There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

Remembering that there’s a difference between intellectual and perceptual attention can help us avoid miscommunication due to meaning different things by the same terms, which has been a particular problem during the last hundred years or so of the study of attention. I demonstrate this through analyzing in depth one such miscommunication that occurred in a philosophical criticism of the influential psychological text, Inattentional Blindness. But after making the distinction between perceptual attention and intellectual attention, and after making an effort (...) to keep this distinction in mind, we are still faced with the problem of specifying what makes intellectual attention distinct from perceptual attention. In the second half of this article, I discuss the range of proposals about how to understand intellectual attention that are present in the literature, and the problems with them. I do this with the aim of stimulating further discussion about how best to conceptualize intellectual attention, although I do not settle that further question within this paper. (shrink)

I argue that a study of the Nicomachean Ethics and of the Parva Naturalia shows that Aristotle had a notion of attention. This notion captures the common aspects of apparently different phenomena like perceiving something vividly, being distracted by a loud sound or by a musical piece, focusing on a geometrical problem. For Aristotle, these phenomena involve a specific selectivity that is the outcome of the competition between different cognitive stimuli. This selectivity is attention. I argue that Aristotle studied the (...) common aspects of the physiological processes at the basis of attention and its connection with pleasure. His notion can explain perceptual attention and intellectual attention as voluntary or involuntary phenomena. In addition, it sheds light on how attention and enjoyment can enhance our cognitive activities. (shrink)

There seem to be at least two leading conceptions of art appreciation. The first, and by far the most popular, it seems to me, regards “appreciation” as a synonym for “approbation,” which itself can be a synonym for affection or even love. “To appreciate,” in this sense, is “to cherish.” This is the notion of appreciation that most plain speakers have in mind when they say things such as “I appreciate what you’ve done with your garden.” They mean “I like (...) what you’ve done with your garden.” Call this “appreciation-as-liking.” Although I’ve claimed that this is the popular construal of appreciation, it also possesses some estimable philosophical credentials. David Hume, for example, seems to hold a... (shrink)

The general aim of this article is to consider whether various affective phenomena – feelings like the feeling of knowing, of familiarity, of certainty, etc., but also phenomena like curiosity, interest, surprise and trust – which have been labelled “epistemic emotions” in fact constitute a unified kind, i.e., the kind of the so-called “epistemic emotions”. Obviously, for an affective phenomenon to belong to the kind of the epistemic emotions, it has to meet two conditions: it has to qualify, first, as (...) an emotion, and, second, as an epistemic one. The paper is structured accordingly. The first part is devoted to the question whether the aforementioned affective phenomena really are emotions, while the second part bears on their hypothetical common epistemicity. (shrink)

The idea of is explored. It is claimed that there is something epistemically important about acquiring one's knowledge first-hand via active perception rather than second-hand via testimony. Moreover, it is claimed that this kind of active perceptual seeing it for oneself is importantly related to the kind of understanding that is acquired when one possesses a correct and appropriately detailed explanation of how cause and effect are related. In both cases we have a kind of seeing it for oneself which (...) serves what is claimed to be a fundamental good: intellectual autonomy. It is argued that this proposal leads to a distinctive view about the goal of inquiry as often being a certain kind of knowledge rather than knowledge simpliciter. Finally, it is claimed that treating intellectual autonomy as a fundamental good is entirely compatible with granting that there is an important social dimension to our epistemic practices. (shrink)

This paper is concerned with the possibility of an objectivism for aesthetic judgements capable of incorporating certain ‘subjectivist’ elements of aesthetic experience. The discussion focuses primarily on a desired cognitivism for aesthetic judgements, rather than on any putative realism of aesthetic properties. Two cognitivist theories of aesthetic judgements are discussed, one subjectivist, the other objectivist. It is argued that whilst the subjectivist theory relies too heavily upon analogies with secondary qualities, the objectivist account, which allows for some such analogies at (...) the epistemological level, is too quick to ground aesthetic judgements in perceptual experiences alone. Further, it is held that aesthetic justification can, contra the objectivist theory under scrutiny, be based on an appeal to generally available justifying reasons without overthrowing the non-inferential character of aesthetic judgements. This possibility relies on a clearly established delineation between (i) aesthetic perception and aesthetic judgement, (ii) justifying reasons and explaining reasons, and (iii) judgement-making and judgement-justification. (shrink)

Reviews evidence which suggests that there may be little or no direct introspective access to higher order cognitive processes. Ss are sometimes unaware of the existence of a stimulus that importantly influenced a response, unaware of the existence of the response, and unaware that the stimulus has affected the response. It is proposed that when people attempt to report on their cognitive processes, that is, on the processes mediating the effects of a stimulus on a response, they do not do (...) so on the basis of any true introspection. Instead, their reports are based on a priori, implicit causal theories, or judgments about the extent to which a particular stimulus is a plausible cause of a given response. This suggests that though people may not be able to observe directly their cognitive processes, they will sometimes be able to report accurately about them. Accurate reports will occur when influential stimuli are salient and are plausible causes of the responses they produce, and will not occur when stimuli are not salient or are not plausible causes. (shrink)

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

What is the best model of emotion if we are to reach a good understanding of the role of emotion in religious life? I begin by setting out a simple model of emotion, based on a paradigm emotional experience of fear of an immediate threat in one’s environment. I argue that the simple model neglects many of the complexities of our emotional lives, including in particular the complexities that one finds with the intellectual emotions. I then discuss how our dispositions (...) to have these kinds of emotions, which are part of what it is to be a virtuous intellectual enquirer, are subject to vicissitudes, in particular brought about by depression, apathy and other damaging changes to our psychic economy. These changes can flatten affect, so that one’s intellectual life goes cold on one. Finally, I commend the idea of applying this model of intellectual emotion onto religious emotion. (shrink)

The phenomenology of emotions has traditionally been understood in terms of bodily sensations they involve. This is a mistake. We should instead understand their phenomenology in terms of their distinctively evaluative intentionality. Emotions are essentially affective modes of response to the ways our circumstances come to matter to us, and so they are ways of being pleased or pained by those circumstances. Making sense of the intentionality and phenomenology of emotions in this way requires rejecting traditional understandings of intentionality and (...) so coming to see emotions as a distinctive and irreducible class of mental states lying at the intersection of intentionality, phenomenology, and motivation. (shrink)