According to the standard account of actions and their explanations, intentional actions are actions done because the agent has a certain desire/belief pair that explains the action by rationalizing it. Any explanation of intentional action in terms of an appetite or occurrent emotion is hence assumed to be elliptical, implicitly appealing to some appropriate belief. In this paper, I challenge this assumption with respect to the " arational " actions of my title---a significant subset of the set of intentional actions (...) explained by occurrent emotion. These actions threaten the standard account, not only by forming a recalcitrant set of counterexamples to it, but also, as we shall see, by undercutting the false semantic theory that holds that account in place. (shrink)

Challenging, with several powerful arguments, some of our deepest beliefs about rationality, morality, and personal identity, Parfit claims that we have a false view about our own nature. It is often rational to act against our own best interersts, he argues, and most of us have moral views that are self-defeating. We often act wrongly, although we know there will be no one with serious grounds for complaint, and when we consider future generations it is very hard to avoid conclusions (...) that most of us will find very disturbing. (shrink)

Introduction -- A default position -- Experience -- The character of experience -- Understanding-experience -- A note about dispositional mental states -- Purely experiential content -- An account of four seconds of thought -- Questions -- The mental and the nonmental -- The mental and the publicly observable -- The mental and the behavioral -- Neobehaviorism and reductionism -- Naturalism in the philosophy of mind -- Conclusion: The three questions -- Agnostic materialism, part 1 -- Monism -- The linguistic argument (...) -- Materialism and monism -- A comment on reduction -- The impossibility of an objective phenomenology -- Asymmetry and reduction -- Equal-status monism -- Panpsychism -- The inescapability of metaphysics -- Agnostic materialism, part 2 -- Ignorance -- Sensory spaces -- Experience, explanation, and theoretical integration -- The hard part of the mind-body problem -- Neutral monism and agnostic monism -- A comment on eliminativism, instrumentalism, and so on -- Mentalism, idealism, and immaterialism -- Mentalism -- Strict or pure process idealism -- Active-principle idealism -- Stuff idealism -- Immaterialism -- The positions restated -- The dualist options -- Frege's thesis -- Objections to pure process idealism -- The problem of mental dispositions -- Mental -- Shared abilities -- The sorting ability -- The definition of mental being -- Mental phenomena -- The view that all mental phenomena are experiential phenomena -- Natural intentionality -- E/c intentionality -- The experienceless -- Intentionality and abstract and nonexistent objects -- Experience, purely experiential content, and n/c intentionality -- Concepts in nature -- Intentionality and experience -- Summary with problem -- Pain and pain -- The neo-behaviorist view -- A linguistic argument for the necessary connection between pain and behavior -- A challenge -- The Sirians -- N.N. Novel -- An objection to the Sirians -- The Betelgeuzians -- The point of the Sirians -- Functionalism, naturalism, and realism about pain -- Unpleasantness and qualitative character -- The weather watchers -- The rooting story -- What is it like to be a weather watcher? -- The aptitudes of mental states -- The argument from the conditions for possessing the concept of space -- The argument from the conditions for language ability -- The argument from the nature of desire -- Desire and affect -- The argument from the phenomenology of desire -- Behavior -- A hopeless definition -- Difficulties -- Other-observability -- Neo-behaviorism -- The concept of mind. (shrink)

For a century there has been a divergence between what music theorists say music is about and what the ordinary listener actually experiences. Music theory has insisted on a separation of musical experience from the experience of emotions, from the passions. Yet a passionate experience of music is just what most ordinary listeners have. Charting a new course through the minefield of contemporary philosophy of music, Aaron Ridley provides a coherent defense of the ordinary listener's beliefs. Focusing on instrumental music (...) in the classical Western canon, Ridley defends the commonsense position on music and attempts to return the experience of music to the ordinary listener. He argues that, through a sympathetic experience of certain musical gestures, the listener is able to grasp the passions of which the music is expressive. If the passions are properly understood, he contends, there is a place for passion in a philosophical understanding of music. Similarly, the expression of passion may properly be considered part of the value of the music we hear. (shrink)