"A modern classic. Dewey's lectures have lost none of their vigor...The historical approach, which underlay the central argument, is beautifully exemplified in his treatments of the origin of philosophy."-- Philosophy and Phenomenological Research "It was with this book that Dewey fully launched his campaign for experimental philosophy."-- The New Republic Written by an eminent philosopher shortly after the shattering effects of World War I, this volume offers an insightful introduction to the concept of pragmatic humanism. Dewey presents persuasive arguments against (...) traditional philosophical constructs, suggesting their basis in self-justification. He proposes, instead, an examination of core values in terms of their ultimate effects on the self and others. This experimental philosophy was received with both outrage and acclaim for daring to mingle ethics and science. Delivered in 1919 as a series of lectures, Dewey's landmark work appears here in an enlarged edition that features an informative introduction by the author, written more than 25 years after the book's initial publication. (shrink)

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the body to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others.

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above all, Merleau-Ponty's (...) insights about the embodied mind are a bold and refreshing challenge to the new era of virtual reality and artificial intelligence, as scientists and psychologists discover the centrality of the body to mind and intelligence. (shrink)

In this chapter, I examine how Dewey circumnavigated debates between empiricists and a priorists by showing that active bodies can perform integrative operations traditionally attributed to “inner” mechanisms, and how he thereby realized developments at which the artificial intelligence, robotics and cognitive science communities only later arrived. Some of his ideas about experience being constituted through skills actively deployed in cultural settings were inspired by ancient Greek sources. Thus in some of his more radical moments, Dewey refined rather than invented (...) the wheel, and I suggest that prominent embodiment figures have done the same, Dewey having anticipated them, particularly Noë and his version of enactivism. I urge that cognitive science may progress into relatively unexplored territory by traveling Dewey’s historically sensitive path. (shrink)

John Dewey's Gifford Lectures, given at Edinburgh in 1929.

IN THE winter and spring of 1031,1 was invited to give a series of ten lectures at Harvard University. The subject chosen was the Philosophy of Art; the lectures are the origin of the present volume. The Lectureship was founded in memory of William James and I esteem it a great honor to have this book associated even indirectly with his distinguished name. It is a pleasure, also, te recall, in connection with the lectures, the unvarying kindness and hospitality of (...) my colleagues in the department of philosophy at Harvard. I am somewhat embarrassed in an effort to acknowledge indebtedness to other writers on the subject. Some aspects of it may be inferred from authors mentioned or quoted in the text. I have read on the subject for many years, however, more or less widely in English literature, somewhat less in French and still less in German, and I have absorbed much from sources which I cannot now directly recall. Moreover, my obligations to a number of writers are much greater than might be gathered from allusions to them in the volume itself. My indebtedness to those who have helped me directly can be more easily stated. Dr. Joseph Ratner gave me a number of valuable references. Dr. Meyer Schapiro was good enough to read the twelfth and thirteenth chapters and to make suggestions which I have freely adopted. Irwin Edman read a large part of the book in manuscript and I owe much to his suggestions and criticism. Sidney Hook read many of the chapters, and their present form is largely the result of discussions with him; this statement is especially true of the chapters on criticism and the last chapter. My greatest indebtedness is to Dr. A. C. Barnes. The chaptershave been gone over one by one with him, and yet what I owe to his comments and suggestions on this account is but a small measure of my debt. I have had the benefit of con versations with him through a period of years, many of which occurred in the presence of the unrivaled collection of pictures he has assembled. The influence of these conversations, together with that of his books, has been a chief factor in shapingmy own thinking about the philosophy of esthetics. Whatever is sound in this volume is due more than I can say to the great educational work carried on in the Barnes Foundation. That work is of a pioneer quality comparable to the best that has been done in any field during the present generation, that of science not ex cepted. I should be glad to think of this volume as one phase of the widespread influence the Foundation is exercising. I am indebted to the Barnes Foundation for permission to reproduce a number of illustrations and to Barbara and Willard Morgan for the photographs from which the reproductions were made. J. D. (shrink)

In this book Harry Heft examines the historical and theoretical foundations of James J. Gibson's ecological psychology in 20th century thought, and in turn, integrates ecological psychology and analyses of sociocultural processes. A thesis of the book is that knowing is rooted in the direct experience of meaningful environmental objects and events present in individual-environment processes and at the level of collective, social settings. Ecological Psychology in Context: *traces the primary lineage of Gibson's ecological approach to William James's philosophy of (...) radical empiricism; *illuminates how the work of James's student and Gibson's mentor, E.B. Holt, served as a catalyst for the development of Gibson's framework and as a bridge to James's work; *reveals how ecological psychology reciprocally can advance Jamesian studies by resolving some of the theoretical difficulties that kept James from fully realizing a realist philosophy; *broadens the scope of Gibson's framework by proposing a synthesis between it and the ecological program of Roger Barker, who discovered complex systems operating at the level of collective, social processes; *demonstrates ways in which the psychological domain can be extended to properties of the environment rendering its features meaningful, publicly accessible, and distributed across person-environment processes; and *shows how Gibson's work points the way toward overcoming the gap between experimental psychology and the humanities. Intended for scholars and students in the areas of ecological and environmental psychology, theoretical and historical psychology, cognitive science, developmental psychology, anthropology, and philosophy. (shrink)

What makes this work so important is that it returned the body to the forefront of philosophy for the first time since Plato.

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

The following text is the first ever translation into English of a writing by German phenomenologist Hermann Schmitz (*1928). In it, Schmitz outlines and defends a non-mentalistic view of emotions as phenomena in interpersonal space in conjunction with a theory of the felt body’s constitutive involvement in human experience. In the first part of the text, Schmitz gives an overview covering some central pieces of his theory as developed, for the most part, in his massive System of Philosophy, published in (...) German in a series of volumes between 1964 and 1980. Schmitz’s System is centred on the claim that the contemporary view of the human subject is the result of a consequential historical process: A reductionist and ‘introjectionist’ objectification of lived experience culminating in the ‘invention’ of the mind (or ‘soul’) as a private, inner realm of subjective experience and in a corresponding ‘grinding down’ of the world of lived experienced to a meagre, value-neutral ‘objective reality’. To counter this intellectualist trend, Schmitz puts to use his approach to phenomenology with the aim of regaining a sensibility for the nuanced realities of lived experience—hoping to make up for what was lost during the development of Western intellectual culture. Since both this text and the overall style of Schmitz’s philosophising are in several ways unusual for a contemporary readership, a brief introduction is provided by philosophers Jan Slaby and Rudolf Owen Müllan, the latter of whom translated Schmitz’s text into English. The introduction emphasises aspects of Schmitz’s philosophy that are likely to be of relevance to contemporary scholars of phenomenological philosophy and to its potential applications in science and society. (shrink)

Jane is calmly strolling through the forest one lovely day. Suddenly, a large spider drops in front of her face. She immediately freezes; her heart races; her hands tremble; her face broadcasts “fear.” She screams and runs away. Both before and after, she concedes that spiders in this forest are harmless.Jane's reaction to the spider contrasts greatly with the way she normally reacts to events. Normally, or so the story goes, Jane weighs her options thoughtfully, choosing a course of action (...) consistent with her beliefs and with the greatest benefit. Indeed, her reaction to the spider contrasts so greatly with calm, rational, deliberate, belief-consistent action that traditional folk psychology supposed two different kinds of mechanism are at work: animal-like emotion versus human reason. Her emotion explains her reaction to the spider. Her emotion made her do it. (shrink)

I outline the early Heidegger's views on mood and emotion, and then relate his central claims to some recent finding in neuropsychology. These findings complement Heidegger in a number of important ways. More specifically, I suggest that, in order to make sense of certain neurological conditions that traditional assumptions concerning the mind are constitutionally incapable of accommodating, something very like Heidegger's account of mood and emotion needs to be adopted as an interpretive framework. I conclude by supporting Heidegger's insistence that (...) the sciences constitute a derivative means of disclosing the world and our place within it, as opposed to an ontologically and epistemologically privileged domain of inquiry. (shrink)

This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords possibilities for, among other (...) things, (1) emotion regulation and (2) social coordination. When we do things with music, we are engaged in the work of creating and cultivating the self, as well as creating and cultivating a shared world that we inhabit with others. I develop this thesis by first introducing the notion of a musical affordance . Next, I look at how emotional affordances in music are exploited to construct and regulate emotions. I summon empirical research on neonate music therapy to argue that this is something we emerge from the womb knowing how to do. I then look at social affordances in music, arguing that joint attention to social affordances in music alters how music is both perceived and appropriated by joint attenders within social listening contexts. In support, I describe the experience of listening to and engaging with music in a live concert setting. Thinking of music as an affordance-laden structure thus reaffirms the crucial role that music plays in constructing and regulating emotional and social experiences in everyday life. (shrink)

Routledge is now re-issuing this prestigious series of 204 volumes originally published between 1910 and 1965. The titles include works by key figures such asC.G. Jung, Sigmund Freud, Jean Piaget, Otto Rank, James Hillman, Erich Fromm, Karen Horney and Susan Isaacs. Each volume is available on its own, as part of a themed mini-set, or as part of a specially-priced 204-volume set. A brochure listing each title in the "International Library of Psychology" series is available upon request.

The normativity of emotions is a widely discussed phenomenon. So far embodied accounts have not paid sufficient attention to the various aspects of the normativity of emotions. In this paper it shall be pointed out that embodied accounts are constrained in the way they can account for the normativity of emotions due to their commitments to naturalism, externalism, and anti-vehicle-internalism. One way to account for the normativity of emotions within a naturalist framework is to describe the intentional objects of emotions (...) as affordances that are of value for the organism. These affordances are part of a biological and social environment we are situated in, and they stand in complex relations to each other and to skillful organisms. I suggest that describing these relations can replace vehicle-internalist approaches but still account for the normativity of emotions within a naturalist framework. (shrink)

This is a book about how we see: the environment around us (its surfaces, their layout, and their colors and textures); where we are in the environment; whether or not we are moving and, if we are, where we are going; what things are good for; how to do things (to thread a needle or drive an automobile); or why things look as they do.The basic assumption is that vision depends on the eye which is connected to the brain. The (...) author suggests that natural vision depends on the eyes in the head on a body supported by the ground, the brain being only the central organ of a complete visual system. When no constraints are put on the visual system, people look around, walk up to something interesting and move around it so as to see it from all sides, and go from one vista to another. That is natural vision—and what this book is about. (shrink)

Essays discuss the themes of worldliness, affectedness, understanding, and the care-structure found in Heidegger's work on the nature of existence.

Few address the extent to which William James regards the neo-Lamarckian account of “direct adaptation” as a biological extension of British empiricism. Consequently few recognize the instrumental role that the Darwinian idea of “indirect adaptation” plays in his lifelong efforts to undermine the empiricist view that sense experience molds the mind. This article examines how James uses Darwinian thinking, first, to argue that mental content can arise independently of sense experience; and, second, to show that empiricists advance a hopelessly skeptical (...) position when they insist that beliefs are legitimate only insofar as they directly correspond to the observable world. Using his attacks on materialism and his defense of spiritualism as examples, I particularly consider how Darwinian thinking enables him to keep his empiricist commitments while simultaneously developing a pragmatic alternative to empiricistic skepticism. I conclude by comparing his theory of beliefs to the remarkably similar theory of “memes” that Richard Dawkins uses to attack spiritualistic belief—an attack that James anticipates and counters with his pragmatic alternative. (shrink)

Where does the mind stop and the rest of the world begin? The question invites two standard replies. Some accept the demarcations of skin and skull, and say that what is outside the body is outside the mind. Others are impressed by arguments suggesting that the meaning of our words "just ain't in the head", and hold that this externalism about meaning carries over into an externalism about mind. We propose to pursue a third position. We advocate a very different (...) sort of externalism: an _active externalism_, based on the active role of the environment in driving cognitive processes. (shrink)

According to the conceptual act theory, emotions emerge when physical sensations in the self and physical actions in others are meaningfully linked to situations during a process that can be called both cognitive and perceptual (creating emotional experiences, and emotion perceptions, respectively). There are key four hypotheses: (a) an emotion (like anger) is a conceptual category, populated with instances that are tailored to the environment; (b) each instance of emotion is constructed within the brain’s functional architecture of domain-general core systems; (...) (c) the workings of each system must be holistically understood within the momentary state of the brain, the body, and the surrounding context; (d) being emergent states, emotional episodes have functional features that physical states, alone, do not have. Similarities and differences to other theoretical approaches to emotion are discussed. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

How human musical experience emerges from the audition of organized tones is a riddle of long standing. In _The Musical Representation_, Charles Nussbaum offers a philosophical naturalist's solution. Nussbaum founds his naturalistic theory of musical representation on the collusion between the physics of sound and the organization of the human mind-brain. He argues that important varieties of experience afforded by Western tonal art music since 1650 arise through the feeling of tone, the sense of movement in musical space, cognition, emotional (...) arousal, and the engagement, by way of specific emotional responses, of deeply rooted human ideals. Construing the art music of the modern West as representational, as a symbolic system that carries extramusical content, Nussbaum attempts to make normative principles of musical representation explicit and bring them into reflective equilibrium with the intuitions of competent listeners. The human mind-brain, writes Nussbaum, is a living record of its evolutionary history; relatively recent cognitive acquisitions derive from older representational functions of which we are hardly aware. Consideration of musical art can help bring to light the more ancient cognitive functions that underlie modern human cognition. (shrink)

DISSERTATION T. The Natural History of Religion. INTRODUCTION. AS every enquiry, which regards Religion, is of the utmost importance, there are two ...

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

How human musical experience emerges from the audition of organized tones is a riddle of long standing. In "The Musical Representation," Charles Nussbaum offers a philosophical naturalist's solution.

In his new book, eminent psychologist - Daniel Stern, explores the hitherto neglected topic of 'vitality'. Truly a tour de force from a brilliant clinician and scientist, Forms of Vitality is a profound and absorbing book - one that will be essential reading for psychologists, psychotherapists, and those in the creative arts.

Gathering information from both published and unpublished material and interviews with Gibson's family, colleagues, and friends, Reed (philosophy, Drexel U.) chronicles Gibson's life and intellectual development and his attempts to synthesize several contrasting intellectual traditions into what he ultimately called an "ecological approach" to psychology. Annotation(c) 2003 Book News, Inc., Portland, OR (booknews.com).

Gut Reactions is an interdisciplinary defense of the claim that emotions are perceptions of changes in the body.

What are 'emotions'? This book offers a balanced survey of facts and theory.

Linking the process of rational decision making to emotions, an award-winning scientist who has done extensive research with brain-damaged patients notes the dependence of thought processes on feelings and the body's survival-oriented regulators. 50,000 first printing.

In Supersizing the Mind, Andy Clark argues that the human mind is not bound inside the head but extends into body and environment.

Self-disorders in depression and schizophrenia have been the focus of much recent work in phenomenological psychopathology. But little has been said about the role the material environment plays in shaping the affective character of these disorders. In this paper, we argue that enjoying reliable (i.e., trustworthy) access to the things and spaces around us — the constituents of our material environment — is crucial for our ability to stabilize and regulate our affective life on a day-today basis. These things and (...) spaces often play an ineliminable role in shaping what we feel and how we feel it; when we interact with them, they contribute ongoing feedback that " scaffolds " the character and temporal development of our affective experiences. However, in some psychopathological conditions, the ability to access to these things and spaces becomes disturbed. Individuals not only lose certain forms of access to the practical significance of the built environment but also to its ​ regulative​ significance, too — and the stability and organization of their affective life is compromised. In developing this view, we discuss core concepts like " affordance spaces " , " scaffolding " , and " incorporation ". We apply these concepts to two case studies, severe depression and schizophrenia, and we show why these cases support our main claim. We conclude by briefly considering implications of this view for developing intervention and treatment strategies. (shrink)