Interpreting Figurative Meaning critically evaluates the recent empirical work from psycholinguistics and neuroscience examining the successes and difficulties associated with interpreting figurative language. There is now a huge, often contradictory literature on how people understand figures of speech. Gibbs and Colston argue that there may not be a single theory or model that adequately explains both the processes and products of figurative meaning experience. Experimental research may ultimately be unable to simply adjudicate between current models in psychology, linguistics and philosophy (...) of how figurative meaning is interpreted. Alternatively, the authors advance a broad theoretical framework, motivated by ideas from 'dynamical systems theory', that describes the multiple, interacting influences which shape people's experiences of figurative meaning in discourse. This book details past research and theory, offers a critical assessment of this work and sets the stage for a new vision of figurative experience in human life. (shrink)

The present volume provides an introduction to the major themes of work in experimental philosophy, bringing together some of the most influential articles in ...

This is not your psychoanalyst's unconscious.

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

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 ...

The classic, influential essay in 'descriptive metaphysics' by the distinguished English philosopher.

This book offers an introduction to the way art is perceived, interpreted, and felt and approaches these mindful events from a multidisciplinary perspective.

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth (...) of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)

The aim of this paper is to evaluate etiological accounts of functions for the domain of technical artefacts. Etiological theories ascribe functions to items on the basis of the causal histories of those items; they apply relatively straightforwardly to the biological domain, in which neo-Darwinian evolutionary theory provides a well-developed and generally accepted background for describing the causal histories of biological items. Yet there is no well-developed and generally accepted theory for describing the causal history of artefacts, so the application (...) of etiological theories to the technical domain is hardly straightforward. In this paper we consider the transposition of etiological theories in general from the biological to the technical domain. We argue that a number of etiological theories that appear defensible for biology become untenable for technology. We illustrate our argument by showing that the standard etiological accounts of Neander and Millikan, and some recent attempts to improve on them, provide examples of such untenable theories. 1 Introduction 2 Desiderata for theories of functions 3 Etiological theories in general 3.1 Common core and divergent aims 3.2 Reproduction versus non-reproduction etiological theories 3.3 Intentionalist versus non-intentionalist etiological theories 4 Problems for etiological theories in the technical domain 5 The failure of existing reproduction theories 6 The failure of existing non-reproduction theories 7 Improving reproduction by hybridisation 8 Conclusions. (shrink)

On the extended mind hypothesis (EM), many of our cognitive states and processes are hybrids, unevenly distributed across biological and nonbiological realms. In certain circumstances, things - artifacts, media, or technologies - can have a cognitive life, with histories often as idiosyncratic as those of the embodied brains with which they couple. The realm of the mental can spread across the physical, social, and cultural environments as well as bodies and brains. My independent aims in this chapter are: first, to (...) describe two compatible but distinct movements or "waves" within the EM literature, arguing for the priority of the second wave (and gesturing briefly toward a third); and, second, to defend and illustrate the interdisciplinary implications of EM as best understood, specifically for historical disciplines, by sketching two case studies. (shrink)

I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these two (...) came to be described in the early twentieth century. (shrink)

The central problem for pragmatics is that sentence meaning vastly underdetermines speaker’s meaning. The goal of pragmatics is to explain how the gap between sentence meaning and speaker’s meaning is bridged. This paper defends the broadly Gricean view that pragmatic interpretation is ultimately an exercise in mind-reading, involving the inferential attribution of intentions. We argue, however, that the interpretation process does not simply consist in applying general mind-reading abilities to a particular (communicative) domain. Rather, it involves a dedicated comprehension module, (...) with its own special principles and mechanisms. We show how such a metacommunicative module might have evolved, and what principles and mechanisms it might contain. (shrink)

Ernest Sosa presents a new approach to the problems of knowledge and scepticism. He argues for two levels of knowledge, the animal and the reflective, each viewed as a distinctive human accomplishment. Sosa's virtue epistemology illuminates different varieties of scepticism, the nature and status of intuitions, and epistemic normativity.

Ernest Sosa's A Virtue Epistemology, Vol. I is arguably the single-most important monograph to be published in analytic epistemology in the last ten years. Sosa, the first in the field to employ the notion of intellectual virtue – in his ground-breaking ‘The Raft and the Pyramid’– is the leading proponent of reliabilist versions of virtue epistemology. In A Virtue Epistemology, he deftly defends an externalist account of animal knowledge as apt belief, argues for a distinction between animal and reflective knowledge, (...) contends that rational intuition is an intellectual virtue ; and offers responses to dream scepticism, the problem of the criterion and the value problem. Nearly all of these arguments are new, albeit consistent with Sosa's earlier work; that is, consistent with two notable exceptions. First, c ontra Sosa's ‘Replies’ in Ernest Sosa and His Critics, A Virtue Epistemology explicitly contends that safety is not required for animal knowledge. Second, unlike Sosa's Knowledge in Perspective, which arguably construes the intellectual virtues as merely instrumentally valuable, A Virtue Epistemology explicitly contends that the intellectual virtues are instrumentally and constitutively valuable. Best read in conjunction with the above monographs and Epistemic Justification, A Virtue Epistemology is mandatory reading for epistemologists and graduate students in the field. It will rightly set the standard for debates in analytic epistemology for years to come.I will summarize and raise objections to two key conclusions that are unique to A Virtue Epistemology: the ‘kaleidoscope-perceiver’ has animal knowledge but lacks reflective knowledge; unlike the k-perceiver, the ordinary perceiver has reflective knowledge. My objections …. (shrink)

Reviewed Work: Explaining Explanation by David-Hillel Ruben .

If it is true, as one of its founders, George Miller, tells us, that cognitive science was born in 1956, then by human aging standards it is coming upon a mid-life crisis. Crises, as Kuhn has taught us, often precipitate radical change, in science as well as in individuals. It should therefore not be surprising to find that cognitive scientists have begun to look to the future and predict, or hope, that it will include both the beautiful and the good. (...) Thus it is that the neuroscientist, Semir Zeki, has recently declared: “We are at the threshold of a great enterprise” which he calls neuroesthetics. His optimism about that enterprise has been echoed by a number of other researchers; and for the most part, their hopefulness is based on discoveries about how pictures are perceived. So, for example, V. S. Ramachandran and William Hirstein have said that by understanding the neuropsychological principles of picture perception, we may come to understand the very “essence of art”. Indeed, by identifying perceptual principles in the right way, according to David Gilden, we may discover common ground for normative disciplines of all stripes; a theory of “what is sexy, what is virtue, or what is a good buy”. (shrink)