Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...) pictures stand to benefit by taking "directive pictures" into account, as do theories of representation in general and mental representation in particular. (shrink)

In this short paper I begin by underlining the sense in which my intentional-historical theory of art, first proposed in 1979, attributes to art a certain irreducible historicality. I next defend the theory, in broad outline, against a number of objections that have been raised against it in the past ten years. I conclude with some remarks on the similarities and differences between ordinary artefact concepts and the concept of an artwork.

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

I here defend hypothetical intentionalism, the view of literary and cinematic interpretation that I endorse, from some recent criticisms, and then illustrate the appeal of the view in connection with a recent film of enigmatic cast.

In common with history, all the social sciences crucially rely on descriptions of the past for their evidence. But when, if ever, is it reasonable to regard such descriptions as true? This book attempts to establish the conditions that warrant belief in historical descriptions. It does so in a non-technical way, analysing numerous illustrations of the different kinds of argument about the past employed by historians and others. The author concludes that no historical description can be finally proved, and that (...) we are only ever justified in believing them for certain practical purposes. This central question has not been addressed in such a thorough and systematic manner before. It draws on recent philosophy of history and will interest philosophers. But the wealth of material and accessibility of the presentation will also make it very valuable for historians and other social scientists concerned with the logic of their disciplines. (shrink)

It has often been suggested that people’s ordinary capacities for understanding the world make use of much the same methods one might find in a formal scientific investigation. A series of recent experimental results offer a challenge to this widely-held view, suggesting that people’s moral judgments can actually influence the intuitions they hold both in folk psychology and in causal cognition. The present target article distinguishes two basic approaches to explaining such effects. One approach would be to say that the (...) relevant competencies are entirely non-moral but that some additional factor (conversational pragmatics, performance error, etc.) then interferes and allows people’s moral judgments to affect their intuitions. Another approach would be to say that moral considerations truly do figure in workings of the competencies themselves. It is argued that the data available now favor the second of these approaches over the first. (shrink)

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...) cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction. (shrink)

This book demonstrates how children's imagination makes a continuing contribution to their cognitive and emotional development.

Required reading at more than 100 colleges and universities throughout North America.

The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.

In recent decades, epistemology has witnessed the development and growth of externalist theories of knowledge and justification. Critics of externalism have focused a bright spotlight on this approach and judged it unsuitable for realizing the true and original goals of epistemology. Their own favored approach, internalism, is defended as a preferable approach to the traditional concept of epistemic justification. I shall turn the spotlight toward internalism and its most prominent rationale, revealing fundamental problems at the core of internalism and challenging (...) the viability of its most popular rationale. Although particular internalist theories such as (internalist) foundationalism and coherentism will occasionally be discussed, those specific theories are not my primary concern. The principal concern is rather the general architecture of internalism, and the attempt to justify this architecture by appeal to a certain conception of what justification consists in. (shrink)

I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety of values (...) (moral, cognitive, aesthetic, etc.) that may be possessed by works of art and their value qua works of art. (shrink)

Contemplating imaginary scenarios that evoke certain sorts of quasi‐sensory intuitions may bring us to new beliefs about contingent features of the natural world. These beliefs may be produced quasi‐observationally; the presence of a mental image may play a crucial cognitive role in the formation of the belief in question. And this albeit fallible quasi‐observational belief‐forming mechanism may, in certain contexts, be sufficiently reliable to count as a source of justification. This sheds light on the central puzzle surrounding scientific thought experiment, (...) which is how contemplation of an imaginary scenario can lead to new knowledge about contingent features of the natural world. (shrink)

The aim of this article is to expand the diet of examples considered in philosophical discussions of imagination and pretense, and to offer some preliminary observations about what we might learn about the nature of imagination as a result. The article presents a number of cases involving imaginative contagion: cases where merely imagining or pretending that P has effects that we would expect only perceiving or believing that P to have. Examples are offered that involve visual imagery, motor imagery, fictional (...) emotions, and social priming. It is suggested that imaginative contagion is a more prevalent phenomenon than has typically been recognized. (shrink)

The capacity to represent things to ourselves as possible plays a crucial role both in everyday thinking and in philosophical reasoning; this volume offers much-needed philosophical illumination of conceivability, possibility, and the relations between them.

Emotions are viewed as having evolved through their adaptive value in dealing with fundamental life-tasks. Each emotion has unique features: signal, physiology, and antecedent events. Each emotion also has characteristics in common with other emotions: rapid onset, short duration, unbidden occurrence, automatic appraisal, and coherence among responses. These shared and unique characteristics are the product of our evolution, and distinguish emotions from other affective phenomena.

Cognitive ecology is the study of cognitive phenomena in context. In particular, it points to the web of mutual dependence among the elements of a cognitive ecosystem. At least three fields were taking a deeply ecological approach to cognition 30 years ago: Gibson’s ecological psychology, Bateson’s ecology of mind, and Soviet cultural-historical activity theory. The ideas developed in those projects have now found a place in modern views of embodied, situated, distributed cognition. As cognitive theory continues to shift from units (...) of analysis defined by inherent properties of the elements to units defined in terms of dynamic patterns of correlation across elements, the study of cognitive ecosystems will become an increasingly important part of cognitive science. (shrink)

In four experiments using an artificial grammar learning procedure, the authors examined the links between the “classic” mere exposure effect [heightened affect for previously encountered stimulus items ] and the “structural” mere exposure effect [greater hedonic appreciation for novel stimuli that conform to an implicitly acquired underlying rule system ]. After learning, participants: classified stimuli according to whether they conformed to the principles of the grammar and, rated them in terms of how much they liked them. In some experiments unusual (...) and unfamiliar symbols were used to instantiate the AG, in others highly familiar characters were used. In all cases participants showed standard AG learning. However, whether the two exposure effects emerged was dependent on symbol familiarity. Symbols with high a priori familiarity produced a structural mere exposure effect. Moderately familiar symbols produced only the classic, but not the structural, mere exposure effect. Highly unfamiliar symbols produced neither exposure effect. Results are discussed in the context of implicit learning theory and implications for a general theory of aesthetics are presented. (shrink)

We commonly hear it said that a work of art must be understood “on its own terms,” and that phrase is used in other contexts as well; people, especially people very different from ourselves, are said to have to be understood on their own terms. But what is the meaning of the expression “on its/their own terms?” Note that we do not say of every possible object of understanding that it must be understood on its own terms. The statement, “Chemistry (...) must be understood on its own terms,” sounds odd. The “on its own terms” appears to lack point. It invites the retort, “Good grief, on what other terms had you expected to understand it?!” We seem to be brought to this: where the exhortation “understand it on its own terms” is to be used in reference to some object, there must be some reasonable way of understanding that object alternative to understanding it on its own terms. We may ask the child its own childish reasons why it keeps clobbering little sister (“She took my dolly!”), or we may account for its actions in terms the child does not comprehend (“sibling rivalry”). We may on occasion even do the same sort of thing with adults, perhaps giving a reason out of Freud for something done by a person who never heard of Freud or psychoanalysis. But naturally, distinctions between “their terms” and “our terms” become of extreme importance when we attempt to understand the peoples of other cultures. In such cases there literally are different systems of terms, that is, different languages, within which we must make sense of activities. (shrink)

Europeans seeking to understand tribal arts face obvious problems of comprehending the histories, values, and ideas of vastly remote cultures. In this respect the issues faced in understanding tribal art (or folk art, primitive art, traditional art, third or fourth-world art — none of these designations is ideal) are not much different from those encountered in trying to comprehend the distant art of “our own” culture, for instance, the art of medieval Europe. But in the case of tribal or so-called (...) primitive art, there are special complications. First, objects of tribal art are sometimes so strange to us that we cannot tell immediately whether they are intended to be works of art (or some local analogue of what we would call art) at all.1An African head-rest I once came across had an odd, extravagant extrusion which made the whole piece reminiscent of Arp. It seemed to my baffled, ignorant eyes to be much more than a mere head-rest, but I couldn’t tell what more it was supposed to be. Maybe that extension on the side of the object had some purely utilitarian function, acting as a handle, or perhaps it was a natural part of the original block of wood, left there merely because it looked nice to the eye of the carver. Though the head-rest seemed beautiful, I still don’t know if I was admiring as an essentially expressive object some simple item of practical use, or something that combined expression and utility. (shrink)

Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.

This book presents an attempt to develop a theory of knowledge and a philosophy of mind using ideas derived from the mathematical theory of communication developed by Claude Shannon. Information is seen as an objective commodity defined by the dependency relations between distinct events. Knowledge is then analyzed as information caused belief. Perception is the delivery of information in analog form for conceptual utilization by cognitive mechanisms. The final chapters attempt to develop a theory of meaning by viewing meaning as (...) a certain kind of information-carrying role. (shrink)

In this lucid portrayal of human behavior, Fred Dretske provides an original account of the way reasons function in the causal explanation of behavior.

Barbara Maria Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain’s material realities. In _Echo Objects,_ she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations—particularly the intricate ways that images focus intentional behavior and allow us to feel thought. As a result, _Echo Objects_ is (...) a stunningly broad exploration of how complex images—or patterns that compress space and time—make visible the invisible ordering of human consciousness. Stafford demonstrates, for example, how the compound formats of emblems, symbols, collage, and electronic media reveal the brain’s grappling to construct mental objects that are redoubled by prior associations. In contrast, she shows that findings in evolutionary biology and the neurosciences are providing profound opportunities for understanding aesthetic conundrums such as the human urge to imitate and the role of narrative and nonnarrative representation. Ultimately, she makes an impassioned plea for a common purpose—for the acknowledgement that, at the most basic level, these separate projects belong to a single investigation. “Heroic.... The larger message of Stafford’s intense, propulsive prose is unassailable. If we are to get much further in the great puzzle of ‘binding’—how the perception of an image, the will to act on intention, or the forging of consciousness is assembled from the tens of thousands of neurons firing at any one moment in time—then there needs to be action on all fronts.”—_Science_. (shrink)

The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

Hilary Putnam deals in this book with some of the most fundamental persistent problems in philosophy: the nature of truth, knowledge and rationality. His aim is to break down the fixed categories of thought which have always appeared to define and constrain the permissible solutions to these problems.

A variety of scientific disciplines have set as their task explaining mental activities, recognizing that in some way these activities depend upon our brain. But, until recently, the opportunities to conduct experiments directly on our brains were limited. As a result, research efforts were split between disciplines such as cognitive psychology, linguistics, and artificial intelligence that investigated behavior, while disciplines such as neuroanatomy, neurophysiology, and genetics experimented on the brains of non-human animals. In recent decades these disciplines integrated, and with (...) the advent of techniques for imaging activity in human brains, the term cognitive neuroscience has been applied to the integrated investigations of mind and brain. This book is a philosophical examination of how these disciplines continue in the mission of explaining our mental capacities. (shrink)

Since its publication in 1959, Individuals has become a modern philosophical classic. Bold in scope and ambition, it continues to influence debates in metaphysics, philosophy of logic and language, and epistemology. Peter Strawson's most famous work, it sets out to describe nothing less than the basic subject matter of our thought. It contains Strawson's now famous argument for descriptive metaphysics and his repudiation of revisionary metaphysics, in which reality is something beyond the world of appearances. Throughout, Individuals advances some highly (...) influential and controversial ideas, such as 'non-solipsistic consciousness' and the concept of a person a 'primitive concept'. (shrink)

How do we go about weighing evidence, testing hypotheses, and making inferences? According to the model of _Inference to the Best Explanation_, we work out what to infer from the evidence by thinking about what would actually explain that evidence, and we take the ability of a hypothesis to explain the evidence as a sign that the hypothesis is correct. In _Inference to the Best Explanation_, Peter Lipton gives this important and influential idea the development and assessment it deserves. The (...) second edition has been substantially enlarged and reworked, with a new chapter on the relationship between explanation and Bayesianism, and an extension and defence of the account of contrastive explanation. It also includes an expanded defence of the claims that our inferences really are guided by diverse explanatory considerations, and that this pattern of inference can take us towards the truth. This edition of _Inference to the Best Explanation_ has also been updated throughout and includes a new bibliography. (shrink)

The notion that our society, its education system and its intellectual life, is characterised by a split between two cultures – the arts or humanities on one hand, and the sciences on the other – has a long history. But it was C. P. Snow's Rede lecture of 1959 that brought it to prominence and began a public debate that is still raging in the media today. This 50th anniversary printing of The Two Cultures and its successor piece, A Second (...) Look features an introduction by Stefan Collini, charting the history and context of the debate, its implications and its afterlife. The importance of science and technology in policy run largely by non-scientists, the future for education and research, and the problem of fragmentation threatening hopes for a common culture are just some of the subjects discussed. (shrink)

Professor Gombrich's last book and first narrative work in over 20 years.