On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

I present an argument for the existence of nonconceptual representational content. The argument is compatible with McDowell's defence of conceptualism against those arguments for nonconceptual content that draw upon claims about the fine‐grainedness of experience. I present a case for nonconceptual content that concentrates on the idea that experience can possess representational content that cannot perform the function of conceptual content, namely figure in the subject's reasons for belief and action. This sort of argument for nonconceptual content is best achieved (...) with examples from auditory perception, especially our perception of music. (shrink)

In this paper I show how the way experience presents things to us can be treated without attributing a representational content to experience. The basic claim that experience can present us with more things than the range of things available to us in thought is neutral with respect to the choice between a content account of experience and a naïve content-free account. I show how Meyer's theory of expectations in accounting for our experience of music supports the naïve account. Expectations (...) provide an account of the conditions that enable things to be salient in experience as targets for attention. Expectations do not provide a content to experience. (shrink)

Philosophers of mind have recently sought to establish a theoret- ical use for nonconceptual content. Although there is disagreement about what nonconceptual content is supposed to be, this much is clear. A state with nonconceptual content is mental. Hence, while one may deny that refrigerators and messy rooms have conceptual capacities, their states, as physical and not mental, do not have nonconceptual content. A state with nonconceptual content is also intentional, which is to say that it represents a feature of (...) the world for a subject. It may be tempting to think of qualitative states as having nonconceptual content since they can be experienced by indi- viduals independently of their possession of the requisite concepts, e.g. someone could experience pains, itches or tingles without possessing the concept pain, itch or tingle. But on such a view, one would have to assume that qualitative states are representational since mental states cannot be candidates for nonconceptuality unless they have intentional properties.2. (shrink)

The starting point of the following considerations is a case study concerning the discovery of Halley's comet and the theoretical description of its path. It is shown that the set of objects involved in that system and the time interval during which their paths are observed are determined in a theory dependent way – thereby making use of the very theory later used for that system's theoretical description. Metatheoretical consequences this fact has with respect to the structuralist view of empirical (...) theories are discussed in detail. German Den Ausgangspunkt der folgenden Überlegungen bildet eine Fallstudie, die der Entdeckung und theoretischen Beschreibung des Halleyschen Kometen gewidmet ist. Es wird gezeigt, dass bei diesem System die Menge der involvierten Objekte und die Zeitintervalle, über die sich die Beobachtung der Bahnen dieser Objekte erstreckt, in theorieabhängiger Weise bestimmt werden – und zwar in Abhängigkeit von genau derjenigen Theorie, die anschließend zur theoretischen Beschreibung des Systems eingesetzt wird. Metatheoretische Konsequenzen, die sich aus diesem Umstand insbesondere für das strukturalistische Theorienkonzept ergeben, werden im Detail analysiert. (shrink)

Disagreeing with Jerrold Levinson's claim that being conscious of broad-span musical form is not essential to understanding music, I will argue that our awareness of musical architecture is significant to achieve comprehension. I will show that the experiential model is not incompatible with the analytic model. My main goal is to show that these two models can be reconciled through the identification of a broader notion of understanding. After accomplishing this reconciliation by means of my new conception, I will close (...) the paper by discussing some reasons to accept an enhancing notion of musical understanding that includes levels and degrees of understanding. /// En desacuerdo con la afirmación de Jerrold Levinson: que ser consciente de la forma musical a gran escala no es esencial para comprender la música, sostendré que nuestra conciencia de la estructura musical es significante para alcanzar comprensión. Mostraré que el modelo experiencial no es incompatible con el modelo analítico y que ambos pueden ser reconciliados mediante una noción de comprensión más amplia. Después de llevar a cabo está reconciliación mediante la nueva concepción que propongo, concluiré discutiendo algunas razones para aceptar una noción de comprensión musical enriquecida que incluye niveles y grados de comprensión. (shrink)

I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with (...) our muscles’. This paper attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivy’s ‘enhanced formalism’ as a philosophical foil. I then look at how the animate body shapes musical experience. (shrink)

This study examines the philosophical question of how it is possible to appreciate music aesthetically as an expressive art form. First it examines a number of general theories that seek to make sense of expressiveness as a characteristic of music that can be considered relevant to our aesthetic appreciation of the latter. These include accounts that focus on resemblances between music and human behaviour or human feelings, on music's powers of emotional arousal, and on various ways in which music may (...) be imaginatively construed by listeners. It argues that none of these are entirely satisfactory. Then it proposes an alternative account, focusing on what is involved when our appreciation of music as an expressive art is informed by our awareness of it as something that is expressively interpreted in performance. It is claimed that this offers the basis for a better understanding of at least some aspects of expressiveness in music and its relevance to aesthetic appreciation. (shrink)

The central claim of this thesis is that concepts, the components from which cognitively significant truth evaluable content (thought) is composed, are unstructured entities an account of whose individuation makes no essential reference to other concepts in the possession of the thinking subject or to any particular means by which the reference of the concept is identified by the thinking subject. This position is called Conceptual Atomism and contrasts with Inferential Role Semantics, according to which concepts are individuated by their (...) inferential roles or their conditions of warranted application. The structure of the argument is as follows. Firstly, a principle called the Transparency Principle is developed. This places constraints on the individuation of concepts across differing contexts. The Transparency Principle is then used to show that Inferential Role Semantics is false because it cannot provide a satisfactory account of cognitive dynamics; that is, of the conditions under which a concept is retained through changes in the epistemic state of the subject over a period of time. A version of Conceptual Atomism is then defended and it is shown that this theory yields the correct individuation of concepts. According to this theory the concepts of an individual subject are individuated in terms of referential episodes, episodes of ongoing reference to an object or property during which it is diachronically transparent to the subject that the same thing is being referred to. The more general notion of a referential practice is then used to account for the sharing of concepts by more than one person. Finally, a novel account of the thoughts expressed using indexical terms is defended in order to show that indexicals present no counterexample to Conceptual Atomism. This account of indexical thoughts is of some consequence in its own right. (shrink)