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This paper outlines the process of verbal communication of emotion as this occurs through the phases of the referential process, including arousal of an emotion schema; detailed and specific descriptions of images and episodes that are exemplars of emotion schemas; and reflection and reorganization, which may include emotion labels and other types of categorical terms. The concepts of emotion schemas and the referential process are defined in the theoretical framework of multiple code theory which includes subsymbolic sensory, visceral and motoric (...) |
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Human communication consists of an intricate combination of verbal and non-verbal signals. We shall see that the verbal aspects of messages are elaborated and supported in a number of ways by non-verbal ones. In order to understand human verbal communication we need to know about these non-verbal components. Non-verbal communication can be studied experimentally as a problem in encoding and decoding; it can also be studied as part of a sequence, using the methods of ethology or of linguistics. We shall (...) |
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My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) |
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The earliest known products of human imagination appear to express a primordial concern and struggle with thoughts of dying and of death and mortality. I argue that the structures and processes of imagination evolved in that struggle, in response to debilitating anxieties and fearful states that would accompany an incipient awareness of mortality. Imagination evolved to find that which would make the nascent apprehension of death more bearable, to engage in a search for alternative perceptions of death: a search that (...) |
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The target article inventories mechanisms underlying musical emotions. We argue that the inventory misses important mechanisms and that its structure would benefit from the distinction between two types of musical emotions. We also argue that the authors' claim that appraisal does not play a crucial role in the causation of musical emotions rests on a narrow conception of appraisal. |
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Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...) |
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Now I may not be an educated man . . . But it seems to me to go against common sense to ask what the poet is ‘trying to say’. The poem isn’t a code for something easily understood. The poem is what he is trying to say. |
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Susanne Langer sees the ‘the public importance of art’ as one of ‘the ultimate questions in a philosophy of art’. Indeed, Langer is often referred to as an authority on the justification of art education and is cited as providing good reasons for incorporating the arts in the curriculum. It is therefore surprising to note, as Elliot Eisner does, that Langer’s theory has had little influence on actual art education. For while many theoreticians in the social sciences and education have (...) |
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Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's (...) |
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Nick Zangwill (2004, 2007) appears to be acquiring the status of repudiator-in-chief of emotion in music. He is invoked in this role by such authors as Kraut (2007, p. 67), Bonds (2014, p. 5), Robinson (2014), Young (2014, pp. vii, 1, 3–4, 151), Davies (2017) and Kania (2017). His ‘manifesto’ paper (2004) was recently reprinted in Lamarque and Olsen (2018, pp. 574–582). This development is unfortunate, because Zangwill, for all his radical-sounding theses, actually argues against views that hardly anyone holds. (...) |
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Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, perhaps more properly as ‘modernist’, (...) |
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Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of music. (...) |
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Human communication consists of an intricate combination of verbal and non-verbal signals. We shall see that the verbal aspects of messages are elaborated and supported in a number of ways by non-verbal ones. In order to understand human verbal communication we need to know about these non-verbal components. Non-verbal communication can be studied experimentally as a problem in encoding and decoding; it can also be studied as part of a sequence, using the methods of ethology or of linguistics. We shall (...) |
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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 (...) |
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Whether music is a catalyst for virtuous or licentious behavior, decadent or sparse thoughts, there is no doubting its importance to human civilization; but what of the sounds of Nature? For the Daoist philosopher Zhuangzi 莊子, the sounds of Nature are the epitome of what humanity calls music. Neither contrived nor laden with predispositions, they reflect the unity of things in Dao 道. Focusing on the xianchi 咸池 story in Chapter 14 of the Zhuangzi, this article argues that the true (...) |
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In order to explain some of the paradoxes and mysteries of the artist's cross cultural experience in Kiribati, he constructed an Artist's Book depicting through visuality, anecdote and reflection, his research process, engaging with current visual perceptions through negotiation with the past. In Kiribati previous encounters with Europeans and Islanders was dominated by English and I Kiribati with significant contributions by French missionaries. Each viewed the other through cultural filters of identity, which were informed by concepts of myth-historical, often heroic (...) |
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While it is widely accepted that music evokes moods, there is disagreement over whether music-induced moods are relevant to the aesthetic appreciation of music as such. The arguments against the aesthetic relevance of music-induced moods are: moods cannot be intentionally directed at the music and music-induced moods are highly subjective experiences and are therefore a kind of mind-wandering. This paper presents a novel account of musical moods that avoids these objections. It is correct to say that a listener’s entire mood (...) |
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Kant’s critical philosophy responds in parallel ways to mysticism and speculative metaphysics. In doing so, he develops the distinction between brooding reason and healthy reason, the former causing excessive attention and abstraction that the latter must contain. Mystics and metaphysicians, according to Kant, exemplify such brooding reason. His regimen for maintaining healthy reason is not simply an operation of rational thought but itself an embodied activity as well, and these two activities intersect in the imagination. Although Kant’s work is often (...) |
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Julia Ward and Ednah Dow Littlehale, lifelong friends, wrote and lectured on many of the same issues, traveled across the country to lend support to causes, and taught together at the Concord School of Philosophy. Despite their close association and mutual efforts on similar issues, I argue that their philosophical principles were essentially different, in particular their approaches to an understanding of God, society, the sexes, art, and science. |
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The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...) |
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This paper examines the processes involved in attempting to capture the subtlest aspects of nature by the scientific method and argues on this basis that nature is fundamentally elusive and may resist grasping by the methods of science. If we wish to come to terms with this resistance, then a shift in the direction of taking direct experience into account may be necessary for science’s future complete development. |
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This essay develops a Kantian theory of sport which addresses: (1) Kant’s categories of aesthetic judgment (2) a comparable analysis applied to athletic volition; (3) aesthetic cognition and experience and athletic volition and experience; (4) ‘free’ and ‘attached’ beauty; (5) Kant’s theory of teleological judgment; (6) the moral concept of a ‘kingdom of ends’ and sportsmanship; (7) the beautiful and the sublime in sport-experience; (8) respect and religious emotion in sport-experience; (9) the Kantian system and philosophical anthropology; and (10) sport (...) |
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The main purpose of the following inquiry is to emphasise the importance of a phenomenon long neglected by the majority of the human sciences, the artefact; each one of us, no matter what age, sex or culture, is in contact with artefacts every moment of our lives yet despite this they have received scant attention. The study begins by outlining a definition of the artefact, highlighting those characteristics which, in combination, ensure its centrality to social life before, through a discussion (...) |
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Koopman’s book revolves around the notion of transition, which he proposes is one of the central ideas of the pragmatist tradition but one which had not previously been fully articulated yet nevertheless shapes the pragmatist attitude in philosophy. Transition, according to Koopman, denotes “those temporal structures and historical shapes in virtue of which we get from here to there”. One of the consequences of transitionalism is the understanding of critique and inquiry as historical pro... |
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Abstract: Forgiveness of wrongdoing in response to public apology and amends making seems, on the face of it, to leave little room for the continued commemoration of wrongdoing. This rests on a misunderstanding of forgiveness, however, and we can explain why there need be no incompatibility between them. To do this, I emphasize the role of what I call nonangry negative moral emotions in constituting memories of wrongdoing. Memories so constituted can persist after forgiveness and have important moral functions, and (...) |
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We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music. |
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Throughout its history the Game was closely allied with music, and usually proceeded according to musical or mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement.… Experts and Masters of the Game freely wove the initial theme into unlimited combinations [p. 30]. |
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While the concept of a community of inquiry based on dialogue is an integral part of philosophy for children, this concept is less prevalent in mathematics and science classes. In these subjects emphasis is usually placed on transmitting factual information as accurately and completely as possible. Children expect the teacher to tell them what the “right” answer to a question is, and teachers expect children to reproduce that answer. There is little opportunity for uncertainty, query and dialog. Discussions are often (...) |
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In this essay, I argue, via a revision of Freud's notions of primary and secondary process, that experiences of resonant form lie at the root of many serious ineffability claims. I suggest further that Western European culture's resistance to the perception of resonant form underlies some of its present crises. |
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Science is one faith and has one great commandment. The faith is simply that man can control his future in his own interest. In the face of the appalling discrepancy between the powers of the natural and the social sciences, a discrepancy that leads to visions of man's liquidation by man, the assertion is nevertheless made that the remedy for the consequences of science is more science. The long record of scientific victories in the past gives some warrant, let us (...) |
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In this essay, I survey the different uses of the concept of the symbol at play in the philosophy of religion. Considering that historically theories of the symbol have frequently had significant religious presuppositions and implications, I suggest that one might expect that the symbol would play a significant role in current research. This is not the case, however, since the very specific metaphysical, linguistic and theological premises that have traditionally informed much theorisation of the symbol tend to be unpopular (...) |
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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 (...) |
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In modern societies, educational philosophy concentrated on concept clarification and the structure of bodies of knowledge, especially science. This modernist project was found wanting, given its connections with ideologies of exploitation, violence and greed. Educational philosophy should, therefore, develop a “new key” for making the role of the aesthetic and ethical in cultural life and education meaningful. In particular, a study of ancient and traditional cultures reveals the centrality of sacred myths and rituals as means for creating coherent cultural patterns (...) |
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This article analyses the concept of ?aesthetic emotion? in John Dewey's Art as experience. The analysis shows that Dewey's line of investigation offers valuable insights as to the role of emotion in experience: it shows emotion as an integral part and structuring force, as a cultural and historical category. However, the notion of aesthetic emotion is characterized by a fundamental ambiguity. There is a conflict between a mechanical and an organic understanding of emotion, a confusion of emotion as structure and (...) |
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Research in animal behavior begins by identifying what animals are doing. In the course of observation, the observer comes to see animals as performing a particular activity. How does this process work? How cn we be certain that behavior is identified correctly? Wittgenstein offers an approach to these questions. looking at the uses of certainly rather than attempting to find rules that guarantee it. Here two stages in research are distinguished: first, watching animals, and second, reporting the results to other (...) |
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Some issues raised by parapsychological phenomena (psi) are examined in the light of their implications for a philosophy of science. It is shown that the kinds of problems psi poses for science vary with the way one conceives of science as well as one's conception of psi. It is suggested that psi may be a product of the fact that all of our scientific concepts are abstractions and therefore oversimplifications. This raises the possibility that our best conceptual technique for dealing (...) |
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This paper provides an overview of the origins, vicissitudes, and abandonment of ‘metapsychology’, the psycho-biological scientific core of the Freudian opus, and introduces the authors’ key revisions. Although couched in the language of metaphor and analogy from 19th century physics, the conceptual foundations of Freud’s theories contained the seeds of a bio-semiotic theory of mind and of human nature in the natural world. Its updated, modernized, version opens the door to an inter-penetrative epistemology leading to universal principles of logical form, (...) |
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As radical feminists seeking to overcome the linguistic oppression of women, Rich and Daly apparently shared the same agenda in the late 1970s; but they approached the problem differently, and their paths have increasingly diverged. Whereas Daly's approach to the repossession of language is code-oriented and totalizing, Rich's approach is open-ended and context-oriented. Rich has therefore addressed more successfully than Daly the problem of language in use. |
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