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  1. Beauty in mathematics.Ulianov Montano Juarez - unknown
    The aim of this work is to account for expressions like “Cantor’s diagonal proof is elegant” or “Euler identity is the most beautiful formula of mathematics”. This type of expressions is common among mathematicians; however, they may result in two kinds of puzzled reactions: first, the non mathematician may find the use of the word ‘beautiful’ strange in this context. Second, the mathematician may try to reinterpret mathematical beauty in terms of the principles and precepts of mathematics itself. I present (...)
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  • The philosophy of music.Andrew Kania - 2008 - Stanford Encyclopedia of Philosophy.
    This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.
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  • Expressions of emotion as perceptual media.Rebecca Rowson - 2023 - Synthese 201 (6):1-23.
    Expressions of emotion pose a serious challenge to the view that we perceive other people’s emotions directly. If we must perceive expressions in order to perceive emotions, then it is only ever the expressions that we are directly aware of, not emotions themselves. This paper develops a new response to this challenge by drawing an analogy between expressions of emotion and perceptual media. It is through illumination and sound, the paradigmatic examples of perceptual media, that we can see and hear (...)
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  • Expressing 2.0.Trip Glazer - 2024 - Analytic Philosophy 65 (1):70-92.
    William P. Alston argues in “Expressing” (1965) that there is no important difference between expressing a feeling in language and asserting that one has that feeling. My aims in this paper are (1) to show that Alston's arguments ought to have led him to a different conclusion—that “asserting” and “expressing” individuate speech acts at different levels of analysis (the illocutionary and the locutionary, respectively)—and (2) to argue that this conclusion can solve a problem facing contemporary analyses of expressing: the “no (...)
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  • Affective Responses to Music: An Affective Science Perspective.Federico Lauria - 2023 - Philosophies 8 (2):16.
    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 (...)
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  • Emotionshaping: a situated perspective on emotionreading.Trip Glazer - 2022 - Biology and Philosophy 37 (2):1-20.
    Can we read emotions in faces? Many studies suggest that we can, yet skeptics contend that these studies employ methods that unwittingly help subjects in matching faces with emotions. Some studies present subjects with posed faces, which may be more exaggerated than spontaneous ones. And some studies provide subjects with a list of emotion words to choose from, which forces them to interpret faces in specific emotion terms. I argue that the skeptics’ challenge rests on a false assumption: that once (...)
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  • Uma Teoria da Expressão em Fernando Gil. Seguida da tradução e edição dos cursos lecionados por Fernando Gil na Johns Hopkins University, Baltimore (2002-2004).Sofia Araújo - 2013 - Dissertation, Faculdade de Letras da Universidade Do Porto
    The concept of expression has always held an important place in Fernando Gil’s thought. The author’s reflection on the idea of expression is well reflected among his writings – either in his early essays or throughout his entire work –, attaining a special focus in the lectures that he gave at Johns Hopkins University during the years of 2002, 2003 and 2004. Actually, these lectures represent the strongest testimony of the relevancy given by Fernando Gil to this concept. However, despite (...)
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  • Artistic Objectivity: From Ruskin’s ‘Pathetic Fallacy’ to Creative Receptivity.Eli I. Lichtenstein - 2021 - British Journal of Aesthetics 61 (4):505-526.
    While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...)
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  • Force and Objectivity: On Impact, Form, and Receptivity to Nature in Science and Art.Eli Lichtenstein - 2019 - Dissertation, University of Michigan
    I argue that scientific and poetic modes of objectivity are perspectival duals: 'views' from and onto basic natural forces, respectively. I ground this analysis in a general account of objectivity, not in terms of either 'universal' or 'inter-subjective' validity, but as receptivity to basic features of reality. Contra traditionalists, bare truth, factual knowledge, and universally valid representation are not inherently valuable. But modern critics who focus primarily on the self-expressive aspect of science are also wrong to claim that our knowledge (...)
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  • Expression and What Is Expressed.Michael O'Sullivan - 2017 - Southern Journal of Philosophy 55 (4):439-453.
    How do we become aware of the properties or states that are expressed by gestures, utterances, and facial expressions? This paper argues that expression raises peculiar problems, distinct from those of property perception in general. It argues against some current accounts of awareness of expressed states, before proposing an account which appeals to the notion of empathy. Finally, it situates the proposed account within current discussions of expression in the philosophy of music.
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  • Imaginative Understanding, Affective Profiles, and the Expression of Emotion in Art.Robert Hopkins - 2017 - Journal of Aesthetics and Art Criticism 75 (4):363-374.
    R. G. Collingwood thought that to express emotion is to come to understand it and that this is something art can enable us to do. The understanding in question is distinct from that offered by emotion concepts. I attempt to defend a broadly similar position by drawing, as Collingwood does, on a broader philosophy of mind. Emotions and other affective states have a profile analogous to the sensory profiles exhibited by the things we perceive. Grasping that one's feeling exhibits such (...)
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  • Origins of Meaning: Must We ‘Go Gricean’?Dorit Bar-on - 2013 - Mind and Language 28 (3):342-375.
    The task of explaining language evolution is often presented by leading theorists in explicitly Gricean terms. After a critical evaluation, I present an alternative, non‐Gricean conceptualization of the task. I argue that, while it may be true that nonhuman animals, in contrast to language users, lack the ‘motive to share information’ understoodà laGrice, nonhuman animals nevertheless do express states of mind through complex nonlinguistic behavior. On a proper, non‐Gricean construal of expressive communication, this means that they show to their designated (...)
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  • The expression theory again.Stephen Davies - 1986 - Theoria 52 (3):146-167.
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  • Art, Expression, Perception and Intentionality.Dale Jacquette - 2014 - Journal of Aesthetics and Phenomenology 1 (1):63-90.
    ABSTRACTThe ideological and methodological oppositions that divide philosophy generally into realisms and idealisms, objectivisms and subjectivisms, also pervade aesthetic theory. The question arises whether there was beauty in the world prior to the emergence of intelligent perceivers like ourselves, or whether beauty itself comes into existence only through the perceptual idiosyncrasies with which we happen to encounter the objects we happen to consider beautiful. The experience of beauty and its opposites under this description can easily seem to be an altogether (...)
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