is attributive goodness has important consequences for a number of debates in aesthetics.

ABSTRACT: Amongst inanimate objects, it is generally accepted that at least some art forms, such as music and painting, are capable of being genuinely expressive of emotion, even though it is difficult to understand exactly how. In contrast, although expressive properties can be attributed to non-artworks, such as natural objects or wine, it has often been claimed that such objects cannot be genuinely expressive. Focussing on wine, I argue that once we understand properly the nature of expressiveness, if we allow (...) that music can be expressive there is no good reason to withold the ability to be genuinely expressive from wine. (shrink)

In this paper, I address the question of how emotional qualities can be attributed to musical timbre, an acoustic feature that has proven challenging to explain using traditional accounts of musical emotions. I begin presenting the notion of musical expressiveness, as it has been conceived by cognitivists to account for the emotional quality of various musical elements like melody and rhythm. However, I also point out some limitations in these accounts, which hinder their ability to fully elucidate the emotional expressiveness (...) of timbre, especially when considering it as a result of non-cognitively mediated processes. Consequently, I explore the link between timbre and atmosphere by reviewing anecdotal sources that have characterized timbre in terms of atmosphere. The goal here is to determine if these characterizations should be seen as merely allusive and metaphoric expressions or if they genuinely reveal essential properties of timbre. To achieve this goal, I delve deeper into the notion of atmosphere, and I show that it shares several key traits with the notion of musical emotions as conceived in the cognitivist’s account. Both musical emotions and atmospheres are affectively charged externalities that are apprehended by the subject without cognitive mediation. Drawing from this insight, I conclude that the notion of atmosphere can serve as a valuable tool in explaining the emotional expressivity of timbre without invoking the resemblance-based mechanisms often found in cognitive accounts of expressiveness. (shrink)

In Sight and Sensibility Dominic Lopes argues that expressiveness in pictures should be analyzed on the model of the “contour” theory of musical expressiveness, according to which an “expression” need not express anything about the inner psychological states of a person. According to his “contour theory of pictorial expression,” expression by scenes and designs requires “no being to whom the expressed emotion is attributable”. However, on this account expression has lost its fundamental raison d’être, that of manifesting somebody’s actual emotional (...) states. By contrast, I argue that successful works of pictorial expression depict the way the world appears to someone when in some emotional state. Moreover, the emotional attitude thus expressed by the work is an important unifying principle for pictures, and hence an important artistic value. (shrink)

How do we become aware of the properties or states that are expressed by gestures, utterances, and facial expressions? This paper argues that expression raises peculiar problems, distinct from those of property perception in general. It argues against some current accounts of awareness of expressed states, before proposing an account which appeals to the notion of empathy. Finally, it situates the proposed account within current discussions of expression in the philosophy of music.

An overview of analytic philosophy of music.

This article assesses the current state of the philosophical debate regarding the expression of emotion in music, or expressive properties of music. It defines the question, explores a few false‐starts and then considers the solution that expressive properties are a matter of a certain ‘way of appearing’ of the music. This solution is associated with Stephen Davies and Jerrold Levinson, whose work is discussed. It is argued that work in this area has reached an impasse, and it is not clear (...) where we should go next. (shrink)

I suggest that emotions are not the primary affective attitude towards music. If we are to explain music’s expressiveness according to the Resemblance Theory, that theory should be extended to include feelings. Because of the lack of intentionality in music and the dearth of universal emotional gestures to explain the subtlety of music’s expressive power, explaining this expressiveness by making recourse to music’s relationships with emotions is bound to face challenges. I will argue that, even though the movements in music (...) associated with musical expressiveness might not necessarily be associated with emotions, they might very well be associated with certain feelings of the movement itself. (shrink)