This article is interdisciplinary in its claims. Evolving around the ecological concept of affordance, it brings together pragmatics and ecological psychology. Starting from the theoretical writings of Peirce, Dewey and James, the biosemiotic claims of von Uexküll, Gibson’s ecological approach to perception and some empirical evidence from recent neurobiological research, it elaborates on the concepts of experiential and enactive cognition as applied to music. In order to provide an operational description of this approach, it introduces some conceptual tools from (...) the domain of cybernetics with a major focus on the concept of circularity, which links perception to action in a continuous process of sense-making and interaction with the environment. As such, it is closely related to some pragmatic, biosemiotic and ecosemiotic claims which can be subsumed under the general notion of functional significance. An attempt is made to apply this conceptual framework to the process of musical sense-making which involves the realisation of systemic cognition in the context of epistemic interactions that are grounded in our biology and possibilities for adaptive control. Central in this approach is the concept of coping with the environment, or, in musical terms, to perceive the sounding music in terms of what it affords for the consummation of musical behaviour. (shrink)

Because of its non-representational nature, music has always had familiarity with computational and algorithmic methodologies for automatic composition and performance. Today, AI and computer technology are transforming systems of automatic music production from passive means within musical creative processes into ever more autonomous active collaborators of human musicians. This raises a large number of interrelated questions both about the theoretical problems of artificial musical creativity and about its ethical consequences. Considering two of the most urgent ethical problems of (...) Musical AI (music job replacement and machine musical authorship), we show in this essay the strict dependence of every form of acknowledgment of a moral and legal status to systems of automatic music production from the theoretical account of musical creativity by turns implicitly or explicitly adopted, arguing, on the basis of pragmatic reasons, for the necessity and the desirability of this acknowledgment. (shrink)

In questa nota si fornisce un esempio preliminare di analisi pragmatica delle strutture musicali. Nell’analisi, la stipulazione di una pragmatica musicale segue strettamente recenti proposte presentate in ambito semantico, in cui si illustrano le potenziali virtù rappresentazionali delle strutture musicali. In particolare, in questa nota si suggerisce la presenza di strategie di ricostruzione dei significati musicali le quali intervengono a prevenire la realizzazione di contenuti semantici contraddittori. L’evidenza utilizzata è ricavata da alcune misure del madrigale primo del II libro dei (...) madrigali di Monteverdi (1590), e dal testo (di T. Tasso) che le accompagna; sviluppi dell’analisi qui proposta dovranno fondarsi su evidenze indipendenti e auspicabilmente naturali. (shrink)

Narrativity is basically linked to the dynamics of the events and actions which are told and it depends on the pragmatic context, mainly on the narrator and his audience, i.e. on the discursive setting. These dynamics ask for an adequate theoretical frame, e.g. in the format of dynamical system theory or vector analysis. Furthermore, narrativity can be manifested in different modalities. We shall present some specimens of analysis in the linguistic modality (spontaneous oral tales, folktales), in the visual modality (painting (...) by Leonardo da Vinci, action movie in the series of Bond films), and in the musical modality (Blues music). The static analyses in the tradition of structuralism are replaced by morphodynamic schemes, by gesture and glance vectors, paths of pursuit and scenarios of conflict in action movies and eventually by harmonic sequences in the Blues. In this dynamic perspective, the notion of narrativity gains a different profile and it is freed from the preference for linguistic or logical categories. (shrink)

We explore Peirce’s pragmatic conception of sign action, as a distributed and emergent view of cognition and exemplify with the emergence of classical ballet. In our approach, semiosis is a temporally distributed process in which a regular tendency towards certain future outcomes emerges out of a history of sign actions. Semiosis self-organizes in time, in a process that continuously entails the production of more signs. Emergence is a ubiquitous condition in this process: the translation of signs into signs cannot be (...) inferred from the properties of the components of a semiotic triad alone, but has to take into account a complex interaction between a micro-semiotic and macro-semiotic level of description. This interaction can be understood as an interplay of potentialities and tendencies, or upward constitutive determinative relations and downward selective determinative relations. According to this view, emergence is a central defining condition of processes of meaning. Ballet is a sign in action. The emergence of classical ballet is a self-regulatory process, in which a system of different kinds of cognitive artifacts (musical, bodily/motor, spatial/architectonic) and agents obtained a stable semiotic relation throughout many phases of development between the 16th and the 19th Century. One case is the development of the verticality of dance in classical ballet as a semiotic relation connecting proscenium arch stages, dancing bodies, and audiences. This development is micro-semiotically determined by the spatial constraints of the proscenium arch stage, and macro-semiotically determined by a historical construction of the dancing body as a sign within a network of semiotic chains, such as the intersemiotic regulation of body of the dancer by principles coming from painting. This is not only the emergence of actual meaning, but also the emergence of an open-ended field of potential and general meanings, an autonomous tendency of development. To say that ballet, as sign action, emerges, is to say that cognitive artifacts such as dancer’s bodies, stages and audience’s point of view, musical compositions, costumes, all sorts of supporting institutions, etc, constitute a niche for sign action, interacting according to tendencies of development that didn’t exist before. (shrink)

Scholarly opinions vary on what language is, how it evolved, and from where or what it evolved. Long considered uniquely human, today scholars argue for evolutionary continuity between human language and animal communication systems. But while it is generally recognized that language is an evolving communication system, scholars continue to debate from which species language evolved, and what behavioral and cognitive features are the precursors to human language. To understand the nature of protolanguage, some look for homologs in gene functionality, (...) brain areas, or anatomical structures such as the supralaryngeal vocal tract; others point toward primates, their gestural, vocal, multimodal, and in later evolving hominins also their pantomimic communication systems; and still others draw parallels between the musicality that characterizes language and the pitch found in the numerous sounds produced by animals. Accordingly, protolanguage theories today are multiple and diverse, and protolanguages might have also been diverse. This special issue on Evolving (Proto)Language/s for Lingua bundles several of the protolanguage theories that were put forward at the sixth edition of the Ways to Protolanguage conference series, held at the Calouste Gulbenkian Foundation in Lisbon, in 2019. Not aimed at surveying all the different ways there are to conceptualize, study, and model protolanguage/s, this issue provides interested readers with good overviews on the role played in current theorizing on protolanguage/s by (paleo)anthropology, genetics, physiology, developmental, evolutionary, ecological, and pragmatic research lines. (shrink)

What is the feeling of religious longing and how, if at all, can religious longing justify religious beliefs? Starting with an analogy between religious longing and basic physical needs and an analogy between religious longing and musical longing, I argue that the feeling of religious longing is characterized by four features: its generality, its indeterminate transcendent object which by its nature is not capable of empirical verification or falsification, its mode of being infinitely interested in passion and its ambiguity (...) with regard to our own power and powerlessness. Religious longing can neither epistemically nor pragmatically justify religious beliefs. If we want to account for the rationality of religious beliefs motivated by religious longing, we have to consider passionate rationality as a third kind of rationality. We wholeheartedly take as true what we experience as a condition of the possibility of life. (shrink)

The recent focus of Philip Kitcher’s research has been, somewhat surprisingly in the light of his earlier work, the philosophical analyses of literary works and operas. The aim of this paper is to show that there is no discontinuity between this new direction and Kitcher's earlier work in the philosophy of science: Kitcher’s contributions to the philosophy of science and his more recent endeavors into the philosophy of literature and of music are grounded in the same big picture attitude towards (...) the human mind – and attitude that he would undoubtedly call ‘pragmatic’: one that emphasizes the importance of those mental processes that are not rational. (shrink)

Since language provides the most typical paradigm of meaning, when we ask what meanings music may communicate, it will certainly be illuminative to compare these meanings with those conveyed by language. In particular we would want to ask an even more specific question: how, in general, the respective meanings of music and words are related in a vocal composition.

Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This (...) approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be vital to move beyond the popular Basic Emotion paradigm and start untangling the emergence of emotional experiences with music in the actual contexts in which they occur. -/- . (shrink)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology (...) of art could cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.

I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to (...) music with our muscles’. This paper attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivy’s ‘enhanced formalism’ as a philosophical foil. I then look at how the animate body shapes musical experience. (shrink)

Traditional theistic arguments conclude that God exists. Pragmatic theistic arguments, by contrast, conclude that you ought to believe in God. The two most famous pragmatic theistic arguments are put forth by Blaise Pascal (1662) and William James (1896). Pragmatic arguments for theism can be summarized as follows: believing in God has significant benefits, and these benefits aren’t available for the unbeliever. Thus, you should believe in, or ‘wager on’, God. This article distinguishes between various kinds of theistic wagers, including finite (...) vs. infinite wagers, premortem vs. postmortem wagers, and doxastic vs. acceptance wagers. Then, we’ll turn to the epistemic-pragmatic distinction, and discusses the nuances of James’ argument, and how views like epistemic permissivism and epistemic consequentialism provide unique “hybrid” wagers. Finally, we’ll cover outstanding objections and responses. (shrink)

I argue that the offense generation pattern of slurring terms parallels that of impoliteness behaviors, and is best explained by appeal to similar purely pragmatic mechanisms. In choosing to use a slurring term rather than its neutral counterpart, the speaker signals that she endorses the term. Such an endorsement warrants offense, and consequently slurs generate offense whenever a speaker's use demonstrates a contrastive preference for the slurring term. Since this explanation comes at low theoretical cost and imposes few constraints on (...) an account of the semantics of slurs, this suggests that we should not require semantic accounts to provide an independent explanation of the offense profile. (shrink)

Moderate Pragmatic Invariantism (MPI) has been criticized in the literature for postulating implicatures that are not straightforwardly cancellable. Defenders of MPI have responded that the data are not as clear-cut as one might wish. This paper grants the defenders of MPI, for the sake of argument, that the implicatures in question are cancellable and then turns this admission against them. In particular, the paper offers Bank Case variants in which the conversational implicatures postulated by MPI are contextually suspended – and (...) thus cancelled. Since our intuitions do not vary between the original Bank Case and these novel types of cases, the explanation offered by MPI must be mistaken. Our varying truth-value intuitions in the Bank Cases cannot be accounted for by means of conversational implicatures. (shrink)

In this paper, I try to expatiate on the poetic function of language on the basis of considerations by Jakobson and Waugh. I try to bring in the consideration that pragmatics plays an important role in elucidating the poetic function of language. Contextualism allows us to interpret a poem: referents must be fixed or need not be fixed due to the requirements of the discourse; citations are brought in through pragmatic ways; polyphony is achieved by taking into account the (...) context of previous analyses of a poetic text; the vicinity of a certain word, or concept or line is likely to affect the interpretation of a certain expression; the poetic text can take different forms, from graffiti to discourse at the market place, to discourse between lovers. All these forms of poetic text would not exist if the notion of poetry did not include the idea of semantic/pragmatic compression which is matched, in interpretation, by expansions. (shrink)

In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...) to go about the practical task of actually increasing our level of wellbeing, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of wellbeing. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I’m of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of wellbeing. (shrink)

This article examines the pragmatic method and its application in solving philosophical problems. While classical pragmatism quickly became identified with the theory of truth that dominated critical discussions of it, both of its founders, Charles Sanders Peirce and William James, understood pragmatism essentially as a method. The article begins with an overview of pragmatism and the “Pragmatic Maxim”. In particular, it compares Peirce’s conceptions of pragmatism with James’s view that the pragmatic method would allow us to resolve many disputes in (...) philosophy, and argues that their differences undermine any purely ‘Peircian’ reading of James’s Pragmatic Maxim. It then examines the advantages and drawbacks of three other readings of James’s maxim: the “activist” reading, the “subjectivist” reading, and the “practical” reading. (shrink)

In assessing the veridicality of utterances, we normally seem to assess the satisfaction of conditions that the speaker had been concerned to get right in making the utterance. However, the debate about assessor-relativism about epistemic modals, predicates of taste, gradable adjectives and conditionals has been largely driven by cases in which seemingly felicitous assessments of utterances are insensitive to aspects of the context of utterance that were highly relevant to the speaker’s choice of words. In this paper, we offer an (...) explanation of why certain locutions invite insensitive assessments, focusing primarily on ’tasty’ and ’might’. We spell out some reasons why felicitous insensitive assessments are puzzling and argue briefly that recent attempts to accommodate such assessments (including attempts by John MacFarlane, Kai von Fintel and Anthony Gillies) all fail to provide more than hints at a solution to the puzzle. In the main part of the paper, we develop an account of felicitous insensitive assessments by identifying a number of pragmatic factors that influence the felicity of assessments. Before closing, we argue that the role of these factors extend beyond cases considered in the debate about assessor-relativism and fit comfortably with standard contextualist analyses of the relevant locutions. (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I argue (...) for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes constitutive of emotional (...) consciousness. In developing this idea, I consider the ‘material’ and ‘worldmaking’ character music, and I apply these considerations to two case studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)

I present a challenge to epistemological pragmatic encroachment theories from epistemic injustice. The challenge invokes the idea that a knowing subject may be wronged by being regarded as lacking knowledge due to social identity prejudices. However, in an important class of such cases, pragmatic encroachers appear to be committed to the view that the subject does not know. Hence, pragmatic encroachment theories appear to be incapable of accounting for an important type of injustice – namely, discriminatory epistemic injustice. Consequently, pragmatic (...) encroachment theories run the risk of obscuring or even sanctioning epistemically unjust judgments that arise due to problematic social stereotypes or unjust folk epistemological biases. In contrast, the epistemological view that rejects pragmatic encroachment – namely, strict purist invariantism – is capable of straightforwardly diagnosing the cases of discriminatory epistemic injustice as such. While the challenge is not a conclusive one, it calls for a response. Moreover, it illuminates very different conceptions of epistemology’s role in mitigating epistemic injustice. (shrink)

This paper compares two alternative explanations of pragmatic encroachment on knowledge (i.e., the claim that whether an agent knows that p can depend on pragmatic factors). After reviewing the evidence for such pragmatic encroachment, we ask how it is best explained, assuming it obtains. Several authors have recently argued that the best explanation is provided by a particular account of belief, which we call pragmatic credal reductivism. On this view, what it is for an agent to believe a proposition is (...) for her credence in this proposition to be above a certain threshold, a threshold that varies depending on pragmatic factors. We show that while this account of belief can provide an elegant explanation of pragmatic encroachment on knowledge, it is not alone in doing so, for an alternative account of belief, which we call the reasoning disposition account, can do so as well. And the latter account, we argue, is far more plausible than pragmatic credal reductivism, since it accords far better with a number of claims about belief that are very hard to deny. (shrink)

Does knowledge depend in any interesting way on our practical interests? This is the central question in the pragmatic encroachment debate. Pragmatists defend the affirmative answer to this question while purists defend the negative answer. The literature contains two kinds of arguments for pragmatism: principle-based arguments and case-based arguments. Principle-based arguments derive pragmatism from principles that connect knowledge to practical interests. Case-based arguments rely on intuitions about cases that differ with respect to practical interests. I argue that there are insurmountable (...) problems for both kinds of arguments, and that it is therefore unclear what motivates pragmatism. (shrink)

This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow (...) us to synthesize or reject traditional philosophical differences. (shrink)

This chapter offers the beginning of an enactive account of auditory experience—particularly the experience of listening sensitively to music. It investigates how sensorimotor regularities grant perceptual access to music qua music. Two specific claims are defended: (1) music manifests experientially as having complex spatial content; (2) sensorimotor regularities constrain this content. Musical content is thus brought to phenomenal presence by bodily exploring structural features of music. We enact musical content.

This is a discussion of the state of discussion on pragmatic reasons for belief.

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension (...) is merely an instance of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (shrink)

Pragmatic encroachers argue that whether you know that p depends on a combination of pragmatic and epistemic factors. Most defenses of pragmatic encroachment focus on a particular pragmatic factor: how much is at stake for an individual. This raises a question: are there reasons for thinking that knowledge depends on other pragmatic factors that parallel the reasons for thinking that knowledge depends on the stakes? In this paper I argue that there are parallel reasons for thinking that knowledge depends on (...) social factors such as one’s social role or identity. I call this social encroachment. After defending social encroachment, I compare and contrast social encroachment with some key ideas in feminist epistemology. I argue that, while there are some important similarities, there are also some important differences. I finish by commenting on what I take the upshots of these differences to be. (shrink)

In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also suggested (...) that “Music therapy can have effects that improve the psychological and physiological health of individuals,” so it seems plausible that engaging in practices of music can positively contribute to one living a more optimally flourishing life with greater psychological well-being. However, recent studies on music practice and participation have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to extant work by reviewing recent research on psychological well-being and music to offer support for the claim that music practice and participation can positively contribute to one living a flourishing life by positively influencing their emotions, engagement, relationships, meaning, and accomplishment. (shrink)

For the Intentionalist, utterance content is wholly determined by a speaker’s meaning-intentions; the sentence uttered serves merely to facilitate the audience’s recovering these intentions. We argue that Intentionalists ought to be Particularists, holding that the only “principles” of meaning recovery needed are those governing inferences to the best explanation; “principles” that are both defeasible and, in a sense to be elaborated, variable. We discuss some ways in which some theorists have erred in trying to tame the “wild west” of (...) class='Hi'>pragmatics and context-sensitivity -- including recent work that makes essential appeal to the information structure of a discourse -- and in so doing, offer a general recipe for defending the Particularist picture of utterance content and its recovery that we favor. (shrink)

How can a theory of happiness, based upon the practical use of reason and acquired character, be understood in the thought of Schopenhauer, the great pessimist metaphysic? This article aims to prove that Schopenhauer’s pessimism can be better understood if considered, on the one hand, as metaphysical pessimism and, on the other, as pragmatic pessimism. For this purpose, I seek to show that the consideration of Schopenhauer’s singular eudemonology is fundamental to fully understand his pessimism.

If knowledge is sensitive to practical stakes, then whether one knows depends in part on the practical costs of being wrong. When considering religious belief, the practical costs of being wrong about theism may differ dramatically between the theist (if there is no God) and the atheist (if there is a God). This paper explores the prospects, on pragmatic encroachment, for knowledge of theism (even if true) and of atheism (even if true), given two types of practical costs: namely, by (...) holding a false belief, or by missing out on a true belief. These considerations set up a more general puzzle of epistemic preference when faced with the choice between two beliefs, only one of which could become knowledge. (shrink)

Philosophy and Phenomenological Research, Volume 104, Issue 2, Page 434-453, March 2022.

In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, (...) I argue that the best version of Musical Aristotelianism identifies musical works with structural universals. I first motivate the view by outlining its explanatory benefits. I then argue that Musical Aristotelianism is preferable to Musical Platonism and present a novel account of musical works as structural universals by developing D. M. Armstrong’s theory of structural universals. I discuss the consequences of Musical Aristotelianism with respect to on-going issues in debates about musical works and defend the view against an influential objection, concluding that Musical Aristotelianism is a genuine competitor in debates about the nature of musical works. (shrink)

This book is the first to put forward a general theory of the manner in which different media--music, words, moving picture, and dance--work together to create multimedia. Beginning with a study of the way in which meaning is mediated in television commercials, the book concludes with in-depth readings of Disney's Fantasia, Madonna's video Material Girl, and Armide (Godard's sequence from the collaborative film Aria). Analysing Musical Multimedia not only shows how approaches deriving from music theory can contribute to the (...) understanding of multimedia, but also seeks to draw conclusions from the practice and further development of musical analysis. (shrink)

A number of influential biologists are currently pursuing efforts to restore previously extinct species. But for decades, philosophers of biology have regarded “de-extinction” as conceptually incoherent. Once a species is gone, it is gone forever. We argue that a range of metaphysical, biological, and ethical grounds for opposing de-extinction are at best inconclusive and that a pragmatic stance that allows for its possibility is more appealing.

Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still available to us as (...) contemporary music creators and consumers. (shrink)

Pragmatic encroachment theories of knowledge may be characterized as views according to which practical factors may partly determine the truth-value of ascriptions that S knows that p – even though these factors do not partly determine S’s belief that p or p itself. The pros and cons of variations of pragmatic encroachment are widely discussed in epistemology. But despite a long pragmatist tradition in the philosophy of science, few efforts have been devoted to relate this particular view to issues in (...) philosophy of science. Consequently, a central aim of the present paper is to consider how the contemporary debates over pragmatic encroachment connect to philosophy of science. More specifically, I will set forth some arguments against the idea of pragmatic encroachment on scientific knowledge. Moreover, I will argue that it is not plausible to respond to these arguments by embedding pragmatic encroachment in the anti-realist framework of constructive empiricism. So, I conclude that there are good reasons to reject pragmatic encroachment theories of scientific knowledge. (shrink)

This chapter addresses concerns that pragmatic encroachers are committed to problematic knowledge variance. It first replies to Charity Anderson and John Hawthorne’s new putative problem cases, which purport to show that pragmatic encroachment is committed to problematic variations in knowledge depending on what choices are available to the potential knower. It argues that the new cases do not provide any new reasons to be concerned about the pragmatic encroacher’s commitment to knowledge-variance. The chapter further argues that concerns about knowledge-variance are (...) not limited to the pragmatic encroacher, but come up for traditional purist invariantism as well. (shrink)

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, an (...) important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

Nativists about theory of mind have typically explained why children below the age of four fail the false belief task by appealing to the demands that these tasks place on children’s developing executive abilities. However, this appeal to executive functioning cannot explain a wide range of evidence showing that social and linguistic factors also affect when children pass this task. In this paper, I present a revised nativist proposal about theory of mind development that is able to accommodate these findings, (...) which I call the pragmatic development account. According to this proposal, we can gain a better understanding of the shift in children’s performance on standard false-belief tasks around four years of age by considering how children’s experiences with the pragmatics of belief discourse affect the way they interpret the task. (shrink)

In this paper, I will discuss what I will call “skeptical pragmatic invariantism” as a potential response to the intuitions we have about scenarios such as the so-called bank cases. SPI, very roughly, is a form of epistemic invariantism that says the following: The subject in the bank cases doesn’t know that the bank will be open. The knowledge ascription in the low standards case seems appropriate nevertheless because it has a true implicature. The goal of this paper is to (...) show that SPI is mistaken. In particular, I will show that SPI is incompatible with reasonable assumptions about how we are aware of the presence of implicatures. Such objections are not new, but extant formulations are wanting for reasons I will point out below. One may worry that refuting SPI is not a worthwhile project given that this view is an implausible minority position anyway. To respond, I will argue that, contrary to common opinion, other familiar objections to SPI fail and, thus, that SPI is a promising position to begin with. (shrink)

Researchers have converged on the idea that a pragmatic understanding of communication can shed important light on the evolution of language. Accordingly, animal communication scientists have been keen to adopt insights from pragmatics research. Some authors couple their appeal to pragmatic aspects of communication with the claim that there are fundamental asymmetries between signalers and receivers in non-human animals. For example, in the case of primate vocal calls, signalers are said to produce signals unintentionally and mindlessly, whereas receivers are (...) thought to engage in contextual interpretation to derive the significance of signals. We argue that claims about signaler-receiver asymmetries are often confused. This is partly because their authors conflate two conceptions of pragmatics, which generate different accounts of the explanatory target for accounts of the evolution of language. Here we distinguish these conceptions, in order to help specify more precisely the proper explanatory target for language evolution research. (shrink)

On an intellectualist approach to belief, the intellectual endorsement of a proposition (such as “The working poor deserve as much respect as the handsomely paid”) is sufficient or nearly sufficient for believing it. On a pragmatic approach to belief, intellectual endorsement is not enough. Belief is behaviorally demanding. To really, fully believe, you must also “walk the walk.” This chapter argues that the pragmatic approach is preferable on pragmatic grounds: It rightly directs our attention to what matters most in thinking (...) about belief. (shrink)

The concept of twofoldness plays an important role in understanding the aesthetic appreciation of pictures. My claim is that it also plays an important role in understanding the aesthetic appreciation of musical performances. I argue that when we are aesthetically appreciating the performance of a musical work, we are simultaneously attending to both the features of the performed musical work and the features of the token performance we are listening to. This twofold experience explains a number of (...) salient aspects of our experience of musical performances, from the importance of instrumentality, to the multimodal character of this experience. (shrink)

Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between the (...) auditory system and the musical invariants can be characterized as an extended computational cognitive system. In articulating this view, the work of J. J. Gibson (1966, 1986) and Robert Wilson (1994, 1995, 2004) is drawn on. The view is defended from several objections and its implications outlined. The paper concludes with a comparison to Krueger’s (2014) view of the “musically extended emotional mind”. (shrink)

Contextualism in epistemology has traditionally been understood as the view that “know” functions semantically like an indexical term, encoding different contents in contexts with different epistemic standards. But the indexical hypothesis about “know” faces a range of objections. This article explores an alternative version of contextualism on which “know” is a semantically stable term, and the truth-conditional variability in knowledge claims is a matter of pragmatic enrichment. The central idea is that in contexts with stringent epistemic standards, knowledge claims are (...) narrowed: “know” is used in such contexts to make assertions about particularly demanding types of knowledge. The resulting picture captures all of the intuitive data that motivate contextualism while sidestepping the controversial linguistic thesis at its heart. After developing the view, the article shows in detail how it avoids one influential linguistic objection to traditional contextualism concerning indirect speech reports, and then answers an objection concerning the unavailability of certain types of clarification speeches. (shrink)

ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study. (...) class='Hi'>Musical meaning is seen as an experiential phenomenon that consists of layers, some recent, others archaic. As such, musical meaning is strongly characterized by asubjectivity. It is in-between, in a state where the division of subject and object is not yet valid or valid anymore. A naturalistic interplay of experiential layers in music brings about a non-reified dynamics driving for expressions, interpretations, engenderings of subjects and objects or even for political action. Generally speaking, the in-betweenness of musical meaning can never be universally reified or symbolic nor can it ever be “subjective,” “mine” or present “at the origin.”In this view, ineffability has two primary reasons. First, the criteria offered for defining musical meaning are often too strict, resulting in untenable pretensions of universality. Second, the processual and relational nature of the in-between keeps meaning in flux; any snapshot creates a new situation and new meanings. (shrink)