In this paper, I explore the implications of recent empirical research on concept representation for the philosophical enterprise of conceptual analysis. I argue that conceptual analysis, as it is commonly practiced, is committed to certain assumptions about the nature of our intuitive categorization judgments. I then try to show how these assumptions clash with contemporary accounts of concept representation in cognitive psychology. After entertaining an objection to my argument, I close by considering ways in which conceptual analysis might be altered (...) to accord better with the empirical work. (shrink)

The arguments of Fodor, Garret, Walker and Parkes [(1980) Against definitions, Cognition, 8, 263-367] are the source of widespread skepticism in cognitive science about lexical semantic structure. Whereas the thesis that lexical items, and the concepts they express, have decompositional structure (i.e. have significant constituents) was at one time "one of those ideas that hardly anybody [in the cognitive sciences] ever considers giving up" (p. 264), most researchers now believe that "[a]ll the evidence suggests that the classical [(decompositional)] view is (...) wrong as a general theory of concepts" [Smith, Medin & Rips (1984) A psychological approach to concepts: comments on Rey, Cognition, 17, 272], and cite Fodor et al. (1980) as "sounding the death knell for decompositional theories" [MacNamara & Miller (1989) Attributes of theories of meaning, Psychological Bulletin, 106, 360]. I argue that the prevailing skepticism is unmotivated by the arguments in Fodor et al. Fodor et al. misrepresent the form, function and scope of the decompositional hypothesis, and the procedures they employ to test for the psychological reality of definitions are flawed. I argue, further, that decompositional explanations of the phenomena they consider are preferable to their primitivist alternatives, and, hence, that there is prima facie reason to accept them as evidence for the existence of decompositional structure. Cognitive scientists would, therefore, do well to revert to their former commitment to the decompositional hypothesis. (shrink)

Philosophers from Hume, Kant, and Wittgenstein to the recent realists and antirealists have sought to answer the question, What are concepts? This book provides a detailed, systematic, and accessible introduction to an original philosophical theory of concepts that Christopher Peacocke has developed in recent years to explain facts about the nature of thought, including its systematic character, its relations to truth and reference, and its normative dimension. Particular concepts are also treated within the general framework: perceptual concepts, logical concepts, and (...) the concept of belief are discussed in detail. The general theory is further applied in answering the question of how the ontology of concepts can be of use in classifying mental states, and in discussing the proper relation between philosophical and psychological theories of concepts. Finally, the theory of concepts is used to motivate a nonverificationist theory of the limits of intelligible thought. Peacocke treats content as broad rather than narrow, and his account is nonreductive and non-Quinean. Yet Peacocke also argues for an interactive relationship between philosophical and psychological theories of concepts, and he plots many connections with work in cognitive psychology. (shrink)

What are the groundrules in the philosophy of art? What criteria of adequacy should we use for assessing theories of art?

Berys Gaut has recently articulated and defended a putatively anti-definitional ‘cluster’ theory of art. In the first part of this paper, I argue that Gaut's version of the cluster account is flawed. The key notion of ‘counting toward the application of a concept’ is formulated in such a way that a range of apparently irrelevant properties will count as criterial for the concept of art. Moreover, there does not appear to be any quick fix to this problem. I then turn (...) to an exploration of the relationship between the cluster theory and the possibility of defining art. Gaut has claimed that the truth of the cluster account would provide an independent basis for rejecting the possibility of an adequate definition of art. I argue that this is not the case. But while the truth of the cluster account is consistent with definition, I also argue that it would not entail the definability of art in any ordinary sense. (shrink)

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.

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.

Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.

This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.

The renowned philosopher Jerry Fodor, a leading figure in the study of the mind for more than twenty years, presents a strikingly original theory on the basic constituents of thought. He suggests that the heart of cognitive science is its theory of concepts, and that cognitive scientists have gone badly wrong in many areas because their assumptions about concepts have been mistaken. Fodor argues compellingly for an atomistic theory of concepts, deals out witty and pugnacious demolitions of rival theories, and (...) suggests that future work on human cognition should build upon new foundations. This lively, conversational, and superbly accessible book is the first volume in the Oxford Cognitive Science Series, where the best original work in this field will be presented to a broad readership. Concepts will fascinate anyone interested in contemporary work on mind and language. Cognitive science will never be the same again. (shrink)

John Dupré explores the ways in which we categorize animals, including humans, and comes to refreshingly radical conclusions. He opposes the idea that there is only one legitimate way of classifying things in the natural world, the 'scientific' way. The lesson we should learn from Darwin is to reject the idea that each organism has an essence that determines its necessary place in the unique hierarchy of things. Nature is not like that: it is not organized in a single system. (...) For instance, there is no universal principle by which organisms can be sorted into species. We are obliged to accept that different classificatory schemes are equally valid, and to take a pluralistic view of biology and the human sciences. These provocative and readable essays move on to discuss a set of contentious topics relating to human nature. To start with, Dupré argues that the concept of a universal human nature should be rejected. He questions the relevance of evolution to explanation of human behaviour, and casts doubt on the concept of normality in human behaviour. He shows that misunderstanding of biology and evolution has lead to widespread misconceptions about human sex and gender-in particular, about sexual behaviour and gender roles. The books concludes with a pair of essays about the differences between humans and animals, which may not be quite so clear-cut as we think. (shrink)

Berys Gaut has recently defended a cluster account of art. He proposes it as superior to other anti-essentialist positions. I argue that his defence of this claim is unconvincing. Not only is the cluster theory consistent with the current crop of disjunctive definitions, it is at its most plausible when seen in such terms.

Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book (...) distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account 0f artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument. (shrink)

Jerry Fodor and Ernie Lepore have produced a series of original and controversial essays on issues relating to compositionality in language and mind; they have now revised them all for publication together in this volume. Compositionality is the following aspect of a system of representation: the complex symbols in the system inherit their syntactic and semantic properties from the primitive symbols of the system. Fodor and Lepore argue that compositionality determines what view we must take of the nature of concepts. (...) Anyone trying to figure out how language and mind work must take account of this challenging work by two leading figures in the field. (shrink)

What is art? The philosophers and historians contributing to this volume address the assertion that the term "art" no longer holds meaning.

Frank Jackson champions the cause of conceptual analysis as central to philosophical inquiry. In recent years conceptual analysis has been undervalued and widely misunderstood, suggests Jackson. He argues that such analysis is mistakenly clouded in mystery, preventing a whole range of important questions from being productively addressed. He anchors his argument in discussions of specific philosophical issues, starting with the metaphysical doctrine of physicalism and moving on, via free will, meaning, personal identity, motion, and change, to ethics and the philosophy (...) of color. In this way the book not only offers a methodological program for philosophy, but also casts new light on some much-debated problems and their interrelations. (shrink)

Ernie Lepore and Jerry Fodor have published a series of original and controversial essays on issues relating to compositionality in language and mind; they have...

PREFACE PART I METAPHYSICS Review of John McDowell’s Mind and World Special Sciences: Still Autonomous after All These Years Conclusion Acknowledgment Notes PART II CONCEPTS Review of Christopher Peacocke’s A Study of Concepts Notes There Are No Recognitional Concepts--Not Even RED Introduction Compositionality Why Premise P is Plausible Objections Conclusion Afterword Acknowledgment Notes There Are No Recognitional Concepts--Not Even RED, Part 2: The Plot Thickens Introduction: The Story ’til Now Compositonality and Learnability Notes Do We Think in Mentalese? Remarks on (...) Some Arguments of Peter Carruthers Appendix: Higher-Order Thoughts Notes Review of A. W. Moore’s Points of View PART III COGNITIVE ARCHITECTURE Review of Paul Churchland’s The Engine of Reason, The Seat of the Soul Connectionism and the Problem of Systematicity: Why Smolensky’s Solution Doesn’t Work Introduction I The Systematicity Problem and Its Classical Solution II Weak Compositionality III Strong Compositional Structure Conclusion Notes Connectionism and the Problem of Systematicity : Why Smolensky’s Solution Still Doesn’t Work Stage 1: Classical Theories The Connection with The Connection with Stage 2: Smolenksy Architectures Stage 3: Why Smolensky’s Solution Still Doesn’t Work Digression on singing and sailing Acknowledgment Notes There and Back Again: A Review of Annette Karmiloff-Smith’s Beyond Modularity 1. Encapsulation 2. Inaccessibility 3. Domain specificity 4. Innateness Conclusion Notes Review of Jeff Elman et al., Rethinking Innateness Brainlikeness Interactions Representational Nativism Empiricism Review of Steven Mithen’s The Prehistory of the Mind PART IV PHILOSOPHICAL DARWINISM Review of Richard Dawkins’s Climbing Mount Improbable Deconstructing Dennett’s Darwin Introduction Adaptation Adaptation and Teleology Deconstruction Notes Is Science Biologically Possible? Comments on Some Arguments of Patricia Churchland and of Alvin Plantinga Acknowledgment Notes Review of Steven Pinker’s How the Mind Works and Henry Plotkin’s Evolution in Mind Computation Massive modularity Innateness Psychological Darwinism. (shrink)

The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...) theory across the arts and to a variety of issues, demonstrating that it has far-reaching implications for our philosophical understanding of the nature of art.” - Stephen Davies, Associate Professor of Philosophy, University of Auckland.. (shrink)

Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), while (...) I take “aesthetic situations,” involving appreciators and objects made, at least in part, to be appreciated, to constitute something approaching a natural kind. Rather than dealing directly with the concept of a function I argue for three theses closely related to the idea that the function of art is aesthetic: that art is better than any other institution at promoting the aesthetic; that art is better at promoting the aesthetic than it is at doing anything else; and that art was intended by its instituters to promote the aesthetic. (shrink)