In a recent paper, Peacocke (2001) continues an ongoing debate with McDowell and others, providing renewed arguments for the view that perceptual experiences and some other mental states have a particular kind of content, nonconceptual content. In this article I want to object to one of the arguments he provides. This is not because I side with McDowell in the ongoing debate about nonconceptual content; on the contrary, given the way I understand it, my views are closer to Peacocke’s, and (...) have been strongly influenced by him. It is just that I am not persuaded by the particular argument I will be questioning here. (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)

Philosophers often state that the persistence of objects in vision is experienced differently than the persistence of sounds in audition. This difference is expressed by using metaphors from the metaphysical endurantism/perdurantism debate. For instance, it is claimed that only sounds are perceived as “temporally extended”. The paper investigates whether it is justified to characterize visually experienced objects and auditorily experienced sounds as different types of entities: endurants and perdurants respectively. This issue is analyzed from the perspective of major specifications of (...) the endurance/perdurance distinction connected, inter alia, with the notions of temporal parts and temporal localization. It is argued that it is unjustified to characterize visually experienced objects and auditorily experienced sounds as different types of entities in respect of how they persist. On the other hand, the apparent difference in the way of persisting can be explained by the presence of contingent differences between typical visual and auditory experiences. (shrink)

This article takes as its starting-point that a viable account of concept acquisition must be ontogenetically sound, and analyses in detail two alternative accounts of concept acquisition, one conceptualist and the other non-conceptualist, concluding that the conceptualist account is to be preferred.

Abstract The paper considers the success of enactive realism about perception; the theory that perceivers gain direct access to the mind-independent physical world through their exercise of sensorimotor skills and understanding. I argue that while it is plausible that the possession of some forms of knowledge, conceptual or practical, may enable perceptual contact with the environment, the role of sensorimotor mastery is not as pervasive as the enactive realist proposes. Non-veridical perception, furthermore, cannot be captured adequately by enactivist resources under (...) a disjunctivist framework. (shrink)

Arguments for attributing non-conceptual content to experience have predominantly been motivated by aspects of the visual perception of empirical properties. In this article, I pursue a different strategy, arguing that a specific class of affective-evaluative experiences have non-conceptual content. The examples drawn on are affective-evaluative experiences of first exposure, in which the subject has a felt valenced intentional attitude towards evaluative properties of the object of their experience, but lacks any powers of conceptual discrimination regarding those evaluative properties. I also (...) show that by accepting this thesis we can explain relevant features of evaluative understanding. (shrink)

Arguments for attributing non-conceptual content to experience have predominantly been motivated by aspects of the visual perception of empirical properties. In this article, I pursue a different strategy, arguing that a specific class of affective-evaluative experiences have non-conceptual content. The examples drawn on are affective-evaluative experiences of first exposure, in which the subject has a felt valenced intentional attitude towards evaluative properties of the object of their experience, but lacks any powers of conceptual discrimination regarding those evaluative properties. I also (...) show that by accepting this thesis we can explain relevant features of evaluative understanding. (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)

This essay provides an overview of the ways in which contemporary philosophers have tried to make sense of ineffability as encountered in aesthetic contexts. Section 1 sets up the problem of aesthetic ineffability by putting it into historical perspective. Section 2 specifies the kinds of questions that may be raised with regard to aesthetic ineffability, as well as the kinds of answer each one of those questions would require. Section 3 investigates arguments that seek to locate aesthetic ineffability within the (...) object of aesthetic experiences, i.e. within aesthetic content. Section 4 discusses arguments that seek to locate aesthetic ineffability within the subject of aesthetic experience. (shrink)