Comments on a session organized by the William James Society at the 2010 APA. Talks included: Paul J. Croce (Stetson), Presidential Address: “The Predisciplinary James.” Ramón del Castillo (Madrid), “The Comic Mind of William James;” Loren Goldman (Chicago), “The Ideological James: Radical Appropriations of a Liberal Philosoper;” and Emma Sutton (Wellcome Institute), “James and the Politics of Psychotherapy.”.

This paper addresses two issues: the controversy over pragmatism in environmental philosophy, and the habitual exclusion of William James's work from serious examination. Addressing critiques of pragmatic naturalism from Max Horkheimer, Eugene Hargrove and Holmes Rolston, I argue that their criticisms misfire, primarily due to skewed perception derived from mis-interpretative projections of views to which pragmatism is not committed. I conclude that the critics' major concerns are largely groundless, but that greater emphasis on pragmatism's experiential aspect would clarify this.

Aesthetic judgment has often been characterized as a sensuous cognitively unmediated engagement in sensory items whether visual, auditory, haptic, olfactory or gustatory. However, new art forms challenge this assumption. At the very least, new art forms provide evidence of intention which triggers a search for meaning in the perceiver. Perceived order excites the ascription of intention. The ascription of intention employs background knowledge and experience, or in other words, implicates the perceiver’s conceptual framework. In our response to art of every (...) description we witness the incorrigible tendency in humans to construct meaningful narratives to account for events. Such meaningful narratives always implicitly involve the ascription of intention, even when the agent of the intention is not explicitly acknowledged or even clearly conceived. This principle of intention-in-order may seem incompatible with another truism which is that art is a source of novel ideas and essentially a critique of prevailing values and norms including conceptual schemes. I argue on the contrary that the human impulse to read intention in order is a precondition of art’s critical edge. Creativity is possible even though there is no raw perceptual data to which we have conscious access. That is, there are no sensory items, unmediated by the concepts we have internalized through our interaction with our communities, to which we have conscious access. (shrink)