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)

Is intentionality possible without representation? This paper considers the conditions under which intentionality without representation could occur and what sort of perceptual content such intentionality would have. In addition, it considers the constraints on non-representational intentional content in organisms that have representation. The paper is divided into three parts. The first section compares and contrasts two opposed positions on non-representational intentionality, those of Herbert Dreyfus and John Searle. The second section reviews a neurobiological model that accommodates the possibility of non-representational (...) perceptual content. The final section provides a puzzle for theories of non-representational perceptual content, specifically in connection with the perception of representations. The puzzle of representation and perception illustrates a further need for all theories of perception, both philosophical and scientific: to provide a more finely developed definition of the notion of representation. (shrink)

We focus on Karmiloff-Smith's Representational redescription model, arguing that it poses some problems concerning the architecture of a redescribing system. To discuss the topic, we consider the implicit/explicit dichotomy and the relations between natur al language and the language of thought. We argue that the model regards how knowledge is employed rather than how it is represented in the system.

The proper range and content of the unconscious in the human sciences should be established by reference to its conceptual relationship to the folk psychology that informs the standard form of explanation therein. A study of this relationship shows that human scientists should appeal to the unconscious only when the language of the conscious fails them, i.e. typically when they find a conflict between people's self-understanding and their actions. This study also shows that human scientists should adopt a broader concept (...) of the unconscious than the one developed by Freud, that is, one free from his ahistorical concept of the instincts and his ahistorical emphasis on the sexual experiences of childhood. The unconscious, understood in this way, has an ambiguous relationship to more recent linguistic and narrativist strands of psychoanalysis. (shrink)

The two most common names to invoke for a perceptualist aesthetics are Rudolf Arnheim and E. H. Gombrich. But the similaritied and differences between them have never been explicitly drawn. This paper undertakes such an analysis based on the three categories of representation, expression and historical objectivity. Arnheim's less stringent solutions to the problems of representation and expression are applauded but Gombrich's unique attempt to ground both of these categories in a form amenable to non-historicist approach to history are also (...) praised. Gombrich's anti-historicism derives from Karl Popper and Arnheim is fleshed out with the theories of Maurice Mandelbaum. The parallel comparison of Popper-Mandelbaum helps to underscore differences and show an alternative to Gombrich and Popper's nominalism. (shrink)

Maps, notes, descriptions, diagrams, flowcharts, photographs, paintings, and prints, all, in one way or another, manage to be about things or stand for them. This article looks at three ways in which philosophers have explained the way that pictures represent the world. It starts by describing some leading perceptual accounts and then surveys contemporary content and structural alternatives.

It is sometimes assumed that Kant’s claim that a judgement of taste is grounded in a pleasure ‘without concepts’ leaves little room for any credible account of critical judgements of art. I argue that even Kant’s conception of free (as opposed to dependent) beauty can provide the framework for an analysis of aesthetic judgements about art works. It is a matter of understanding what roles for concepts Kant prohibits in his analysis of pure judgements of taste: conceptual cognition must be (...) neither what gives rise to the subject’s pleasure nor part of the evidential basis for the subject’s judgement. But this does not entail that the subject encounters the object in a wholly ‘concept–free’ manner. Kant’s account of free beauty is quite different from Schopenhauer’s superficially similar theory, and is compatible with the thought that increased conceptual knowledge can enhance critical judgements of art. (shrink)

The very idea of unconscious emotion has been thought puzzling. But in recent debate about emotions, comparatively little attention has been given explicitly to the question. I survey a number of recent attempts by philosophers to resolve the puzzle and provide some preliminary remarks about their viability. I identify and discuss three families of responses: unconscious emotions involve conscious feelings, unconscious emotions involve no feelings at all, and unconscious emotions involve unconscious feelings. The discussion is exploratory rather than decisive for (...) three reasons. First, the aim is to provide a framework for the debate, and identify a number of key issues for further research. Second, a number of the positions depend for their plausibility upon theoretical commitments that can be made clear, but cannot be evaluated in detail, in a survey article. Third, I believe no fully satisfactory, comprehensive solution has yet been developed. (shrink)

This paper distinguishes two conceptions of representation at work in the philosophical literature. On the first, "contentive" conception (found, for example, in Searle and Fodor), something is a representation, roughly, if it has "propositional content". On the second, "indicative" conception (found, for example, in Dretske), representations must not only have content but also have the function of indicating something about the world. Desire is representational on the first view but not on the second. This paper argues that philosophers and psychologists (...) have sometimes conflated these two conceptions, and it examines the consequences of this conflation for the developmental literature on the child's understanding of mind. Specifically, recent research by Gopnik and Perner on the child's understanding of desire is motivated by an argument that equivocates between the two conceptions of representation. Finally, the paper suggests that an examination of when the child understands the possibility of misrepresentation in art would be helpful in charting the child's understanding of indicative representation. (shrink)

In this dissertation, I examine three philosophically important concepts that play a foundational role in developmental psychology: theory, representation, and belief. I describe different ways in which the concepts have been understood and present reasons why a developmental psychologist, or a philosopher attuned to cognitive development, should prefer one understanding of these concepts over another.

This paper consists of two related parts:I. A detailed critique of Donald Davidson's thesis—in his “The Paradoxes of Irrationality”—that “…any satisfactory [explanatory] view [of irrationality] must embrace some of Freud's most important theses” (p. 290). I argue that this conclusion is doubly flawed: (i) Davidson's case for it is logically ill‐founded, and (ii) its Freudian plaidoyer is also factually false.II. Relatedly, in the second part, I confute the recent arguments given by Marcia Cavell, Thomas Nagel, et al. to establish that (...) psychoanalytic causal explanations of irrationality are epistemically justified, because they are extensions of the desire‐cumbelief pattern of accounting for intentional actions. As a corollary, it becomes clear that these authors have failed to undermine my epistemological strictures on the foundations of psychoanalysis. (shrink)

The paper first addresses Husserl's conception of philosophical phenomenology, metaphysics, and the relation between them, in order to explain why, on Husserl's view, there is no metaphysics of consciousness without a phenomenology of consciousness. In doing so, it recalls some of the methodological tenets of Husserl's phenomenology, pointing out that phenomenology is an eidetic or a priori science which has first of all to do with mere ideal possibilities of consciousness and its correlates; metaphysics of consciousness, on the other hand, (...) has to do with its reality or actuality, requiring an eidetic foundation in order to become scientifically valuable. Presuming that, if consciousness is to be the subject-matter of a metaphysics which is not simply speculative or based on prejudice, it is crucial to get the phenomenology of consciousness right, the paper then engages in a detailed descriptive-eidetic analysis of mental acts of re-presenting something and tries to argue that their structures, involving components of non-actual experiencing, pose a serious problem for a materialistic or physicalistic metaphysics of consciousness. The paper ends with a brief comment on Husserl's broader view of metaphysics, having to do with the irrationality of the transcendental fact, i.e. the constitution of the factual world and the factual life of the mind. (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)

Beyond modularityattempts a synthesis of Fodor's anticonstructivist nativism and Piaget's antinativist constructivism. Contra Fodor, I argue that: (1) the study of cognitive development is essential to cognitive science, (2) the module/central processing dichotomy is too rigid, and (3) the mind does not begin with prespecified modules; rather, development involves a gradual process of “modularization.” Contra Piaget, I argue that: (1) development rarely involves stagelike domain-general change and (2) domainspecific predispositions give development a small but significant kickstart by focusing the infant's (...) attention on proprietary inputs. Development does not stop at efficient learning. A fundamental aspect of human development (“representational redescription”) is the hypothesized process by which information that isina cognitive system becomes progressively explicit knowledgetothat system. Development thus involves two complementary processes of progressive modularization and progressive “explicitation.” Empirical findings on the child as linguist, physicist, mathematician, psychologist, and notator are discussed in support of the theoretical framework. Each chapter concentrates first on the initial state of the infant mind/brain and on subsequent domain-specific learning in infancy and early childhood. It then goes on to explore data on older children's problem solving and theory building, with particular focus on evolving cognitive flexibility. Emphasis is placed throughout on the status of representations underlying different capacities and on the multiple levels at which knowledge is stored and accessible. Finally, consideration is given to the need for more formal developmental models, and a comparison is made between representational redescription and connectionist simulations of development. In conclusion, I consider what is special about human cognition by speculating on the status of representations underlying the structure of behavior in other species. (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)

Two complementary bodies of literature either claim explicitly or imply that human cruelty is rooted in asymmetrical relationships. The first describes and analyzes various forms of domination and acquiescence, including colonialism, racism, imperialism, sexism, and interpersonal power dynamics, among others. The second attempts to describe what would constitute the antidote, namely symmetrical relationships of mutuality and equality. Both of these literatures counsel abandoning asymmetrical relationships in favor of the symmetrical. To the contrary, this paper argues that it is only in (...) the context of asymmetrical relationships that humans can learn the basics of equality and mutual regard that undergird democracy. More particularly, the moral use of asymmetrical relations would be to help the young acquire, inter alias, the kinds of self-awareness and self-understanding that would enable them to function as responsible parties in symmetrical relations. (shrink)

In this paper, I criticize the claim made by Donald Davidson, among others, that Freud’s psychoanalytic theory provides “a conceptual framework within which to describe and understand irrationality.” Further, I defend my epistemological strictures on the explanatory and therapeutic foundations of the psychoanalytic enterprise against the efforts of Davidson, Marcia Cavell, Thomas Nagel, et al., to undermine them.

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)