V.S. Ramachandran and William Hirstein's thought-provoking article ‘The science of art: a neurological theory of aesthetic experience’ and the accompanying commentaries raise serious questions about what a science of art is. Unfortunately this short piece will only be able to address them broadly. Overall the problems arise from the exclusion of neurological studies of artists, the exclusion of the artist's experience, and the premises of the theory, which are based on problematic valuations related to aesthetics and spirituality. With these valuations, (...) for which there is no scientific proof, the model is unable to sufficiently address the scope of what artists do and what art forms are. While it is my view that the Ramachandran and Hirstein theory is fundamentally flawed, it is likely the flaws are due to implicit assumptions rather than explicit intentions. (shrink)

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...) represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

This essay considers the reliability and proper role of authorial intention in the interpretation of figurative language and argues that, even in cases of metaphor and irony, the meaning of a text must remain logically independent of the intent of its historical author. Irony and metaphor have been broadly considered to be the most problematic cases for the anti-intentionalist approach to interpretation. The arguments in this essay address standard intentionalist arguments and, in the end, defend a sort of hypothetical intentionalism (...) that is, in all significant respects, anti-intentionalist. (shrink)

This book is a philosophical study of the relations between hearing and thinking about music. The central problem it addresses is as follows: how is it possible to talk about what a listener perceives in terms that the listener does not recognize? By applying the concepts and techniques of analytic philosophy the author explores the ways in which musical hearing may be described as nonconceptual, and how such mental representation contrasts with conceptual thought. The author is both philosopher and musicologist (...) and uniquely combines the perspectives of both disciplines. Exploring the philosophical questions of mental representation in the relatively neglected, nonverbal domain of music, this study is a major contribution to the philosophical understanding of music perception and cognitive theory. (shrink)

At the time of his death in May 1961, Maurice Merleau-Ponty held the chair of Philosophy at the College de France. Together with Jean-Paul Sartre and Simone de Beauvoir, he was cofounder of the successful and influential review Les Temps Modernes. However, after Merleau-Ponty's two studies of Marxist theory and practice (Humanisme et Terreur and Les Aventures de la Dialectique), he alienated both orthodox Marxists and "mandarins of the left" such as Sartre and de Beauvoir. Perhaps his most lasting contribution (...) to the interpretation of human existence was his formulation of a positive philosophical approach to psychology the foundations of which were clearly outlined in The Structure of Behavior and later more fully developed in Phenomenology of Perception. (shrink)

Much as we would like to conceive empirical thought as rationally grounded in experience, pitfalls await anyone who tries to articulate this position, and ...

Some have claimed that people with very different beliefs literally see the world differently. Thus Thomas Kuhn: ‘what a man sees depends both upon what he looks at and also upon what his previous visual—conceptual experience has taught him to see’ (Kuhn 1970, p. ll3). This view — call it ‘Perceptual Relativism’ — entails that a scientist and a child may look at a cathode ray tube and, in a sense, the first will see it while the second won’t. The (...) claim is not, of course, that the child’s experience is ‘empty’; but that, unlike the scientist, it does not see the tube as a cathode ray tube. One way of supporting this claim is to say that one cannot see something as an F unless one has the concept F. Since the child plainly lacks the concept of a cathode ray tube, it cannot see it as a cathode ray tube. Although Perceptual Relativism is hard to believe, this supporting suggestion is not so implausible. After all, when we see (and more generally, perceive) the world, the world is presented to us in a particular way; so how can we see it as being that way unless we have some idea or conception of the way it is presented? We need not be committed to a representative theory of perception to think that perceptions in some sense represent the world. We can express this by saying that perceptions have content. Now it is a commonplace that the contents of beliefs and the other propositional attitudes involve concepts. The belief that this thing is a cathode ray tube involves, in some sense, the concept cathode ray tube. So the line of thought behind Perceptual Relativism may be expressed thus: seeing an F as an F is a state with content. (shrink)

John Searle's Speech Acts (1969) and Expression and Meaning (1979) developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, (...) though third in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

John Searle's Speech Acts (1969) and Expression and Meaning (1979) developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, (...) though third in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...) tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (shrink)

Through the use of such "folk" concepts as belief, desire, intention, and expectation, Daniel Dennett asserts in this first full scale presentation of...

Lerdahl and Jackendoff's Generative Theory of Tonal Music (GTTM) is an important contribution to cognitive science. Jackendoff claims it is a computationalist theory and that the mental representations it postulates are unconscious. Thus GTTM looks to be a kind of cognitive science remote from the folk-psychological. I argue that this picture of GTTM is mistaken: GTTM is at least as much music analysis as cognitive science. Jackendoff's metatheory fails to explain how a listener can tell that a structural description corresponds (...) to the way she hears, how analytically minded listeners can communicate about their hearing, and how a reader of their book can comprehend it. I suggest an alternative construal, on which GTTM's analytical vocabulary functions as a public language and its mental representations are perceptual beliefs. Interesting philosophical problems ensue about knowledge of musical structure and knowledge about what structures one hears. There is a paradox: one wants an analysis to be true to a hearing, yet to be illuminating. Though analysis and hearing coincide in content at an abstract level, they do not coincide in conceptual content. What sort of knowledge then underlies the inference from perceptual to music-analytical representation? I argue that such knowledge is a priori. (shrink)

I assess the claim that metarepresentation is a key notion in understanding the nature and development of our capacity to engage in pretence. I argue that the metarepresentational programme is unhelpful in explaining how pretence operates and, in particular, how agents distinguish pretence from belief. I sketch an alternative approach to the relations between pretending and believing. This depends on a distinction between pretending and pretence, and upon the claim that pretence stands to pretending as truth stands to belief.

I assess the claim that metarepresentation is a key notion in understanding the nature and development of our capacity to engage in pretence. I argue that the metarepresentational programme is unhelpful in explaining how pretence operates and, in particular, how agents distinguish pretence from belief. I sketch an alternative approach to the relations between pretending and believing. This depends on a distinction between pretending and pretence, and upon the claim that pretence stands to pretending as truth stands to belief.

The Architecture of Mind is an ambitious and informative work, surveying an impressive range of empirical literature and arguing that the mind is massively modular. However, it suffers from two major theoretical flaws. First, Carruthers’ concept of a module is weak, so much so that it robs his thesis of massive modularity of any real substance. Second, his conception of how the mind’s modules evolved ignores the role of niche construction and cultural evolution to its detriment.

What is the role of conscious visual experience in the control and guidance of human behaviour? According to some recent treatments, the role is surprisingly indirect. Conscious visual experience, on these accounts, serves the formation of plans and the selection of action types and targets, while the control of 'online' visually guided action proceeds via a quasi-independent non-conscious route. In response to such claims, critics such as (Wallhagen [2007], pp. 539-61) have suggested that the notions of control and guidance invoked (...) are unacceptably vague, and that that the image of 'zombie systems' guiding action fails to take account of the possibility that there is genuine but unconceptualized, unnoticed, and/or unreportable experience taking place and guiding or controlling the actions. I address both sets of concerns. I try to show that refining and clarifying the key notions of control and guidance leaves the original argument intact, as does the appeal to unconceptualized, unnoticed, or unreportable experiences. The exercise serves, however, to highlight an important complex of considerations concerning the relations between control, agency, and experience. Better understanding these relations is, I suggest, an important source of insights concerning the nature of phenomenal experience. (shrink)

How should we characterize the functional role of conscious visual experience? In particular, how do the conscious contents of visual experience guide, bear upon, or otherwise inform our ongoing motor activities? According to an intuitive and (I shall argue) philosophically influential conception, the links are often quite direct. The contents of conscious visual experience, according to this conception, are typically active in the control and guidance of our fine-tuned, real-time engagements with the surrounding three-dimensional world. But this idea (which I (...) shall call the Assumption of Experience-Based Control) is hostage to empirical fortune. It is a hostage, moreover, whose safety is in serious doubt. Thus Milner and Goodale (1995) argue for a deep and abiding dissociation between the contents of conscious seeing, on the one hand, and the resources used for the on-line guidance of visuo-motor action, on the other. This ‘dual visual systems’ hypothesis, which finds many echoes in various other bodies of cognitive scientific research, poses a prima facie challenge to the Assumption of Experience-Based Control. More importantly, it provides (I shall argue) fuel for an alternative and philosophically suggestive account of the functional role of conscious visual experience. (shrink)

How should we characterize the functional role of conscious visual experience? In particular, how do the conscious contents of visual experience guide, bear upon, or otherwise inform our ongoing motor activities? According to an intuitive and philosophically influential conception, the links are often quite direct. The contents of conscious visual experience, according to this conception, are typically active in the control and guidance of our fine-tuned, real-time engagements with the surrounding three-dimensional world. But this idea is hostage to empirical fortune. (...) It is a hostage, moreover, whose safety is in serious doubt. Thus Milner and Goodale argue for a deep and abiding dissociation between the contents of conscious seeing, on the one hand, and the resources used for the on-line guidance of visuo-motor action, on the other. This ‘dual visual systems’ hypothesis, which finds many echoes in various other bodies of cognitive scientific research, poses a prima facie challenge to the Assumption of Experience-Based Control. More importantly, it provides fuel for an alternative and philosophically suggestive account of the functional role of conscious visual experience. (shrink)

A study in the philosophy of science, proposing a strong form of the doctrine of scientific realism' and developing its implications for issues in the philosophy of mind.

The present essay is addressed simultaneously to two distinct audiences.

The doctrine that the character of our perceptual knowledge is plastic, and can vary substantially with the theories embraced by the perceiver, has been criticized in a recent paper by Fodor. His arguments are based on certain experimental facts and theoretical approaches in cognitive psychology. My aim in this paper is threefold: to show that Fodor's views on the impenetrability of perceptual processing do not secure a theory-neutral foundation for knowledge; to show that his views on impenetrability are almost certainly (...) false; and to provide some additional arguments for, and illustrations of, the theoretical character of all observation judgments. (shrink)

Hurley’s is a difficult book to work through—partly because of its length and the complexity of its arguments, but also because each of the ten essays of which it is composed has a rather different starting point and focus, and because few of her arguments achieve real closure. Essay 2 discusses competing interpretations of Kant, essay 4 articulates nonconceptual forms of self-consciousness, essay 5 offers fresh interpretations of commissurotomy patients’ behavior, essay 6 develops an objection to Wittgenstein on rule following, (...) essay 8 attacks an alleged assumption of externalism, and chapter 10 explores the possibility of combining a “motor theory” and a “control theory” of perception. This is a very rich brew, and at least half the challenge this book presents consists in discerning its central argument and conclusion with enough precision to bring criticism to bear. (shrink)

This paper defends two initial claims. First, it argues that essentially the same cognitive resources are shared by adult creative thinking and problem-solving, on the one hand, and by childhood pretend play, on the other—namely, capacities to generate and to reason with suppositions (or imagined possibilities). Second, it argues that the evolutionary function of childhood pretence is to practice and enhance adult forms of creativity. The paper goes on to show how these proposals can provide a smooth and evolutionarily-plausible explanation (...) of the gap between the first appearance of our species in Southern Africa some 100,000 years ago, and the ‘creative explosion’ of cultural, technological and artistic change which took place within dispersed human populations some 60,000 years later. The intention of the paper is to sketch a proposal which might serve as a guide for future interdisciplinary research. 1 Introduction 2 Creativity and Pretence 3 Language and Creativity 4 Language and Cultural Accretions 5 Language, Play and Model-Building 6 Creativity, Protean Cognition and Sexual Selection 7 The Evolution of Pretence 8 The Emergence of Supposing 9 Pretence and Motivation 10 Two Objections 11 Conclusion. (shrink)

John Campbell investigates how consciousness of the world explains our ability to think about the world; how our ability to think about objects we can see depends on our capacity for conscious visual attention to those things. He illuminates classical problems about thought, reference, and experience by looking at the underlying psychological mechanisms on which conscious attention depends.

We use evidence from cognitive psychology and the history of science to examine the issue of the theory-ladenness of perceptual observation. This evidence shows that perception is theory-laden, but that it is only strongly theory-laden when the perceptual evidence is ambiguous or degraded, or when it requires a difficult perceptual judgment. We argue that debates about the theory-ladenness issue have focused too narrowly on the issue of perceptual experience, and that a full account of the scientific process requires an examination (...) of theory-ladenness in attention, perception, data interpretation, data production, memory, and scientific communication. We conclude that the evidence for theory-ladenness does not lead to a relativist account of scientific knowledge. (shrink)

Bill Brewer presents an original view of the role of conscious experience in the acquisition of empirical knowledge. He argues that perceptual experiences must provide reasons for empirical beliefs if there are to be any determinate beliefs at all about particular objects in the world. This fresh approach to epistemology turns away from the search for necessary and sufficient conditions for knowledge and works instead from a theory of understanding in a particular area.

Such claims are part 0f a viewpoint according t0 which mental images represent in thc manner of pictures. It is very natural t0 think that such claims are confused or nonsensical. One of my purposes here is a limited dcfcnsc of this supposedly confused doctrine, especially against its chief cognitive science rival. But this..

Animate vision systems have gaze control mechanisms that can actively position the camera coordinate system in response to physical stimuli. Compared to passive systems, animate systems show that visual computation can be vastly less expensive when considered in the larger context of behavior. The most important visual behavior is the ability to control the direction of gaze. This allows the use of very low resolution imaging that has a high virtual resolution. Using such a system in a controlled way provides (...) additional constraints that dramatically simplify the computations of early vision. Another important behavior is the way the environment “behaves‘. Animate systems under real-time constraints can further reduce their computational burden by using environmental cues that are perspicuous in the local context. A third source of economy is introduced when behaviors are learned. Because errors are rarely fatal, systems using learning algorithms can amortize computational cost over extended periods. Further economies can be achieved when the learning system uses indexical reference, which is a form of dynamic variable binding. Animate vision is a natural way of implementing this dynamic binding. (shrink)