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)

Davidson’s well-known language skepticism—the claim that there is no such a thing as a language—has recognizably Gricean underpinnings, some of which also underlie his continuity skepticism—the claim that there can be no philosophically illuminating account of the emergence of language and thought. My first aim in this paper is to highlight aspects of the complicated relationship between central Davidsonian and Gricean ideas concerning language. After a brief review of Davidson’s two skeptical claims and their Gricean underpinnings, I provide my own (...) take on how Davidson’s continuity skepticism can be resisted consistently with his rejection of the Gricean priority claim, yet without giving up some of Grice’s own insights regarding the origins of meaning. (shrink)

I address here the question what sense to make of the idea that there can be thought prior to language. I begin by juxtaposing two familiar and influential philosophical views, one associated with the work of Paul Grice, the other associated with the work of Donald Davidson. Grice and Davidson share a broad, rationalist perspective on language and thought, but they endorse conflicting theses on the relation between them. Whereas, for Grice, thought of an especially complex sort is a precondition (...) of linguistic meaning, for Davidson, there can be no genuine thought without language. I argue that both views present us with unpalatable alternatives concerning our understanding of the natural origins of objective thought and meaningful language. Drawing on what I take to be key insights from Grice and Davidson, I then lay out some broad desiderata for an intermediate position. I finally turn to a certain form of nonlinguistic communication of the sort of which both prelinguistic children and languageless animals are capable, viz., expressive communication. I propose that a proper appreciation of the character and function of expressive communication can help us trace the outlines of the desired intermediate position. (shrink)

The so-called linguistic turn in philosophy intensified (rather than overcame) the rationalism that has haunted Western ideas about knowledge since antiquity. Orthodox accounts continue to present knowledge as a linguistic, logical quality, expressed in statements or theories that are well justified by evidence and actually true. Restating themes from the author's Knowledge and Civilization (2004a), I introduce an alternative conception of knowledge designed to overcome these propositional, discursive, logocentric presumptions. I interpret knowledge as a quality of artifacts. A surgical operation (...) or a bridge may be as good examples of knowledge as any true scientific proposition or theory. I define the quality that marks an artifact as a work of knowledge as superlative artifactual performance. To explain knowledge in these terms is not to offer a metaphysical or epistemological theory of its essence or concept. Instead, I am explaining knowledge in terms of its good, its value, the human point of caring to know. (shrink)

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 (...) associated with musical expressiveness might not necessarily be associated with emotions, they might very well be associated with certain feelings of the movement itself. (shrink)

Why are moral actions beautiful, when indeed they are? This paper assesses the view, found most notably in Schiller, that moral actions are beautiful just when they present the appearance of freedom by appearing to be the result of internal harmony (the Schillerian Internal Harmony Thesis). I argue that while this thesis can accommodate some of the beauty involved in contrasts of the ‘continent’ and the ‘fully’ virtuous, it cannot account for all of the beauty in such contrasts, and so (...) needs to be weakened considerably (to the Internal Harmony Thesis). To account for the remaining beauty that cannot be fully accommodated even by this revised thesis, as well as the beauty contained in contrasts that involve agents who experience internal conflict as a result of being sensitive to different sources of moral value to an appropriate extent, a number of further theses need to be posited: namely, that the beauty of some moral actions is to be accommodated in terms of internal disharmony (the Internal Disharmony Thesis), and in terms of a felt harmony between the appreciator of the action and the executor of the action (the Affective Harmony Thesis). As such, in contrast to Schiller, I suggest that we need to take a pluralist and context-sensitive approach to accommodating the beauty of moral actions. (shrink)

I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...) terms of simulation and briefly comment upon the impact of work on cross-cultural perception of facial expression, modularity and autism for the proposal. (shrink)

Emotions normally include elements of feeling, motivation, and also intentionality; but the argument of this essay is that there can be emotion without feeling, emotion without corresponding motivation, and emotion without an intentional relation to an object such that the emotion is (among other things) a belief about or construal of it. Many recent writers have claimed that some form of intentionality is essential to emotion, and then have created lines of defence for this thesis. Thus, what look like troublesome (...) cases of emotions can be regarded as having a global intentionality or as being “mood-like”. Alternatively surges of non-intentional joy or ecstasy can be regarded as merely feelings rather than as emotions, and what people experience in response to absolute music can be treated similarly. A clear view of how we normally talk about moods, emotions, and feelings however undermines these defences; and in particular we can understand the role of emotions in relation to absolute music once we become clear about the way in which musical content stands in for intentional objects. (shrink)

According to the Perceptual Analysis of Emotional Expression, behaviors express emotions by making them perceptually manifest. A smile is an expression of joy because an observer who sees a smile can see joy. A pout is an expression of grief because an observer who sees a pout can see grief. And a growl is an expression of anger because an observer who hears a growl can hear anger. The idea is not simply that expressions can enable the perception of emotion, (...) but that expressions essentially do so. In the course of defending this analysis against challenges, I develop a novel account of the relationship between language and expression. (shrink)

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 (...) subjects leave the lab, they no longer receive help in matching faces with emotions. I contend that people receive as much help in the wild as they do in the lab. People unconsciously amplify their spontaneous expressions in the presence of others, thereby making them easier to read. And people teach children to interpret faces in the same specific emotion terms found in the experimenters’ word lists. I argue that we are good at readings emotions in faces because we can normally count on a little help from our friends. (shrink)

This paper examines some aspects of Mitchell Green’s account of self-expression. I argue that Green fails to address the distinction between success and evidential notions of expression properly, which prevents him from adequately discussing the relation between these notions. I then consider Green’s explanation of how a speech act shows what is within, i.e., because of the liabilities one incurs and argue that this is false. Rather, the norms governing speech acts and liabilities incurred give us reason to think that (...) the speaker is in a particular state of mind. It thus supports an evidential rather than success notion. Finally, I suggest that it is because of the sincerity of what is said, rather than the liabilities incurred, that you show what is within. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

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 (...) be imaginatively construed by listeners. It argues that none of these are entirely satisfactory. Then it proposes an alternative account, focusing on what is involved when our appreciation of music as an expressive art is informed by our awareness of it as something that is expressively interpreted in performance. It is claimed that this offers the basis for a better understanding of at least some aspects of expressiveness in music and its relevance to aesthetic appreciation. (shrink)