Kaufman describes the current debate on the possibility of a definition of art between the theorists and the anti-theorist Wittgensteinians. The Wittgensteinian reliance on ‘family resemblances’ is a serious objection to theoretical definitions. Wittgenstein, however, is said to be unable to give a proper account of the ‘inner experience’ encountered in art. By way of response, it is urged that attention to Wittgenstein himself will show that there are misunderstandings of the idea of family resemblances and that Wittgenstein's writings provide (...) all we need to understand the depth of ‘inner experience’. (shrink)

The author introduces and explains the flow psychological theory. He demonstrates how it is possible to improve the quality of life by controlling the information that enters the consciousness.

In this book, I make use of an idea from economics to suggest how noble human tendencies might not only have survived the ruthless pressures of the material world, but actually have been nurtured by them.

First Published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

This book attempts to understand regret, an emotion that bridges the actual and the possible, the past and present. Through a wealth of sources it takes up questions of the meaning of regret and how it differs from similar experiences such as remorse and guilt; what sorts of things people most often regret; and the roots of regret in circumstances and in who we are. It takes issue with the view common both in this culture and in leading theories of (...) decision that regret is irrational and dysfunctional - specifying the surprising benefits of regret, its great and good sense. (shrink)

Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human (...) responses, and that cognizers are thereby capable of grasping rules for the correct application of aesthetic concepts without relying on evaluation or enculturation. However, in this article I use Wittgenstein’s rule-following considerations to argue that psychological theories grounded upon this so-called objective model of rule-following fail to adequately account for concept acquisition and mastery. I argue that this is because linguistic enculturation, and the perceptual learning that’s often involved, influences and enables the mastery of aesthetic concepts. I argue that part of what’s involved in speaking aesthetically is to belong to a cultural practice of making sense of things aesthetically, and that it’s within a socio-linguistic community, and that community’s practices, that such aesthetic sense can be made intelligible. (shrink)

Slurs possess interesting linguistic properties and so have recently attracted the attention of linguists and philosophers of language. For instance the racial slur "nigger" is explosively derogatory, enough so that just hearing it mentioned can leave one feeling as if they have been made complicit in a morally atrocious act.. Indeed, the very taboo nature of these words makes discussion of them typically prohibited or frowned upon. Although it is true that the utterance of slurs is illegitimate and derogatory in (...) most contexts, sufficient evidence suggests that slurs are not always or exclusively used to derogate. In fact, slurs are frequently picked up and appropriated by the very in-group members that the slur was originally intended to target. This might be done, for instance, as a means for like speakers to strengthen in-group solidarity. So an investigation into the meaning and use of slurs can give us crucial insight into how words can be used with such derogatory impact, and how they can be turned around and appropriated as vehicles of rapport in certain contexts among in-group speakers. In this essay I will argue that slurs are best characterized as being of a mixed descriptive/expressive type. Next, I will review the most influential accounts of slurs offered thus far, explain their shortcomings, then provide a new analysis of slurs and explain in what ways it is superior to others. Finally, I suggest that a family-resemblance conception of category membership can help us achieve a clearer understanding of the various ways in which slurs, for better or worse, are actually put to use in natural language discourse. (shrink)

Non-cognitivists claim that thick concepts can be disentangled into distinct descriptive and evaluative components and that since thick concepts have descriptive shape they can be mastered independently of evaluation. In Non-Cognitivism and Rule-Following, John McDowell uses Wittgenstein’s rule-following considerations to show that such a non-cognitivist view is untenable. In this paper I do several things. I describe the non-cognitivist position in its various forms and explain its driving motivations. I then explain McDowell’s argument against non-cognitivism and the Wittgensteinian considerations upon (...) which it relies, because this has been sufficiently misunderstood by critics and rarely articulated by commentators. After clarifying McDowell’s argument against non-cognitivism, I extend the analysis to show that commentators of McDowell have failed to appreciate his argument and that critical responses have been weak. I argue against three challenges posed to McDowell, and show that the case of thick concepts should lead us to reject non-cognitivism. (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)

Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...

Six experiments explored the hypothesis that the members of categories which are considered most prototypical are those with most attributes in common with other members of the category and least attributes in common with other categories. In probabilistic terms, the hypothesis is that prototypicality is a function of the total cue validity of the attributes of items. In Experiments 1 and 3, subjects listed attributes for members of semantic categories which had been previously rated for degree of prototypicality. High positive (...) correlations were obtained between those ratings and the extent of distribution of an item's attributes among the other items of the category. In Experiments 2 and 4, subjects listed superordinates of category members and listed attributes of members of contrasting categories. Negative correlations were obtained between prototypicality and superordinates other than the category in question and between prototypicality and an item's possession of attributes possessed by members of contrasting categories. Experiments 5 and 6 used artificial categories and showed that family resemblance within categories and lack of overlap of elements with contrasting categories were correlated with ease of learning, reaction time in identifying an item after learning, and rating of prototypicality of an item. It is argued that family resemblance offers an alternative to criterial features in defining categories. (shrink)

An ethnographer's account of his study of jazz-piano playing, which led to discoveries concerning the ways his hands learned about the keyboard and improvisation, sheds light on the nature and range of improvised conduct.

Peter Kivy has maintained that the Wittgensteinian account of ‘art’ ‘is not a going concern’ and that ‘the traditional task of defining the work of art is back in fashion, with a vengeance’. This is true, in large part, because of the turn towards relational definitions of ‘art’ taken by philosophers in the 1960s; a move that is widely believed to have countered the Wittgensteinian charge that ‘art’ is an open concept and which gave rise to a ‘New Wave’ in (...) aesthetic theorizing. So successful has this New Wave been that today the philosophy of art is awash with relational definitions, which are increasingly characterized by their technical sophistication and logical complexity. The aim of this essay is to oppose this trend; to demonstrate that relationalist definitions cannot avoid the problems which provided the impetus for the Wittgensteinian view and to show that the New Wavers cannot explain why anyone would want the definitions which they are offering, irrespective of their success or failure. I will also explore, in detail, the uses, as well as the limitations, of the Wittgensteinian approach to the concept of art. (shrink)

Easy to read, adorned with Mel Calman's brilliant illustrations, passionately argued, yet never less than scientifically profound, this book remains the...