In this paper I show how the way experience presents things to us can be treated without attributing a representational content to experience. The basic claim that experience can present us with more things than the range of things available to us in thought is neutral with respect to the choice between a content account of experience and a naïve content-free account. I show how Meyer's theory of expectations in accounting for our experience of music supports the naïve account. Expectations (...) provide an account of the conditions that enable things to be salient in experience as targets for attention. Expectations do not provide a content to experience. (shrink)

I want to begin by thanking Judith Green for organizing this symposium, and all the contributors for their thoughtful attention to my work.Pragmatism is currently undergoing an apparent revival, with a number of philosophers not normally associated with the movement claiming to have joined the club: following the lead of Dick Rorty, Isaac Levi, and Hilary Putnam, Robert Brandom and Huw Price have also declared their pragmatist allegiance. I, too, have signed on. But, as Seth Joshua Thomas astutely notes in (...) his essay, should those who have labored long and hard during times when the writings of Peirce, James, and Dewey were neglected (and often brusquely dismissed) take these self-ascriptions seriously? After all.. (shrink)

A theory of conceptual development must specify the innate representational primitives, must characterize the ways in which the initial state differs from the adult state, and must characterize the processes through which one is transformed into the other. The Origin of Concepts (henceforth TOOC) defends three theses. With respect to the initial state, the innate stock of primitives is not limited to sensory, perceptual, or sensorimotor representations; rather, there are also innate conceptual representations. With respect to developmental change, conceptual development (...) consists of episodes of qualitative change, resulting in systems of representation that are more powerful than, and sometimes incommensurable with, those from which they are built. With respect to a learning mechanism that achieves conceptual discontinuity, I offer Quinian bootstrapping. TOOC concludes with a discussion of how an understanding of conceptual development constrains a theory of concepts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dewey's Art as ExperienceThe Psychological BackgroundRichard Shusterman (bio)IThe year 2009 marks the 150th anniversary of John Dewey's birth and also the 75th anniversary of the publication of his aesthetic masterpiece Art as Experience—a book that has been extremely influential within the field of aesthetics, not only in philosophical aesthetics and aesthetic education but also in the arts themselves.1 I am honored to commemorate this double Deweyan anniversary with an (...) essay that reexamines Art as Experience by briefly tracing some of its major themes and clarifying its generative context of production and philosophical roots, while also suggesting, in passing, how some of these themes and roots contribute to its continuing philosophical relevance. Before going further, I should offer two preliminary cautions. First, Dewey's aesthetic magnum opus is obviously too rich and masterful in ideas and influence for any brief commemorative essay to hope to do it sufficient justice. Second, as Dewey defined philosophy as "a criticism of criticisms," so my remarks will include a critical dimension.2 This in no way denies my immense admiration for Dewey's achievement in Art as Experience, just as my noting of some formative influences on this work is in no way meant to diminish the impressive originality of his contribution.Dewey's Art as Experience first established pragmatist aesthetics on the philosophical map, yet his text makes no mention of pragmatism. There are good reasons for Dewey's reluctance to highlight the term. The pragmatic is closely linked to the practical, precisely the idea against which the aesthetic has, since Kant, been traditionally contrasted and often oppositionally defined as purposeless and disinterested. To describe his new aesthetic [End Page 26] explicitly as pragmatist might have aroused too much skepticism to insure Dewey's views a fair hearing. Moreover, the pragmatist movement did not yet have a real tradition of philosophical aesthetics on which Dewey could securely rely, a suspicious lack that encouraged the presumption that pragmatism had nothing worthwhile to offer the arts and no real interest in them. Neither C. S. Peirce (who first conceived and baptized pragmatism) nor William James (who made it an internationally famous movement and converted Dewey to it) provided any treatises on aesthetics in their voluminous and wide-ranging writings.It would be wrong to conclude, however, that these first prophets of pragmatism dismissed the aesthetic dimension as unimportant and that they contributed nothing to our understanding of art and criticism. As the originator of semiotics, Peirce significantly advanced the theory of symbols and interpretation in ways that enrich aesthetics. Appreciative of the role of play in creative expression and thought (which he tried to capture through an intriguing concept he called "musement"), Peirce also emphasized the immediately felt quality of experience (so crucial to aesthetics) as his first category of consciousness or "Firstness." Finally, Peirce urged the continuity and collaboration of aesthetics and ethics, even going so far as "making Ethics dependent upon Esthetics" and treating "the morally good … as a particular species of the esthetically good." If "Ethics is the science of the method of bringing Self-Control to bear to gain" what we desire, "what one ought to desire … will be to make [one's] life beautiful, admirable. Now the science of the Admirable is true Esthetics."3William James, whose keen aesthetic taste, wide culture, and love of art inspired his first career choice for painting, offered almost no theorizing in philosophical aesthetics because he was convinced that its abstract formal principles and discursive definitions necessarily failed to capture (and even tended to obscure) the crucial nameless subtleties of art that make all the difference in actual aesthetic experience. But James held the aesthetic dimension of experience (its immediately and distinctively felt but nameless qualities and the appeal that such qualities exercised on our minds and behavior) to be extremely important, well beyond the field of fine art. Maintaining that such aesthetic considerations deeply pervaded one's ethical and philosophical perspective, he even argued that contentions between rival worldviews rested largely on "aesthetic" discords or conflicting temperaments.4 James also devoted specific attention to the aesthetic emotions as "subtler emotions" (along with intellectual and moral... (shrink)

Contrary to some recent self-styled “linguistic pragmatists” who seek to dispense with the purportedly obsolete term “experience”. this essay attempts to show that pragmatism cannot cogently dispense with experience, understanding that term in its Deweyan sense as “culture” and not some sort of mentalistic perception or state. Focusing on Robert Brandom’s recent Perspectives on Pragmatism, I show how the very assumptions that Dewey meant to call into question with his “instrumentalist turn” in 1903 are enshrined in Brandom’s “new and improved” (...) form of pragmatism. Judged in terms of its pragmatic consequences, Brandom’s linguistic pragmatism returns to the well trodden paths and problems of analytic philosophy and not the radical approach that Dewey’s “cultural naturalism” (Dewey’s name for his philosophy) offers. The fundamental issue is not, I contend, between types of pragmatism at all but between conceptions of human nature and what a human life is. John Stuart Mill once said of Bentham that, for an empiricist, he had really very little experience, especially of human nature. I am afraid that the same judgment here is passed on those wishing to dispense with experience and somehow retain pragmatism. (shrink)

This paper argues that sociocultural accounts of learning fail to answer the key question about learning—how is it possible? Accordingly, we should adopt an individualist bootstrapping methodology in providing a theory of learning. Such a methodology takes seriously the idea that learning is staged and distinguishes between a non-comprehending engagement with things and a comprehending engagement. It suggests that, in the light of recent work in psychology with insights from Wittgenstein, there is rich scope for a bootstrapping account of learning. (...) The paper also argues that sociocultural approaches when pushed, either require some such bootstrapping account, or they collapse into an obscure Ficthean metaphysics in which individual abilities are ‘summoned into being’ by the attitudes of others. (shrink)