In this entry I will offer a systematic novel taxonomy of our imaginative abilities coherent with standard treatments in cognitive science, philosophy of mind and aesthetics. In particular, I will distinguish between the non-propositional imagination and the propositional imagination, which include several further sub-varieties such as the objectual imagination, imagery, experiential imagination, supposition, make-believe and more.

Seeing aspects is a dominant theme in Wittgenstein's 1940s writings on philosophy of psychology. Interpreters disagree about what Wittgenstein was trying to do in these discussions. I argue that interpreting Wittgenstein's observations about the interrelations between “noticing an aspect” and other psychological concepts as a systematic theory of aspect-seeing diminishes key lessons of Wittgenstein's explorations: these interrelations are enormously complicated and “noticing an aspect” resists neat classification. Further, Wittgenstein invites us to engage in his “placing activity,” and by doing so (...) we are building a skill that is valuable for enabling us to help ourselves when we encounter conceptual difficulties. (shrink)

Imagination has been assigned an important explanatory role in a multitude of philosophical contexts. This paper examines four such contexts: mindreading, pretense, our engagement with fiction, and modal epistemology. Close attention to each of these contexts suggests that the mental activity of imagining is considerably more heterogeneous than previously realized. In short, no single mental activity can do all the explanatory work that has been assigned to imagining.

Howard Gardner's theory of Multiple Intelligences has had a huge influence on school education. But its credentials lack justification, as the first section of this paper shows via a detailed philosophical analysis of how the intelligences are identified. If we want to make sense of the theory, we need to turn from a philosophical to a historical perspective. This is provided in the second section, which explores how the theory came to take shape in the course of Gardner's intellectual development. (...) The third section looks at changes in the theory since its inception in 1983 and at problems with its applications to education. The paper concludes with a response to Gardner's critical comments on the argument to this point. (shrink)

In this paper, I develop an account of appreciation. I argue that appreciation is an epistemic emotion in which the subject grasps the object in an affective way. The “grasping” and “feeling” components implies that in appreciation, we make sense of the object by having cognitive control over it, are motivated to maintain the valuable epistemic state of understanding, and experience the “aha” or “eureka” moment. This account offers a unified account of the many types of appreciation, including the aesthetic, (...) the moral, and the epistemic. In all these cases, appreciation requires some other first-order emotions as prerequisite. (shrink)

In this paper, I examine the role of attention in Kant’s aesthetic theory in the Critique of the Power of Judgment. While broadly Kantian aestheticians have defended the claim that there is a distinct way that we attend to objects in aesthetic experience, Kant himself is not usually acknowledged as offering an account of aesthetic attention. On the basis of Kant’s more general account of attention in other texts and his remarks on attention in the Critique of the Power of (...) Judgment, I reconstruct Kant’s account of aesthetic attention. On this account, aesthetic attention is simultaneously directed at the form of an object and at the judging subject’s own mental states as she attends to the object. In the experience of beauty, we specifically attend to the harmonious relation between the faculties of imagination and understanding. (shrink)

Aesthetics in philosophy of mathematics is too narrowly construed. Beauty is not the only feature in mathematics that is arguably aesthetic. While not the highest aesthetic value, being interesting is a sine qua non for publishability. Of the many ways to be interesting, being explanatory has recently been discussed. The motivational power of what is interesting is important for both directing research and stimulating education. The scientific satisfaction of curiosity and the artistic desire for beautiful results are complementary but both (...) aesthetic. (shrink)

Many experiential properties are naturally understood as dispositions such that e.g. a cake tastes good to you iff you are disposed to get gustatory pleasure when you eat it. Such dispositional analyses, however, face a challenge. It has been widely observed that one cannot properly assert “The cake tastes good to me” unless one has tried it. This acquaintance requirement is puzzling on the dispositional account because it should be possible to be disposed to like the cake even if this (...) disposition has never been manifested. We argue that familiar response strategies on behalf of the dispositionalist fail. These include appeals to conversational implicatures, expressivism, semantic presuppositions and norms of assertion. Against this background, we propose a new analysis in terms of what we call tendencies, where a tendency is a disposition that has been manifested. The acquaintance requirement comes out as an entailment. We point out a hitherto unnoticed parallel to sentences ascribing character traits such as “Hannah is brave,” and extend our tendency-based analysis to this domain. (shrink)

Pictures have always played a prominent role in philosophical speculation about the mind, but the concept of a picture has itself been the object of philosophical scrutiny only intermittently. As a matter of fact, it was studied most intensively in the course of a theological controversy in the Eastern Roman Empire, during the eighth century - which is a sufficient indication of its marginal place in the history of philosophy. Perhaps this is because pictures have never produced in us the (...) theoretical paralysis which Augustine famously associated with time, but have on the contrary generally seemed too unproblematic to deserve much time from philosophers. Even today, after several decades of accumulating theory, philosophers with no stake in the matter are often impervious to its charm. I feel some sympathy for this attitude, because the task of explaining the nature of depiction is, I believe, one which calls for the refinement rather than refutation of our first thoughts about it. But a precise understanding of depiction is both a necessary prolegomenon to a significant part of aesthetics, and a useful prophylactic against confusion in the theory of the imagination. Besides, there is also the pleasure of the chase, which J. L. Austin nonchalantly appealed to many years before the Research Assessment Exercise was inaugurated. (shrink)

What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.

In this article, I defend Lewisian modal realism against objections arising from the possibility of ‘Island Universes’ and other similar cases. The problem comes from Lewis’ claim that possible worlds are spatio-temporally isolated. I suggest a modification of Lewisian modal realism in order to avoid this family of objections. This modification may sound quite radical since it amounts to abandoning the very notion of a possible world, but as radical as it may sound it in fact remains well in the (...) spirit of Lewis’ original view. (shrink)

The practice of attributing aesthetic properties to scientific and philosophical theories is commonplace. Perhaps one of the most famous examples of such an aesthetic judgement about a theory is Quine's in 'On what there is': "Wyman's overpopulated universe is in many ways unlovely. It offends the aesthetic sense of us who have a taste for desert landscapes". Many other philosophers and scientists, before and after Quine, have attributed aesthetic properties to particular theories they are defending or rejecting. One often hears (...) that a view is "elegant", "attractive", "beautiful", or even "sexy". [...] The general claim that aesthetic properties supervene on non-aesthetic properties is a largely debated one. In this paper, I wish to address this issue from an angle which has not been really explored so far: I shall neither concentrate on cases of artefacts nor of natural objects, like the beauty of a painting or the beauty of a sunrise, rather, my main centre of attention will be the somewhat more special, theoretical case of the beauty of philosophical theories (with a focus on metaphysical theories). As we will see, there are some interesting issues concerning claims that attribute aesthetic properties to theories, in part because, even if such claims are commonplace in philosophy and in science, little has been said about the nature of the relevant supervenience basis – that is, about what it is exactly that the beauty of a theory is supposed to supervene on. Moreover, we shall see that aesthetic properties of theories play a crucial role in theory choice and evaluation. Indeed, it seems that the aesthetic properties of a theory can be appealed to in theory evaluation and when it comes to preferring one theory over another. But before we ask ourselves what role the attribution of aesthetic properties to theories can play, I will adress the question how theories come to have their aesthetic properties in the first place. (shrink)

The nature of fantasy has been little discussed, despite its importance in the arts. Its significance is brought out here in relation to the long‐standing debate on the alleged paradox of fiction—that we respond emotionally to characters and events known to be unreal. Examination of the paradox shows it to be ill founded once the nature of fantasy is appreciated. Moreover, a detailed consideration of fantasy shows that it can itself provide a plausible account of our emotional reactions to creative (...) literature, an account that, after a review of some possible objections, is then contrasted with the leading contemporary theories. (shrink)

Abstract:Much of Western speculative metaphysics has subscribed to what has been called “explanatory rationalism,” which holds that there is a reason for everything that is and for the way everything is. Theodicies, or metaphysical attempts to solve the problem of evil, have relied on a special application of this principle of explanatory rationalism, namely, the principle of plenitude, which holds that the evil in the world is a necessary ingredient in the world's overall perfection or degree of reality. This essay (...) argues that the principle of plenitude is aesthetically motivated, and that only in art and perhaps in revealed religion can the demands of explanatory rationalism be satisfied. (shrink)

Alan Simpson; The Usefulness of ‘Aesthetic Education’, Journal of Philosophy of Education, Volume 19, Issue 2, 30 May 2006, Pages 273–280, https://doi.org/10.11.

I defend traditional aesthetics against sociological criticism. I argue that “historicist” approaches are not supported by arguments and are intrinsically implausible. Hence the traditional ahistorical philosophical approach to the judgment of taste is justified. Many Marxist, feminist and postmodernist writers either eliminate aesthetic value or reduce it to their favourite political value. Others say that they merely want to give a historical explanation of the culturally local phenomenon of thinking in terms of the aesthetic. As a preliminary, I point out (...) that the conception of the aesthetic these theorists operate with is a straw man. In particular, Kant would have rejected it. I then point out that the empirical evidence does not support their historicist views. Most sociological theorists adduce no evidence, thinking their view obviously correct. Where evidence is adduced, the evidence has little connection with their general historicist conclusions. Lastly, I put pressure on the historicist view, first by appealing to the enormity of the error attributed to ordinary people, and second by appealing to the inevitability of pragmatic inconsistency by those who assert the view. I conclude that traditional philosophical aesthetics was right to be ahistorical. (shrink)

Starting from the context in which Wittgenstein thinks of the concepts of “seeing-as” and “hearing-as”, the basic relation is clarified between the question of representation, musical understanding, and the theory of musical expressiveness. The points of views of Wollheim, Scruton, Levinson, and Ridley are discussed, in a re-consideration of the notions of hearing and understanding within Wittgenstein’s “last philosophy”.

Scholars who mention the turn to Aristotelian virtue ethics in the Mid-Twentieth Century tend to cite G. E. M. Anscombe’s famous ‘complaint’, and sometimes Alasdair MacIntyre’s After Virtue. It is less usual to write of Roger Scruton. Placed in the context of Bernard Williams and John Casey’s works – at the intersection of moral philosophy and the philosophy of the emotions – Scruton’s theory of the imagination is shown to concern the rationality of moral attitudes. In short, it concerns virtue (...) ethics. Of broader interest, following Scruton’s arguments, his aesthetics may be conceived as concerning stores of moral knowledge; this is by virtue of the sensuous conditioning of the thought-content of moral judgement. The centrality of imitation to Aristotelian ethics, in other words, finds its concomitant in the object of imitation as the artwork. It is my view that Scruton’s work, Art and Imagination (his PhD thesis of 1973), is an attempt to provide a framework for the judgement involved in virtue ethics, concerning both intentionality and object. (shrink)

W. B. Yeats's great celebration of the human imagination, ‘Byzantium’, of which these are the first and last verses, is concerned with the tension, reconciliation and movement between two types of sensibility, the sensual and the spiritual, that of natural life and that of transcendent symbol, in this poem imaged as ‘the fury and the mire of human veins’ and as ‘bird or golden handiwork . . . of changeless metal’. In it, as Richard Ellmann puts it, ‘the teeming images, (...) “that dolphin-torn, that gong-tormented sea”, flood up to the marbles of Byzantium itself, where they are at last brought under control by “the golden smithies of the Emperor”’ – himself, inter alia , an image of poet. (shrink)