Metaphorical statements surprise us as literal falsehoods, but the interpretation reveals a special motive for the figurative use of the language. Donald Davidson objects to nonliteral meaning: “to suppose a metaphor can be effective only by conveying a coded message is like thinking a joke or a dream makes some statement which a clever interpreter can restate in plain prose.” Taking this remark as my starting point I analyze interpretative strategies for metaphors, jokes, riddles and counterfactual conditionals – all of (...) them involve an initial incongruity and most of them require a certain blending of two different domains. I suggest that the ability to interpret metaphors is based on our ability to apprehend a special cognitive content associated with metaphors. (shrink)

Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The chief (...) problem is contagion. Sometimes, listeners perceive music as expressing some emotion and this elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotions as experiences of values. This article mostly revolves around the critical presentation of the philosophical solutions to this problem in light of recent developments in emotion theory and affective science. It also highlights practical issues, particularly the role of musical emotions in well-being and health, by tackling the paradox of sad music, i.e., the question of why people enjoy sad music. It thus bridges an important gap between theoretical and real-life issues as well as between philosophical and empirical investigations on affective responses to music. (shrink)

Cross-domain descriptions are descriptions of features pertaining to one domain in terms of vocabulary primarily associated with another domain. Notably, we routinely describe psychological features in terms of the sensory domain and vice versa. Sorrow is said to be ‘bitter’ and fear ‘cold’. Music can be described as ‘happy’, ‘sad’, ‘mournful’, and so on. Such descriptions are rife in both everyday discourse and literary writings. What is it about psychological features that invites descriptions in sensory terms and what is it (...) about the sensory that invites descriptions in terms of the psychological? Drawing on the literature on polysemy, this paper sheds light on cross-domain descriptions pertaining to the sensory and the psychological domains. (shrink)

Some think politics and art should not mix. The problem with this view is that politics and art were always entwined. Human experience is structured politically, even if much of it is not. Here, I illustrate this with a series of artistic examples that take us from work songs in a Mississippi 1940s forced labour camp to a desolate dead forest landscape in a former Krasnoyarsk gulag, evocative of a Paul Nash World War I painting. Powerful artworks help us to (...) come to grips with human experience, more than merely “expressing emotion”. I treat songs as representations, looking for a way their political significance is part of their aesthetic value. To do this, I defend James Young’s (2001) concept of “illustrative representation” as bridging the gap between formalism and contextualism. But instead of Young’s “Wollheimian” (resemblance between experiences) approach to how such representation works I draw on Kulvicki’s (2020) notion of “syntactic parts”, combining it with Carroll’s (2016) concept of form as the “ensemble of artistic choices”, and Black’s (1954-55) frame-and-focus model of meaning in metaphor. Hopefully, in the end I will have clarified the ways in which (some) songs are both politically and aesthetically meaningful. (shrink)

This thesis is set out as a collection of self-standing essays. Throughout these essays, I try to illuminate a number of controversies surrounding the way in which delusions are formed, and relatedly, their nature and epistemic standing. In Chapter 2, after an introductory chapter, I flesh out a new ‘endorsement’ approach to the Capgras delusion, the main idea being that the delusion is formed by endorsing the content of a metaphorical-perceptual state in which a loved one is represented metaphorically as (...) an imposter. In Chapter 3, I take issue with the idea, prevalent in the literature, that Bayesian accounts of inference in delusions are best characterised as versions of ‘explanationism’. Taking one such influential account as a test case, I argue that it is no more or less compatible with the endorsement alternative, which says delusions are acquired non-inferentially from experience. In Chapter 4, I examine a recent critique of predictive processing theories of delusions, according to which such theories suffer two limitations: they fail to explain why an agent believes something delusional as opposed to nothing at all or something else; they fail to explain how delusional hypotheses are generated in the first place. I suggest ways in which these concerns might be addressed. In Chapter 5, I consider how the Spinozan theory of belief fixation can improve the prospects of doxasticism about delusions. Doxasticism has been criticised on the grounds that delusions typically do not abide by rational standards which we expect beliefs to conform to. If belief fixation is Spinozan, I argue, these deviations from rationality are not just compatible with, but supportive of, their status as beliefs. In Chapter 6, I ask whether misidentification delusions formed via endorsement processes have any measure of perceptual justification. To give the best chance of getting a ‘yes’ answer, I address the question from the perspective of perceptual dogmatism, as this appears the best option if we are to grant at least defeasible justifiedness to MDs. I argue that, even so, MDs are completely unjustified. (shrink)

Philosophy Compass, Volume 16, Issue 9, September 2021.

Kant’s concern for the universal validity of aesthetic judgment turns on its providing a needed bridge between our understanding of the world as governed by mechanical laws and our ability freely to realize our true humanity. That obliges us to find beauty in nature that is expressive of our ethical and moral values. It shapes the way we should understand aesthetic judgment itself.

There is evidence indicating that the Capgras delusion is grounded in some kind of anomalous experience. According to the endorsement model, the content of the delusion is already encoded in the Capgras subject's experience, and the delusion is formed simply by endorsing that content as veridical. Elisabeth Pacherie and Sam Wilkinson have in different ways attempted to articulate a comprehensive defence of this strategy, but here I argue that the endorsement model cannot be defended along the lines envisioned by either (...) of them. I then offer a more promising way of spelling out the model, according to which the anomalous experience implicated in Capgras is metaphorical in character. (shrink)

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead (...) of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory. (shrink)

Strictly speaking this is not an essay whose sole subject is music. For what I have to say here can be extrapolated to any other art that possesses the kinds of aesthetic properties that I am referring to, in music, as the ‘pure musical parameters’. But I shall not attempt such an extrapolation here, and leave it to the reader. So for all intents and purposes, this is an essay on music , more particularly, absolute music, music alone, without text, (...) title, program, dramatic setting, or any other extra-musical baggage. (shrink)