Expressions of emotion pose a serious challenge to the view that we perceive other people’s emotions directly. If we must perceive expressions in order to perceive emotions, then it is only ever the expressions that we are directly aware of, not emotions themselves. This paper develops a new response to this challenge by drawing an analogy between expressions of emotion and perceptual media. It is through illumination and sound, the paradigmatic examples of perceptual media, that we can see and hear (...) objects around us. Instead of screening these objects from view, however, they enable our perception while being transparent to us. With reference to perceptual constancy and transparency, I show how expressions show up in our experience of emotions in a surprisingly similar way. Given this, we can understand expressions as the media _through_ which we perceive emotions and overcome the above challenge to an otherwise attractive view. (shrink)

Critics have argued that human-controlled avatar interactions fail to facilitate the kinds of expressivity and social understanding afforded by our physical bodies. We identify three claims meant to justify the supposed expressive limits of avatar interactions compared to our physical interactions. First, “The Limited Expressivity Claim”: avatars have a more limited expressive range than our physical bodies. Second, “The Inputted Expressivity Claim”: any expressive avatarial behaviour must be deliberately inputted by the user. Third, “The Decoding Claim”: users must infer or (...) figure out the expressive meaning of human-controlled avatars’ behaviour through cognitively onerous processes. With the aim of critically assessing all three claims, we analyze data collected through observations of and interviews with expert players of the avatar-based video game League of Legends. Focusing on Daniel Stern’s (2010) notion of vitality, we analyze the participants’ descriptions of seeing and interacting with other avatars during performance. Our analysis shows that the informants experience human-based avatarial interactions as qualitatively different than interactions with bots, that the informants see the movements of other players’ avatars as having different expressive styles, and that the informants actively use and manipulate this avatarial expressivity during performance. The results of our analysis, we argue, provide reasons for loosening or resisting the three claims concerning the limits of avatarial expressivity. (shrink)

The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word “ (...) class='Hi'>expressiveness” is used for the audience-centered aspect, and I shall keep to this usage. In this paper I shall argue that although expression is closely related to expressiveness, the two concepts are distinct and, in particular, expressiveness cannot be analyzed in terms of expression, as has been recently suggested by Stephen Davies and Jerrold Levinson. Nonetheless, the richest examples of expression in the arts involve both expression and expressiveness. (shrink)

Kaplan (1999) argued that a different dimension of expressive meaning (“use-conditional”, as opposed to truth-conditional) is required to characterize the meaning of pejoratives, including slurs and racial epithets. Elaborating on this, writers have argued that the expressive meaning of pejoratives and slurs is either a conventional implicature (Potts 2007) or a presupposition (Macià 2002 and 2014, Schlenker 2007, Cepollaro and Stojanovic 2016). We argue that an expressive presuppositional theory accounts well for the data, but that expressive presuppositions are not just (...) propositions to be added to a common ground. We hold that expressives, including pejoratives and slurs, make requirements on a contextual record governed by sui generis norms specific to affective attitudes and their expressions. (shrink)

Many philosophers favour the simple knowledge account of assertion, which says you may assert something only if you know it. The simple account is true but importantly incomplete. I defend a more informative thesis, namely, that you may assert something only if your assertion expresses knowledge. I call this 'the express knowledge account of assertion', which I argue better handles a wider range of cases while at the same time explaining the simple knowledge account's appeal. §1 introduces some new data (...) that a knowledge account of assertion well explains. §2 explains the simple knowledge account's advantage over two of its main competitors. §3 presents a problem for the simple account and offers a solution, which is to adopt the express knowledge account. §4 encapsulates the case for the express knowledge account, and offers a unifying vision for the epistemology of belief and assertion. §5 answers an objection. §6 briefly sums up. Even those who ultimately reject my conclusion can still benefit from the new data presented in §1, and learn an important lesson from the problem discussed in §3, which demonstrates a general constraint on an acceptable account of the norm of assertion. (shrink)

According to an influential view about directed expressive duties (e.g., duties to express gratitude to benefactors, remorse to victims, forgiveness to wrongdoers), these duties do not have rights as their correlates, because they are not demandable and enforceable. The chapter argues that this view is mistaken. Like other directed duties, directed expressive duties are demandable and enforceable. While this does not entail that these duties have rights as their correlates, it does create a strong presumption of this being the case. (...) This shifts the burden of proof from those who hold that expressive duties correlate with rights to those who deny it. (shrink)

In this paper, the aim is to explore how there can be a role for expression of affect in illocution, drawing upon some ideas about expression put forward by Karl Bühler. In a first part of the paper, I map some active discussions and open questions surrounding phenomena that seem to involve “expression of affect”. Second, I home in on a smaller piece of that larger puzzle; namely, a consideration of how there may be non-conventional expression of affect. I provide (...) some examples of what I take that to involve and set out some premises for approaching it. In a third section, I motivate such an interest by pointing to a question in speech act theory concerning ‘force conventionalism’. This is whether and how illocution can be performed non-conventionally—that is, whether (at least some) utterances can be communicated with illocutionary force without need of convention. I propose that where expression of affect may occur non-conventionally, it may in turn constitute one important route through which at least some kinds of illocution are achieved. In the fourth part of the paper, I sketch an account of such non-conventional expression of affect for the purposes of illocution, by exploring a broadly Bühlerian account of some affects; namely, that some affects are teleological in character, that coordinations may be involved in their satisfactional states, and that uptake of the expressed affect constitutes one subset of such satisfactional states. That exposition points to the contemporary relevance of the “action theory of expression” proposed by Bühler. (shrink)

Many philosophers hold that punishment has an expressive dimension. Advocates of expressive theories have different views about what makes punishment expressive, what kinds of mental states and what kinds of claims are, or legitimately can be expressed in punishment, and to what kind of audience or recipients, if any, punishment might express whatever it expresses. I shall argue that in order to assess the plausibility of an expressivist approach to justifying punishment we need to pay careful attention to whether the (...) things which punishment is supposed to express are aimed at an audience. For the ability of any version of expressivism to withstand two important challenges, which I call the harsh treatment challenge’ and the ‘publicity challenge’ respectively. will depend on the way it answers them. The first of these challenges has received considerable discussion in the literature on expressive theories of punishment; the second considerably less. This is unfortunate. For careful consideration of the publicity challenge should lead us to favor a version of the expressive theory which has been under-discussed: the view on which punishment has an intended audience, and on which the audience is society at large, rather than—as on the most popular version of that view—the criminal. Furthermore, this view turns out to be better equipped to meet the harsh treatment challenge, and to be so precisely because of the way in which it meets the publicity challenge. (shrink)

This paper proposes a semantics for free choice permission that explains both the non-classical behavior of modals and disjunction in sentences used to grant permission, and their classical behavior under negation. It also explains why permissions can expire when new information comes in and why free choice arises even when modals scope under disjunction. On the proposed approach, deontic modals update preference orderings, and connectives operate on these updates rather than propositions. The success of this approach stems from its capacity (...) to capture the difference between expressing the preferences that give rise to permissions and conveying propositions about those preferences. (shrink)

I describe a phenomenon that has not yet been described in the epistemology literature. I label this phenomenon expression-style exclusion. Expression-style exclusion is an example of how s...

We can know some things about each others' mental lives. The view that some of this knowledge is genuinely perceptual is getting traction. But the idea that we can see any of each others' mental states themselves - the Simple Perceptual Hypothesis - remains unpopular. Very often the view that we can perceptually know, for example, that James is angry, is thought to depend either on our awareness of James' expression or on the way James appears - versions of what (...) I call the Expressive Hypothesis. The Expressive Hypothesis is intuitive. But in this chapter I argue that it does not allow us to do away with the thought that we sometimes perceive people's mental states. I take my arguments to provide some tentative support for the Simple Perceptual Hypothesis. (shrink)

The U.S. election in November 2016 raised and amplified doubts about first-past-the-post (“plurality rule”) electoral systems. Arguments against plurality rule and for alternatives like preferential voting tend to be consequentialist: it is argued that systems like preferential voting produce different, better outcomes. After briefly noting why the consequentialist case against plurality rule is more complex and contentious than it first appears, I offer an expressive alternative: plurality rule produces actual or apparent dilemmas for voters in ways that are morally objectionable, (...) and avoidable under preferential voting systems. This expressive case against plurality rule is both simpler and more ecumenical than its consequentialist counterpart, and it provides strong reasons to prefer alternatives to plurality rule. Moreover, it suggests a distinct way of evaluating different alternatives like preferential voting. (shrink)

‘How, then, she had asked herself, did one know one thing or another thing about people, sealed as they were?’ So asks Lily Briscoe in To the Lighthouse. It is this question, rather than any concern about pretence or deception, which forms the basis for the philosophical problem of other minds. Responses to this problem have tended to cluster around two solutions: either we know others’ minds through perception; or we know others’ minds through a form of inference. In the (...) first part of this paper I argue that this debate is best understood as concerning the question of whether our knowledge of others’ minds is based on perception or based on evidence. In the second part of the paper I suggest that our ordinary ways of thinking take our knowledge of others’ minds to be both non- evidential and non-perceptual. A satisfactory resolution to the philosophical problem of other minds thus requires us to take seriously the idea that we have a way of knowing about others’ minds which is both non-evidential and non-perceptual. I suggest that our knowledge of others’ minds which is based on their expressions – our expressive knowledge - may fit this bill. (shrink)

When an agent’s motivation is sensitive to how his supervisor thinks about the agent’s competence, the supervisor has to take into account both informational and expressive contents of her message to the agent. This paper shows that the supervisor can credibly express her trust in the agent’s ability only by being un- clear about what to do. Suggesting what to do, i.e., “directives,” could reveal the supervisor’s “distrust” and reduce the agent’s equilibrium effort level even though it provides useful information (...) about the decision environment. There is also an equilibrium in which directives are neutral in expressive content. However, it is shown that neologism proofness favors equilibria in which directives are double- edged swords. (shrink)

Hyperbole is traditionally understood as exaggeration. Instead, in this paper, we shall define it not just in terms of its form, but in terms of its effects and its purpose. Specifically, we characterize its form as a shift of magnitude along a scale of measurement. In terms of its effect, it uses this magnitude shift to make the target property more salient. The purpose of hyperbole is to express with colour and force that the target property is either greater or (...) lesser than expected or desired. This purpose is well suited to hyperbolic expression. This because hyperbole naturally draws a contrast between two points: how things are versus how they were expected to be. We also consider compound figures involving hyperbole. When it combines with other figures hyperbole operates by magnifying the specific effects of the figure it operates on. We shall see that sometimes hyperbole works as an input for irony; and at other times it builds on a metaphor to increase the effects of that metaphor. (shrink)

In this article, I link Lisa Feldman Barrett's theory of constructed emotion1 to decolonial perspectives that also challenge this universality of affect in cross-cultural facial expressions. After first outlining some of the present-day political stakes of these questions, I turn to Sylvia Wynter on the "ethnoclass of Man" in Western modernity, where she asks: how were concepts of not only being, truth, power, and freedom but also affect—the intelligibility of one's feelings toward others—framed by histories of colonial violence and refusals (...) of imaginative identification?2 Wynter argues that the overrepresentation of the Western ethnoclass results in the naturalization of a limited and contingent mode of being as... (shrink)

Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.

Expressivism’s central idea is that normative sentences bear the same relation to non-cognitive attitudes that ordinary descriptive sentences bear to beliefs: the expression relation. Allan Gibbard teIls us that “that words express judgments will be accepted by almost everyone” - the distinctive contribution of expressivism, his claim goes, is only a view about what kind of judgments words express. But not every account of the expression relation is equally suitable for the expressivist’s purposes. In fact, what I argue in this (...) paper, considering four possible accounts of expression, is that how suitable each account is for the expressivist’s purpose varies in proportion to how controversial it is. So Gibbard is wrong - if expression is to get expressivism off the ground, then it will be enormously controversial whether words do express judgments. And thus expressivism is committed to strong claims about the semantics of non-normative language. (shrink)

In this paper, I argue that hate speech expresses hate, and answer some objections to expressivist views. First, I briefly comment on some limitations of pragmatic accounts of harmful speech. I then present an expressive-normative view of derogatory discourse according to which it is expressive of an affective state by presupposing it. A linguistic act expressive of an affective state inherits the normativity that is constitutive of that state, as directed to its intentional object. If the act is successful, it (...) updates the conversational context with the normative appraisal conditions of the affective state presupposed. I argue that this model can be applied to hate speech. I rely on current research on the psychology of hate to identify the appraisal conditions, action tendencies, and motivational goals characteristic of hate. The account supplements other pragmatic accounts of hate speech. (shrink)

This paper discusses an "expressive constraint" on accounts of thought and language which requires that when a speaker expresses a belief by sincerely uttering a sentence, the utterance and the belief have the same content. It will be argued that this constraint should be viewed as expressing a conceptual connection between thought and language rather than a mere empirical generalization about the two. However, the most obvious accounts of the relation between thought and language compatible with the constraint (giving an (...) independent account of one of either linguistic meaning or thought content and understanding the other in terms of it) both face serious difficulties. Because of this, the following will suggest an alternative picture of the relation between thought and language that remains compatible with the constraint. (shrink)

Jason Brennan and Peter Jaworski reject expressive objections to markets on the grounds that market symbolism is culturally contingent, and contingent cultural symbols are less important than the benefits markets offer. I grant and, but I deny that these points suffice as grounds to dismiss expressive critiques of markets. For many plausible expressive critiques of markets are not symbolic critiques at all. Rather, they are critiques grounded in the idea that some market transactions embody morally inappropriate normative stances toward the (...) goods or services on offer. (shrink)

This chapter argues that Gilbert Ryle’s account of misleading expressions, which is rightly considered a milestone in the history of analytic philosophy, is continuous with Brentano’s. Not only did they identify roughly the same classes of misleading expressions, but their analyses are driven by a form of ontological parsimony which sharply contrasts with rival views in the Brentano School, like those of Meinong and Husserl. Section 1 suggests that Ryle and Brentano share a similar notion of analysis. Section 2 spells (...) out the notion of misleading expression by means of the surface-grammar/truth-conditions distinction, which I argue is implicit in their accounts. Section 3 zooms in on a specific class of misleading expressions, namely expressions about ficta. Finally, Section 4 draws the consequences of what precedes for a correct understanding of the notion of meaning. (shrink)

Faith is often regarded as having a fraught relationship with evidence. Lara Buchak even argues that it entails foregoing evidence, at least when this evidence would influence your decision to act on the proposition in which you have faith. I present a counterexample inspired by the book of Job, in which seeking evidence for the sake of deciding whether to worship God is not only compatible with faith, but is in fact an expression of great faith. One might still think (...) that foregoing evidence may make faith more praiseworthy than otherwise. But I argue against this claim too, once more drawing on Job. A faith that expresses itself by a search for evidence can be more praiseworthy than a faith that sits passively in the face of epistemic adversity. (shrink)

The paper deals with the relationship between the art of music and human emotions, in particular, with the feature of musical works designated in aesthetic literature as „expressiveness“. After a short presentation of several main attempts at explaining the expressiveness of music in analytical aesthetics, the author offers a clarification of the conceptual confusion within presented theories, and points out their main difficulties and deficiencies.

Ordinarily when someone tells us something about her beliefs, desires or intentions, we presume she is right. According to standard views, this deferential trust is justified on the basis of certain epistemic properties of her assertion. In this paper, I offer a non-epistemic account of deference. I first motivate the account by noting two asymmetries between the kind of deference we show psychological self-ascriptions and the kind we grant to epistemic experts more generally. I then propose a novel agency-based account (...) of deference. Drawing on recent work on self-knowledge, I argue that a person normally has a distinctive type of cognitive agency; specifically she is able to constitute her psychological attitudes by making judgments about what they ought to be. I then argue that a speaker expresses this agentive authority when she self-ascribes a psychological attitude and this is what justifies deferentially trusting what she says. Because the notion of expression plays a central role in this account, I contrast it with recent neo-expressivist theories. (shrink)

A speaker’s use of a sentence does more than contribute a content to a conversation. It also expresses the speaker’s attitude. This essay is about which attitude or attitudes are expressed by using an interrogative sentence to ask a question. With reference to eight lines of data about how questions are circulated in conversation, it is argued that a desire to know the question’s answer(s) is expressed.

Classic expression theory identified the emotional content of works of art with the feelings of their creators or recipients. This content thus appeared to be external to the work itself. Consequently, formalism declared it to be irrelevant to a work’s value. A solution to this dilemma — one which the Polish aesthetician Henryk Elzenberg was among the first to propose — was suggested by the idea that physical, sensual objects can themselves possess emotional qualities. Thanks to Bouwsma and Beardsley, this (...) concept — of expressiveness as a quality — became common in Anglo-American aesthetics from the fifties onwards. At the same time, these authors demanded that the term “expression” be expunged from the language of aesthetics. However, the widespread tendency to conceptualise the emotional content of art in terms of the expression of a certain subject (most often the artist) still requires some explanation — interpretation, rather than negation. One interpretation construes the expressiveness of works of art in terms of the expression of a fictive subject, the “work’s persona”, conceived by Elzenberg in 1950/1960. This paper discusses his concept and explains some of its more complex aspects, before addressing the emergence of a very similar concept within Anglo-American aesthetics. This concept was gradually elaborated in the seventies and eighties, but only in the nineties did it become more fully developed and widely discussed. (shrink)

The hope that art could be personally or socially transformational is an important part of art history and contemporary art practice. In the twentieth century, it shaped a movement away from traditional media in an effort to make social life a medium. Artists imagined and created participatory situations designed to facilitate potentially transformative expression in those who engaged with the works. This chapter develops the concept of “transformative expression,” and illustrates how it informs a diverse range of such works. Understanding (...) these artworks in this way raises two interesting questions, one about the nature of aesthetic value and the other about the nature of action. Answers to these questions lie in understanding the social and aesthetic character of our capacity to distance ourselves from our commitments and act in the expressive, playful, spontaneous, or imaginative ways that participatory art invites. (shrink)

Evidentials indicate a source of evidence for a content, and sometimes do more. Depending on the language, they also express the speaker's belief in that content or its possibility. This paper is about how to explain the expression of belief. It argues that semantic explanations are better than illocutionary explanations in two ways. First, a general argument is provided that a semantic explanation is preferable. Second, a case study is given to the evidentials of Cuzco Quechua to argue that a (...) semantic explanation is preferable to the illocutionary explanation that has been proposed in great detail by Faller (2002, 2012, 2014). The upshot is that illocutionary explanations of how belief is expressed are dispensable for at least some languages with grammaticalized evidentials. (shrink)

Mark Schroeder’s expressivist program has made substantial progress in providing a compositional semantics for normative terms. This paper argues that it risks achieving this semantic progress at the cost of abandoning a key theoretical motivation for embracing expressivism in the first place. The problem can be summarized as a dilemma. Either Schroeder must allow that there are cases in which agents are in disagreement with one another, or can make valid inferences, but that these disagreements or inferences are not expressible (...) in natural language; or his version of expressivism must abandon one of the key theoretical advantages expressivist theories seemed to possess over cognitivism, the ability to provide a very straightforward explanation of the action- and attitude-guiding role of normative judgments. (shrink)

We can increase our understanding of expression by considering an analogy to demonstrative reference. The connections between a demonstrative phrase and its referent, in a case of fully successful communication with that phrase, are analogous to the connections between an expressible state and the behavior that expresses it. The connections in each case serve to maintain a certain status for the connected elements: as actions of persons; or as objects, events, or states significant to persons. The analogy to demonstrative reference (...) helps show that a positive account of expression can make conceptual connections between expressed states and expressive behaviors without courting reductive behaviorism. A general account of expression as marked by these connections is compared to accounts of expression offered by Dorit Bar-On and Mitchell Green. Bar-On’s account turns out to be compatible with the account proposed here, once some of its consequences are fully appreciated. Green’s account rules out, as not expressive, some behaviors like crouching (in fear) that intuitively seem expressive. When Green’s account is altered to allow such behaviors back in, the resulting account also fits the one proposed. (shrink)

Scientific research is constrained by limited resources, so it is imperative that it be conducted efficiently. This paper introduces the notion of epistemic expression, a kind of representation that expedites the solution of research problems. Epistemic expressions are representations that (i) contain information in a way that enables more reliable information to place the most stringent constraints on possible solutions and (ii) make new information readily extractible by biasing the search through that space. I illustrate these conditions using historical and (...) contemporary examples of biomolecular structure determination. Then, I argue that the notion of epistemic expression parts ways with pragmatic accounts of scientific representation and an understanding of models as artifacts, neither of which require models to accurately represent. Explicating epistemic expression thus fills a gap in our understanding of scientific practice, extending Morrison and Morgan's (1999) conception of models as investigative instruments. (shrink)

Emmanuel Levinas’s work seemingly places a great emphasis on language leading some commentators towards a Kantian reading of him where moral consideration would be based on the moral patient’s capacity for reason with language functioning as a proxy for this. Although this reading is possible, a closer look at Levinas’s descriptions of language reveal that its defining characteristic is not reason but the capacity to express beyond any thematized contents we would give to the Other. This expressivity (which Levinas calls (...) face) would confront me with their singularity, infinity, and interiority tying me to them in a relation of responsibility. And the “content” of such an expression is a vulnerability and exposure tied to their mortality which continually entreats me though I cannot take it away. It is by means of this bare expression of an exposure to death as the core of language that it will become possible for non-human mortal beings to have what Levinas calls language. This possibility, although not explicitly addressed by Levinas, is at least left open by his account of Bobby the dog as well as his agnosticism over a snake’s face. (shrink)

I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.

In this paper, I am going to cast doubt on an idea that is shared, explicitly or implicitly, by most contemporary pragmatic theories: that the inferential interpretation procedure described by Grice, neo-Griceans, or post-Griceans applies only to the interpretation of ostensive stimuli. For this special issue, I will concentrate on the relevance theory (RT) version of this idea. I will proceed by putting forward a dilemma for RT and argue that the best way out of it is to accept that (...) the relevance-theoretic comprehension procedure ap- plies to certain non-ostensive stimuli, contrary to what is generally claimed within RT. In particular, I will argue that relevance theorists should accept that (ceteris paribus) non- ostensive emotional expressions in interactions guarantee a presumption of relevance such that they are interpreted through the relevance-theoretic comprehension procedure. This leads me to propose what I call 'the expressive principle of relevance'. (shrink)

When embedding data are used to argue against semantic theory A and in favor of semantic theory B, it is important to ask whether A could make sense of those data. It is possible to ask that question on a case-by-case basis. But suppose we could show that A can make sense of all the embedding data which B can possibly make sense of. This would, on the one hand, undermine arguments in favor of B over A on the basis (...) of embedding data. And, provided that the converse does not hold—that is, that A can make sense of strictly more embedding data than B can—it would also show that there is a precise sense in which B is more constrained than A, yielding a pro tanto simplicity-based consideration in favor of B. In this paper I develop tools which allow us to make comparisons of this kind, which I call comparisons of potential expressive power. I motivate the development of these tools by way of exploration of the recent debate about epistemic modals. Prominent theories which have been developed in response to embedding data turn out to be strictly less expressive than the standard relational theory, a fact which necessitates a reorientation in how to think about the choice between these theories. (shrink)

I argue for the recognition of a particular kind of interest that one has in freedom of expression: an interest served by expressive activity in forming and discovering one’s own beliefs, desires, and commitments. In articulating that interest, I aim to contribute to a family of theories of freedom of expression that find its justification in the interests that speakers have in their own speech or thought, to be distinguished from whatever interests they may also have as audiences or third (...) parties for speech. Although there are many differences among such speaker-centered theories, a core commitment that most share is that expressive liberty plays a fundamental role in securing or constituting some form of individual self-realization. My account is a defense and elaboration of what I take to be one specific way in which the nature of such self-realization should be understood. In my proposal, self-realization is sometimes internally related to the very activity of expression, viz, expressing ourselves is one way in which we come to form and know our own minds. (shrink)

This paper aims at providing an epistemic defense of democracy based on John Dewey’s idea that democracies do not only find problems and provide solutions to them but they also articulate problems. According to this view, when citizens inquire about collective issues, they also partially shape them. This view contrasts with the standard account of democracy’s epistemic defense, according to which democracy’s is good at tracking and finding solutions that are independent of political will-formation and decision-making. It is also less (...) vulnerable to the criticisms that have been raised against the standard account. To show this, the paper develops a theory of expressive domination and argues that problem-articulation works best when it is inclusive and domination-free. It also shows that democratic conflict represents a fundamental element for problem-articulation. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

This article aims to establish an understanding of Merleau-Ponty’s view of creative expression, and of its phenomenological function, setting out from the intriguing statement in his essay “Cézanne’s Doubt” that the painter (or writer or philosopher) finds himself in the situation of the first human being trying to express herself. Although the importance of primary or creative expression in Merleau-Ponty’s philosophy is well known, there is no consensus among commentators with respect to how this notion is to be understood, and (...) of its apparently paradoxical relation to experience in his philosophy. On the one hand, Merleau-Ponty seems to presuppose that there is an original meaning pre-given in experience; on the other hand, expression is described as a hazardous enterprise, because the meaning to be expressed does not exist before expression has succeeded. In order to resolve this tension, I explore the significance of the precariousness of creative expression, arguing that it must be related to its other side: the constituted, all too often petrified meaning that we must start out from. (shrink)

Ideomotor actions are behaviours that are unconsciously initiated and express a thought rather than a response to a sensory stimulus. The question examined here is whether ideomotor actions can also express nonconscious knowledge. We investigated this via the use of implicit long-term semantic memory, which is not available to conscious recall. We compared accuracy of answers to yes/no questions using both volitional report and ideomotor response . Results show that when participants believed they knew the answer, responses in the two (...) modalities were similar. But when they believed they were guessing, accuracy was at chance for volitional report , but significantly higher for Ouija response . These results indicate that implicit semantic memory can be expressed through ideomotor actions. They also suggest that this approach can provide an interesting new methodology for studying implicit processes in cognition. (shrink)

There is a tension between John Locke’s awareness of the fundamental importance of a shared public language and the manner in which his theorizing appears limited to offering a psychologistic account of the idiolects of individual speakers. I argue that a correct understanding of Locke’s central notion of signification can resolve this tension. I start by examining a long standing objection to Locke’s view, according to which his theory of meaning systematically gets the subject matter of our discourse wrong, by (...) making our ideas the meanings of our words. By examining Locke’s definition of “truth”, I show that Lockean signification is an expression relation, rather than a descriptive or referential relation. Consequently, the sense in which our words signify our ideas is roughly that our utterances advertise our otherwise undisclosed mental lives to each other. While this resolves one aspect of the public/private tension, I close with a brief discussion of the remaining tension, and the role for normative constraints on signification to play in generating a genuinely shared public language. (shrink)

Hypocrisy is a ubiquitous feature of moral and political life, and accusations of hypocrisy a ubiquitous feature of moral and political discourse. Yet it has been curiously under-theorized in analytic philosophy. Fortunately, the last decade has seen a boomlet of articles that address hypocrisy in order to explain and justify conditions on the so-called “standing” to blame (Wallace 2010; Friedman 2013; Bell 2013; Todd 2017; Herstein 2017; Roadevin 2018; Fritz and Miller 2018). Nevertheless, much of this more recent literature does (...) not adequately address the question, “what is hypocrisy?” In this paper, I develop and defend an account of hypocrisy as vicious, value-expressing inconsistency. I show how this account solves some traditional and some novel philosophical puzzles concerning hypocrisy and affords a deeper understanding of the features of hypocrisy emphasized by other prominent accounts. (shrink)

Brian Loar attempted to provide the Gricean program of intention-based semantics with an account of expression-meaning. But the theory he presented, like virtually every other foundational semantic or meta-semantical theory, was an idealization that ignored vagueness. What would happen if we tried to devise theories that accommodated the vagueness of vague expressions? I offer arguments based on well-known features of vagueness that, if sound, show that neither Brian’s nor any other extant theory could successfully make that adjustment, and this because, (...) if sound, the arguments show not only that nothing can be the content of a vague expression, but also that no spoken language has a compositional semantics. This raises the question of what, really, are the facts about a language whose explanation might seem to require the language to have a compositional semantics, and whether there might not be a way to explain those facts on the assumption that the language doesn’t have a compositional semantics. In response to this question I offer a rough sketch of a view designed to suggest how what needs to be explained might be explained without appeal to compositional semantics. (shrink)

Several prominent philosophers of art have worried about whether Kant has a coherent theory of music on account of two perceived tensions in his view. First, there appears to be a conflict between his formalist and expressive commitments. Second (and even worse), Kant defends seemingly contradictory claims about music being beautiful and merely agreeable, that is, not beautiful. Against these critics, I show that Kant has a consistent view of music that reconciles these tensions. I argue that, for Kant, music (...) can be experienced as either agreeable or beautiful depending on the attitude we take toward it. Although it is tempting to think he argues that we experience music as agreeable when we attend to its expressive qualities and as beautiful when we attend to its formal properties, I demonstrate that he actually claims that we are able to judge music as beautiful only if we are sensitive to the expression of emotion through musical form. With this revised understanding of Kant's theory of music in place, I conclude by sketching a Kantian solution to a central problem in the philosophy of music: given that music is not sentient, how can it express emotion? (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...) when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a replacement of (...) the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (shrink)

Some philosophers (Duff, Hampton) conceive of punishment as a way of communicating a message to the punished and argue that this communicative function justifies the harm of punishment. I object to communicative theories because punishment seems intuitively justified in cases in which it fails as a method of communication. Punishment fails as communication when the punished ignores the intended message or fails to understand it. Among those most likely to ignore or fail to understand the message of punishment are the (...) most hardened criminals, whom we typically think are appropriate targets of punishment. I suggest that an alternative justificatory strategy, one that focuses not on the successful receipt of the message of punishment by the wrongdoer but on the expression of condemnation by the community, is not subject to the same worry. The norms of successful expression are more easily met than those of communication, so that expressing condemnation toward a criminal might be justified even if he is unreceptive in the face of the expression. (shrink)

Many authors have noted that there are types of English modal sentences cannot be formalized in the language of basic first-order modal logic. Some widely discussed examples include “There could have been things other than there actually are” and “Everyone who is actually rich could have been poor.” In response to this lack of expressive power, many authors have discussed extensions of first-order modal logic with two-dimensional operators. But claims about the relative expressive power of these extensions are often justified (...) only by example rather than by rigorous proof. In this paper, we provide proofs of many of these claims and present a more complete picture of the expressive landscape for such languages. (shrink)