The article presents Hanslick’s aesthetic formalism as the starting point of the contemporary aesthetics of music. His book, written in the 19th century, is considered contemporary because it still proves to be influential and fruitful in the contemporary theoretical circles, especially in the modern analytic aesthetics of music, where it is widely cited and discussed. The article positions Hanslick’s book in relation to his nearest predecessors Kant and Herbart, and to the neighbouring area where the formalistic view appeared, namely in (...) Fidler’s visual formalism in fine arts. It is shown that by being the first piece of writing to attempt to systematically and comprehensively determine the essence and the content of music, and the criteria for evaluation of musical worth, Hanslick’s book sets the foundation for a rigorous examination of the aesthetics of music, and also breaks off with the widely ingrained preconceptions of music, which were in themselves an obstacle to establishing the aesthetics of music as a scientific discipline. (shrink)

The Platonic view that art is incapable of providing us with knowledge is sufficiently widely held as to merit a serious attempt at refutation. Once it is acknowledged that there are alternative forms of knowledge other than propositional, then it is possible to establish the truth of the claim that the knowledge which art affords has a value on a par with that provided by other disciplines. Art, it is argued, has a unique potential to provide imaginative insights by reference (...) to which we may understand what it is like to experience and to feel, in ways very different from those with which we may be familiar. It is shown to be instrumental in enabling us to refine our moral concepts as well as in determining what is salient from the moral point of view. As a powerful tool in the education of the emotions, artworks have the power to increase our moral sensitivity and to sharpen our perception of what is required of us inways that are otherwise unobtainable. (shrink)

It's often hypothesized that the structure of mental representation is map-like rather than language-like. The possibility arises as a counterexample to the argument from the best explanation of productivity and systematicity to the language of thought hypothesis—the hypothesis that mental structure is compositional and recursive. In this paper, I argue that the analogy with maps does not undermine the argument, because maps and language have the same kind of compositional and recursive structure.

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”.

This article assesses the current state of the philosophical debate regarding the expression of emotion in music, or expressive properties of music. It defines the question, explores a few false‐starts and then considers the solution that expressive properties are a matter of a certain ‘way of appearing’ of the music. This solution is associated with Stephen Davies and Jerrold Levinson, whose work is discussed. It is argued that work in this area has reached an impasse, and it is not clear (...) where we should go next. (shrink)

This paper discusses the viability of claims of mathematical beauty, asking whether mathematical beauty, if indeed there is such a thing, should be conceived of as a sub-variety of the more commonplace kinds of beauty: natural, artistic and human beauty; or, rather, as a substantive variety in its own right. If the latter, then, per the argument, it does not show itself in perceptual awareness – because perceptual presence is what characterises the commonplace kinds of beauty, and mathematical beauty is (...) not among these. I conclude that the reference to mathematical beauty merely expresses the awe in the mathematician about the intricate complexities and simplicity of certain proofs, theorems or mathematical “objects.”. (shrink)

Just as it’s possible to understand novel sentences without having heard them before, it’s possible to understand novel pictures without having seen them before. But these possibilities are often supposed to have totally different explanations: whereas the ability to understand novel sentences is supposed to be explained by tacit knowledge of a compositional theory of meaning for their language, the ability to understand novel pictures is supposed to be explained differently. In this paper I argue against this disanalogy: insofar as (...) the ability to understand novel sentences is explained by tacit knowledge of a compositional theory, I argue, so is the ability to understand novel pictures. (shrink)

David Carr argues that the intelligibility of spiritual development as an educational activity is dependent upon there being a framework of propositions that relates to spiritual experience and that there is a methodology for establishing their truth. These propositions and the accompanying methodology need to be constructed along the lines of a traditional but re-worked form of religious education. Michael Hand argues to the contrary that there can be no methodology for the evaluation of the truth claims in relation to (...) 'spiritual'propositions since they invariably psychologically, if not logically, involve reference to a transcendental being and are therefore seen as substantially matters of faith. Since the presentation of faith-based propositional knowledge is inappropriate to the secular school, the only route for spiritual education is in terms of those emotional qualities that we identify with the human 'spirit', that is, generosity, magnanimity, good heartedness, etc. In this paper it is argued that neither position is satisfactory in addressing the existential anxieties and tensions that underlie the construction of religious and other spiritually relevant forms of articulation. We do not need Carr's 'true' spiritual propositions. Analysis of spiritual discourses can take the same epistemological form as enquiry in arts criticism, one that recognises the elasticity of its propositions in terms of meaning and a fluidity in terms of its boundaries. The 'truth' of such propositions depends upon how they answer to the existential tensions felt by the pupil. Insofar as Hand's analysis is concerned, to reduce spiritual education to a form of emotional and social development neglects the clear intelligibility of spiritual discourse to the religious and non-religious minded alike. The unifying element in spiritual discourse is those existential questions that lie at its foundations. Spiritual education seeks to address these questions as ones of both passion and intelligibility, helping pupils to make choices in light of their own experience of the tensions and anxieties that are embedded within them. (shrink)

The increasing availability and popularity of ways to capture personal memories using technologies such as digital cameras is beginning to alter the way in which personal memory images are produced, retained and circulated. Unlike the analog technologies, it is now possible to create an immediately available presence on the Internet. When examined from the perspective of voice, this phenomenon expands the potential of creating personal history narratives that could be collated together to produce a non‐institutional history of an era. This (...) paper explores the ways in which the digital technologies can facilitate the production of such histories and what the technologies could do the sense of presence of an individual in the realm of the virtual. (shrink)

A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing thought experiments (...) against them. We will argue that philosophical intuitions are not available for the evaluation of the types of counterarguments that would need to be constructed. Instead, the evaluation of these theories, to the extent that it can succeed at all, will centrally rely on inferential, non-immediate access to our subjective musical experiences. Furthermore, attempted thought experiments lose their methodological function because no proper distinction can be drawn between the persons figuring in the thought-experimental scenario and the evaluator of the scenario. Consequently, some of the central contributions to what is generally understood to be analytic philosophy of art are shown to represent a form of aesthetic criticism, offering much less basis for rational argumentation than is often thought. (shrink)

In his book _The Corded Shell_, Peter Kivy attempts to solve the problem of the expression of emotions by music. the task he sets himself is to explain away the apparent contradiction between the following propositions, each of which seems independently plausible: Music can correctly be described in terms drawn form the human emotions and the connotations of such emotion terms preclude their application to music. Most of us would, I think, accept. Why should we accept? Kivy's argument is that (...) in the central uses of emotion terms there is an equivalence between _being_ sand and _feeling _ sad. Music is insensate; it cannot feel anything and - therefore - cannot feel sad. But, according to the above equivalence, if it cannot feel sad it cannot be sad. And if it cannot be sad, music criticism which describes apiece in this way is, at best, confused. (shrink)

Recent work in the philosophy of science has generated an apparent conflict between theories attempting to explicate the nature of scientific representation. On one side, there are what one might call 'informational' views, which emphasize objective relations (such as similarity, isomorphism, and homomorphism) between representations (theories, models, simulations, diagrams, etc.) and their target systems. On the other side, there are what one might call 'functional' views, which emphasize cognitive activities performed in connection with these targets, such as interpretation and inference. (...) The main sources of the impression of conflict here are arguments by some functionalists to the effect that informational theories are flawed: it is suggested that relations typically championed by informational theories are neither necessary nor sufficient for scientific representation, and that any theory excluding functions is inadequate. In this paper I critically examine these arguments, and contend that, as it turns out, informational and functional theories are importantly complementary. (shrink)

My thesis centres on the question of whether imaginative states can give rise to knowledge - including whether, and the extent to which, imaginative states can justify beliefs. Across seven chapters, I answer that imaginative states can indeed give rise to knowledge. The first and final chapters introduce and summarise the thesis. In the second chapter, I ask both what different cases of imagining have in common and what sets them apart from other kinds of mental states. In the third (...) chapter, I set out two key challenges that any theory of knowledge by imagination should respond to. The voluntarism challenge asks how imagination can play an evidential role since its content can be voluntarily controlled. The reliability challenge asks whether imaginative states are reliable enough to produce knowledge. I explain what these challenges involve and why they are distinctive, and assess how existing theories of knowledge by imagination could respond to them. I then evaluate the effectiveness of each response. In Chapter 4, I focus on a particular theory of justification - Phenomenal Conservatism, which says that what we are justified in believing is what seems to us to be the case. On the face of it, such a theory appears to exclude imagination as a source of justification. However, I will show how an advocate of Phenomenal Conservatism can include justification by imagination in their model after all. Thereafter in Chapter 5, I ask whether imaginative states can give rise to a particular kind of knowledge: self-knowledge. I look at inward-looking, outward-looking and expressivist theories of self-knowledge. I close Chapter 5 by concluding that all three of these theories can explain how imaginative states can help us acquire self-knowledge. Then in Chapter 6, I turn to see how the Imagination Model of Dreams, which states that dreaming is a kind of imagining, faces a certain challenge if imagination can give rise to knowledge. However, I will show how the imagination model of dreams can be made compatible with justification by imagination, such that we do not have to choose between giving up on justification by imagination or giving in to the sceptic, thus also rescuing the safety of our everyday knowledge. (shrink)

This is the first volume of an impressive project on the relation of art, philosophy and social change. In an on-going argument and review ing several important aesthetic theories Paul Crow ther in this book argues for the idea that aesthetics should be a kind of critical assessment of art w orks' experiential consequences. Although I go along w ith his resistance against postmodernist reasoning, w hich functions as the starting point of his book, beyond that, our w ays often (...) part. My disagreement, how ever, does not annul the evident quality of the argument in this w ork. It is recommended reading material for all those aestheticians w ho are interested in the cognitive and non-cognitive functionality of art w orks and in the possibility of any influence of art on societal change. I w ill now discuss the most crucial steps in Crow ther's argument. Postmodernists claim to have undone the alleged rigidity of modern categories, like that of the autonomous subject, but according to Crow ther they reach this `achievement' by overemphasizing the fluidity of modes of know ledge and experience, and of their status as social constructs, but there may w ell exist flexible constants. Aesthetics can help w ith the analysis of these flexible constants, not by looking for the essences of art or aesthetic experience, but by supplementing our theoretical assessments w ith a critique of art. Crow ther proposes to view aesthetic experiences as w ell as w orks of art as functions of critical aw areness and of body-hold, an historicized version of Merleau-Ponty's much neglected notion of embodiment. Critical aesthetics actualizes the critical aw areness involved in our aesthetic experiences. Art, defined in terms of originality, roots in the body-hold of the artist, w ho moulds his medium to solve technical problems traditional art forms confront him w ith. Postmodernism involves only tw o theses, really. First, contemporary experience and sensibility are analyzed as imbued by the shocks generated by the rapid succession of mechanically reproduced events.. (shrink)