This article examines Bolzano’s aesthetic cognitivism. It argues that, while reminiscent of German rationalist aesthetics and hence potentially appearing rigid and outdated, Bolzano’s version of cognitivism is, in fact, highly innovative and more flexible than the cognitivism championed by the rationalists. He imports from the rationalists the idea that aesthetic appreciation and creation are rule-governed, yet does not construe rule-following and engaging in free aesthetic activities as mutually exclusive. Furthermore, thanks to his nuanced treatment (...) of the interaction between aesthetic values and other types of values, Bolzano’s aesthetic cognitivism presents a fresh alternative to contemporary versions of aesthetic cognitivism. (shrink)

Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism.

Moral non-cognitivists hope to explain the nature of moral agreement and disagreement as agreement and disagreement in non-cognitive attitudes. In doing so, they take on the task of identifying the relevant attitudes, distinguishing the non-cognitive attitudes corresponding to judgements of moral wrongness, for example, from attitudes involved in aesthetic disapproval or the sports fan’s disapproval of her team’s performance. We begin this paper by showing that there is a simple recipe for generating apparent counterexamples to any informative specification of (...) the moral attitudes. This may appear to be a lethal objection to non-cognitivism, but a similar recipe challenges attempts by non-cognitivism’s competitors to specify the conditions underwriting the contrast between genuine and merely apparent moral disagreement. Because of its generality, this specification problem requires a systematic response, which, we argue, is most easily available for the non-cognitivist. Building on premisses congenial to the non-cognitivist tradition, we make the following claims: (1) In paradigmatic cases, wrongness-judgements constitute a certain complex but functionally unified state, and paradigmatic wrongness-judgements form a functional kind, preserved by homeostatic mechanisms. (2) Because of the practical function of such judgements, we should expect judges’ intuitive understanding of agreement and disagreement to be accommodating, treating states departing from the paradigm in various ways as wrongness-judgements. (3) This explains the intuitive judgements required by the counterexample-generating recipe, and more generally why various kinds of amoralists are seen as making genuine wrongness-judgements. (shrink)

One of the most discussed views in metaethics is Moral Internalism, according to which there is a conceptually necessary connection between moral judgments and motivation to act. Moral Internalism is regarded to yield the prime argument against Moral Cognitivism and for Moral Non-Cognitivism. In this paper, I investigate the significance of the corresponding claim in metaaesthetics. I pursue two lines of argument. First, I argue that Aesthetic Internalism – the view that there is a conceptually necessary connection (...) between aesthetic value judgments and motivation to act – is mistaken. It follows, I maintain, that the most important argument against Aesthetic Cognitivism, and for Aesthetic Non-Cognitivism, is flawed, and that the latter view presumably is incorrect. Second, I argue that considerations with regard to Aesthetic Internalism give rise to two normative puzzles with relevance for the normative domain in general. The most plausible solution to these puzzles entails, I maintain, that we need to revise the established view about normative judgments. Moreover, I propose a novel externalist account of aesthetic value judgments. (shrink)

Are aesthetic judgements cognitive, belief-like states or non-cognitive, desire-like states? There have been a number of attempts in recent years to evaluate the plausibility of a non-cognitivist theory of aesthetic judgements. These attempts borrow heavily from non-cognitivism in metaethics. One argument that is used to support metaethical non-cognitivism is the argument from Motivational Judgement Internalism. It is claimed that accepting this view, together with a plausible theory of motivation, pushes us towards accepting non-cognitivism. A tempting (...) option, then, for those wishing to defend aesthetic non-cognitivism, would be to appeal to a similar argument. However, both Caj Strandberg and Walter Sinnott-Armstong have argued that Internalism is a less plausible claim to make about aesthetic judgements than about moral judgements by raising objections against aesthetic internalism. In this paper, I will argue that both of these objections can be raised against internalism about moral judgements as well. As a result, internalism is no less plausible a claim to make about aesthetic judgements than about moral judgements. I will then show how a theory of internalism about normative judgements in general is capable of avoiding both of these objections. (shrink)

Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively (...) grasp abstract rules fixed independently of human responses, and that cognizers are thereby capable of grasping rules for the correct application of aesthetic concepts without relying on evaluation or enculturation. However, in this article I use Wittgenstein’s rule-following considerations to argue that psychological theories grounded upon this so-called objective model of rule-following fail to adequately account for concept acquisition and mastery. I argue that this is because linguistic enculturation, and the perceptual learning that’s often involved, influences and enables the mastery of aesthetic concepts. I argue that part of what’s involved in speaking aesthetically is to belong to a cultural practice of making sense of things aesthetically, and that it’s within a socio-linguistic community, and that community’s practices, that such aesthetic sense can be made intelligible. (shrink)

Can testimony provide reasons to believe some proposition about an artwork’s aesthetic character? Can testimony bring an agent into a position where they can issue an aesthetic judgement about that artwork? What is the epistemic value of aesthetic communication? These questions have received sustained philosophical attention. More fundamental questions about aesthetic communication have meanwhile been neglected. These latter questions concern the nature of aesthetic communication, the criteria that determine when aesthetic communication is successful, and (...) the frequency of communicative success in aesthetic communication. The neglect of these questions is a serious oversight, not least because they bear directly on each of the other questions listed. This paper’s focus is the more fundamental set of questions. I argue for a restricted form of communicative pessimism. Discerning aesthetic communication about an artwork typically fails unless its recipient is both acquainted with that artwork and able to coordinate with the speaker on an aesthetic understanding of it. I arrive at this conclusion by challenging the standard conception of the nature of aesthetic communication that the literature presupposes, as well as an accompanying criterion of communicative success. I introduce an alternative view. In closing I relate my discussion to the former set of questions. (shrink)

Aesthetic internalism claims a link between judgement and motivation: aesthetic judgements bring with them motivations to act in characteristic ways. Critics object that there is a difference between merely liking something and judging it to be aesthetically good, and that it is our likings, not our aesthetic judgements, that motivate us. This paper develops a version of aesthetic internalism that can respond to this criticism. Wholehearted aesthetic judgements are characterized by stability, attention, and motivation. Making (...) such judgements is an important part of a good life, and so at least some aesthetic judgements are motivating. So we have reason to think that this version of aesthetic internalism is true. This paper defends wholehearted aesthetic internalism against objections, and assesses an argument from aesthetic internalism to aesthetic non-cognitivism. While wholehearted aesthetic internalism can only offer qualified support to non-cognitivism, it nonetheless offers a number of fruitful avenues for further work. (shrink)

Theodor Adorno's Aesthetic Theory is a vast labyrinth that anyone interested in modern aesthetic theory must at some time enter. Because of his immense difficulty of the same order as Derrida - Adorno's reception has been slowed by the lack of a comprehensive and comprehensible account of the intentions of his aesthetics. This is the first book to put Aesthetic Theory into context and outline the main ideas and relevant debates, offering readers a valuable guide through this (...) huge, difficult, but revelatory work. Its extended argument is that, despite Adorno's assumptions of autonomism, cognitivism, and aesthetic modernism, his idea of artistic truth content offers crucial insights for contemporary philosophical aesthetics.The eleven chapters are divided into three parts: Context, Content, and Critique. The first part offers a brief biography, describes Adorno's debates with Benjamin, Brecht, and Lukács, and outlines his philosophical program. The second part is an interpretation of Adorno's aesthetics, examining how he situates art in society, production, politics, and history and uncovering the social, political, and historical dimensions of his idea of artistic truth. The third part evaluates Adorno's contribution by confronting it with the critiques of Peter Bürger, Frederic Jameson, and Albrecht Wellmer.Lambert Zuidervaart is Professor of Philosophy at Calvin College. (shrink)

In this paper I present an overview of the doctrine known as Positive Aesthetics regarding aesthetic judgements about nature. According to this view, all pristine nature is always beautiful and, generally, although not necessarily, human intervention tends to introduce ugliness in nature. One of the strong practical motivations behind this claim is an attempt to ground our reasons to preserve natural environments in aesthetic reasons. Positive Aesthetics has been defended within contrary approaches to nature appreciation such as the (...) cognitivists and the anti-cognitivist. Recently, the possibility of real ugliness in nature has been defended; at the same time, it is argued that the presence of ugly items in nature does not lead necessarily to the idea that they are not aesthetically valuable. Hence, natural ugliness can be a reason to preserve nature. In this sense, the denial of the Positive Aesthetics claim is shown to be compatible with the appeal to aesthetic negative qualities as a source of reasons for preserving natural environments. (shrink)

It is a common experience to be surprised by an artwork. In this paper, I examine how and why this obvious fact matters for philosophical aesthetics. Following recent works in psychology and philosophers such as Davidson or Scheffler, we will see that surprise qualifies as an emotion of a special kind, essentially “cognitive” or “epistemic” in its nature and functioning. After some preliminary considerations, I wish to hold two general claims: the first one will be that surprise is somehow related (...) to aesthetic appreciation, because it is often the ground to judge of a work’s value. The second point will be that a functional analysis of surprise provides support for cognitivist accounts of aesthetics. If this picture is right, surprise would generally play an important part in aesthetic experience and should also be seen as a paradigm to study the cognitive powers of art. (shrink)

Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen (...) aright, is always beautiful (that is, positive aesthetics about nature). I attempt to find a revised formulation of scientific cognitivism that can support both of these claims. I argue that to do this we must rethink the notion of positive aesthetics and its place in our theorizing about the appropriate aesthetic appreciation of nature. Specifically, I propose that positive aesthetics be made ‘internal’ to the theory of appropriate aesthetic appreciation, in the sense that this theory determines the correct scientific categories for appreciating a natural object, in part, in virtue of a ‘beauty-making’ criterion. I argue that this sort of formulation of scientific cognitivism can support both of Carlson's claims and does not compromise the objectivist scruples that motivate the view. (shrink)

In Natural Beauty, Ronald Moore presents a novel account of our aesthetic encounters with the natural world. In this essay, I consider the relation between Moore's 'syncretic aesthetic' and rival views of the aesthetics of nature, particularly the view sometimes called 'scientific cognitivism'. After discussing Moore's characterization of rival views in general, and scientific cognitivism in particular, I rehearse his reasons for rejecting the latter view. I critique these arguments, but also suggest that scientific cognitivism (...) and the syncretic aesthetic need not, after all, be viewed as incompatible notions. (shrink)

Part of Plato’s complaint about the cognitive status of art cites the pollution of aesthetic cognition by the affective side of our natures. Schopenhauer, by contrast, takes aesthetic cognition to transcend (some of) the limitations of everyday cognition precisely because in it agents become the “pure, will-less subject of cognition” (WWR I 219). On the orthodox reading of his later philosophy, Nietzsche scorns Plato and Schopenhauer’s association of the value of art with its truthfulness. I challenge the orthodox (...) reading and argue that one strand of art’s value is its penetrative cognitive power. In contrast to Schopenhauer, Nietzsche understands this cognitive power to result from the embracing and exploitation of the affects in the artistic process rather than their extirpation. (shrink)

Like many 19th c. thinkers, Kierkegaard embraces a cognitivist view of art. He thinks works of art matter because they can teach us in important ways. This chapter defends two striking features of Kierkegaard’s version of this theory. First, works of art do not teach “directly” by telling us truths and offering us evidence. Instead, they educate us “indirect-ly” by helping us make our own discoveries. Second, the fact that art does not teach in a straightforward manner is no defect. (...) On the contrary, it is precisely because art teaches indirectly that it teaches better than philosophy and science do. (shrink)

ABSTRACT One striking feature of On the Genealogy of Morals is how it is written. Nietzsche employs a literary style that provokes his readers' emotions. In Beyond Selflessness, Christopher Janaway argues that such a literary approach is integral to Nietzsche's philosophical goals. Feeling the emotions Nietzsche's style arouses is necessary for understanding the views he defends. I argue that Janaway's position is mistaken. The evidence at our disposal fails to establish that emotion is ever necessary for cognition. However, I maintain (...) that we do have good evidence for a slightly weaker claim. The emotionally sensitive person is epistemically better off than the cold and dispassionate person. There are some truths he or she will be more likely to believe and will have better reasons for believing. I conclude that Janaway is right to defend the philosophical importance of Nietzsche's literary writing style. His error is simply that he overstates the case. (shrink)

In 2006, David Carrier (Carrier, 2006, Museum Skepticism: A History of the Display of Art in Public Galleries. Durham: Duke University Press.) coined the term ‘museum skepticism’ to describe the idea that moving artworks into museum settings strips them of essential facets of their meaning; among art historians, this is better known as ‘decontextualization’, ‘denaturing’, or ‘museumization’. Although they do not usually name it directly, many contemporary debates in the philosophy of art are informed by an inclination towards museum skepticism, (...) from work on aesthetic cognitivism (Feagin, Susan, 1995, “Paintings and their places” Australasian Journal of Philosophy 73.2: 260-8.) and contextualism (Danto, Arthur C., 1988, “Artifact and Art”, in ART/ARTIFACT: African Art in Anthropological Collections. Exhibition Catalogue. New York: Center for African Art and Prestel Verlag, 18-32.) to cultural appropriation (Eaton, A. W. and Gaskell, Ivan, 2009, “Do subaltern artifacts belong in art museums?,” The Ethics of Cultural Appropriation, ed. James O. Young and Conrad Brunk, Oxford and Malden, Mass.: Wiley-Blackwell, 235-67), street art (Baldini, Andrea, 2016, “Street Art: A Reply to Riggle” Journal of Aesthetics and Art Criticism 74.2: 187-91), and the value of authenticity (Korsmeyer, Carolyn, 2016, “Real Old Things” British Journal of Aesthetics, 56.3: 219-31). The very first museum skeptic, however, was Antoine Chrysostôme Quatremère de Quincy (1755-1849). (shrink)

Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this (...) lacuna and identify three hitherto unrecognised values relevant to the issue of learning from fiction films. These values are (i) a film’s stance-based cinematic value, which is neither an artistic nor an aesthetic value, but which pertains to the integration of a film’s content, its form, and its themes and/or theses; (ii) a film’s dramatic value, which recognises the use of dramatic argumentation to enable us to make sense of agents’ intentional actions; and (iii) a film’s humanistic value which acknowledges a film’s power to provide illuminating insights into the human condition. In tandem with a series of sceptical arguments that question the very notion of cognitive value, I demonstrate how stance-based cinematic value, dramatic value, and humanistic value can provide fresh ways with which to understand and appreciate that we learn from films, what we learn from films, and how we learn from films. Grouping these values together under the rubric of cinematic humanism offers new resources for a paradigm shift capable of staying true to the spirit that informs both sides of the cognitivist/non-cognitivist debate whilst cutting through the Gordian knot it has become. (shrink)

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a (...) composition that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

Literary cognitivists claim that works of literature can have a significant cognitive value and can be effective in providing readers with opportunities for learning. Anti-cognitivists challenge cognitivists by questioning how literature can offer arguments or evidence for readers’ adoption of new knowledge or understanding. As a mode of side-stepping these objections, cognitivists have recently tended to make their claims more modest and claim only that literature clarifies knowledge readers already possess or provides the opportunity for the development of certain general (...) cognitive skills. In this chapter, I put forward a more bold account of literature’s cognitive value. I argue that a reader’s engagement with a literary work can lead to reconfiguration of their understanding of the subject matter with which the work deals. This bolder defence of literature’s cognitive value, and the account I offer of how readers can access such cognitive value, indicate how literature can form a significant part of character education. (shrink)

A term expresses a thick concept if it expresses a specific evaluative concept that is also substantially descriptive. It is a matter of debate how this rough account should be unpacked, but examples can help to convey the basic idea. Thick concepts are often illustrated with virtue concepts like courageous and generous, action concepts like murder and betray, epistemic concepts like dogmatic and wise, and aesthetic concepts like gaudy and brilliant. These concepts seem to be evaluative, unlike purely descriptive (...) concepts such as red and water. But they also seem different from general evaluative concepts. In particular, thick concepts are typically contrasted with thin concepts like good, wrong, permissible, and ought, which are general evaluative concepts that do not seem substantially descriptive. When Jane says that Max is good, she appears to be evaluating him without providing much description, if any. Thick concepts, on the other hand, are evaluative and substantially descriptive at the same time. For instance, when Max says that Jane is courageous, he seems to be doing two things: evaluating her positively and describing her as willing to face risk. Because of their descriptiveness, thick concepts are especially good candidates for evaluative concepts that pick out properties in the world. Thus they provide an avenue for thinking about ethical claims as being about the world in the same way as descriptive claims. -/- Thick concepts became a focal point in ethics during the second half of the twentieth century. At that time, discussions of thick concepts began to emerge in response to certain disagreements about thin concepts. For example, in twentieth-century ethics, consequentialists and deontologists hotly debated various accounts of good and right. It was also claimed by non-cognitivists and error-theorists that these thin concepts do not correspond to any properties in the world. Dissatisfaction with these viewpoints prompted many ethicists to consider the implications of thick concepts. The notion of a thick concept was thought to provide insight into meta-ethical questions such as whether there is a fact-value distinction, whether there are ethical truths, and, if there are such truths, whether these truths are objective. Some ethicists also theorized about the role that thick concepts can play in normative ethics, such as in virtue theory. By the beginning of the twenty-first century, the interest in thick concepts had spread to other philosophical disciplines such as epistemology, aesthetics, metaphysics, moral psychology, and the philosophy of law. -/- Nevertheless, the emerging interest in thick concepts has sparked debates over many questions: How exactly are thick concepts evaluative? How do they combine evaluation and description? How are thick concepts related to thin concepts? And do thick concepts have the sort of significance commonly attributed to them? This article surveys various attempts at answering these questions. (shrink)

The contemporary debate in the philosophy of literature is strongly shaped by the anticognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this challenge by (...) pointing at ways in which works of literary fiction can be informative even though they lack worldly reference: it has been argued, for example, that works of fictions are thought experiments; that they add not to our theoretical knowledge, but to our know-how or to our phenomenal knowledge; or that that they help readers to understand the perspectives of others. A stubborn defense of literary cognitivism, however, risks to collapse into an instrumental understanding of literature. In my paper I suggest that both sides in the debate focus too narrowly on semantic features of the works in question that is tied to what I will call the “referential picture” of language. A shift perspective is needed: for one, we ought to fully appreciate that the term “literature” does not refer to a homogeneous phenomenon, but rather to a very heterogeneous and multifarious set of works that are read by many different readers for many different reasons in many different ways. Second, we need to understand that these works have in common much more than the semantic peculiarity of lacking worldly reference: they are a unique means of communication between authors and readers – and in particular the role of the latter is often neglected in contemporary debate. These two points should help us to get a more comprehensive understanding of the practice of literature and the vast range of values we can find works of literary fiction – and the interplay between them. (shrink)

E. F. Carritt (1876-1964) was educated at and taught in Oxford University. He made substantial contributions both to aesthetics and to moral philosophy. The focus of this entry is his work in moral philosophy. His most notable works in this field are The Theory of Morals (1928) and Ethical and Political Thinking (1947). Carritt developed views in metaethics and in normative ethics. In meta-ethics he defends a cognitivist, non-naturalist moral realism and was among the first to respond to A. J. (...) Ayer’s emotivist challenge to this view. In normative ethics he advocates a deontological view in which there is a plurality of obligations and of non-instrumental goods. In the context of defending this view he raised some penetrating and novel criticisms of ideal utilitarianism. He held that it is not acceptable to revise our reflective common-sense moral attitudes in the face of philosophical moral theories, and that moral philosophy is only indirectly practical. (shrink)

Portraits are defined in part by their aim to reveal and represent the inner ‘character’ of a person. Because landscapes are typically viewed as lacking such an ‘inner life,’ one might assume that landscapes cannot be the subject of portraiture. However, the notion of landscape character plays an important role in landscape aesthetics and preservation. In this essay, I argue that landscape artworks can thus share in portraiture’s goal of capturing character, and in doing so present us with essential tools (...) for revealing the often ineffable character of place. I explain the implications of this view for debates about scientific cognitivism in environmental aesthetics, representing the narrative dimension of landscape character and integrity, and appeals to the character of place in historic and environmental preservation. (shrink)

In this article I focus on Cavell’s theme of finding one’s voice, as it is articulated with reference to the philosophies of language of Wittgenstein and Austin. I start by spelling out Cavell’s Wittgensteinian-Austinian view of culture as the background for his approach to aesthetics and ethics. I then set out to explore the work done by the theme in aesthetics and ethics around the notion claim. I argue that Cavell’s effort to counter the pull of non-cognitivism in aesthetics (...) and ethics, building on the notion claim, is not only illuminating of his unique way of inheriting the history of analytic philosophy but also gives us a glimpse of where and how Continental and analytic philosophy may again cross paths in the future. (shrink)

A review of Jukka Mikkonen's 'Philosophy, literature and understanding: On reading and cognition' (2021).

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)

Music can infect us. In the dominant approach, music contaminates listeners through emotional mimicry and independently of value appraisal, just like when we catch other people’s feelings. Musical contagion is thus considered fatal to the mainstream view of emotions as cognitive evaluations. This paper criticizes this line of argument and proposes a new cognitivist account: the value metaphor view. Non-cognitivism relies on a contentious model of emotion transmission. In the competing model (social appraisal), we catch people’s emotions by appraising (...) value through their emotional expressions. Social appraisal debunks the main motivation for non-cognitivism and offers fruitful insights into musical contagion. Combining it with metaphor theory, I claim that musical contagion involves experiencing the music as a metaphor for emotions and values. Just like people infect us as we appraise value through their emotional expressions, music contaminates listeners because they hear it metaphorically-as some emotional expression and hereby appraise it metaphorically-as some value. As infectious music “sounds like” emotions and values, cognitivism is safe. (shrink)

This paper considers the medium of videogames from a goodmanian standpoint. After some preliminary clarifications and definitions, I examine the ontological status of videogames. Against several existing accounts, I hold that what grounds their identity qua work types is code. The rest of the paper is dedicated to the epistemology of videogaming. Drawing on Nelson Goodman and Catherine Elgin's works, I suggest that the best model to defend videogame cognitivism appeals to the notion of understanding.

, Derek Matravers defends a new version of the arousal theory of musical expressiveness. In this paper it is argued that for various reasons, including especially what the theory implies about the inappropriateness of certain kinds of response to music, we should reject Matravers's theory in favour of some form of cognitivism.

Several recent studies in many different fields have focused on the question of how music can be expressive of such emotions that only sentient beings can feel. In philosophy of music the adherents of cognitivist theories of expressivity (e.g. Davies 2003, Kivy 2002) try to solve this problem by explaining that we hear music as expressive of emotions, because we hear the events and contours of music as resembling the typical ways in which human beings express their emotions in behaviour (...) and utterance. In cognitivist theories listeners are not supposed to have any reactionary feelings to the expressed emotions, whereas ‘arousalists’ (e.g. Matravers 1998) emphasize that a listener’s experience of expression involves an aroused feeling that is related to the expressed emotion; this aroused feeling makes it the case that we describe music as melancholic, for instance. The third type of philosophical theory of expressivity is the symbolist account (Addis 1999, Langer 1951) whose defenders regard music as isomorphic with our feelings and states of consciousness; in particular, special stress is laid on the idea that music is capable of presenting these ineffable states. (shrink)

Intention Cognitivism – the doctrine that intending to V entails, or even consists in, believing that one will V – is an important position with potentially wide-ranging implications, such as a revisionary understanding of practical reason, and a vindicating explanation of 'Practical Knowledge'. In this paper, I critically examine the standard arguments adduced in support of IC, including arguments from the parity of expression of intention and belief; from the ability to plan around one's intention; and from the explanation (...) provided by the thesis for our knowledge of our intentional acts. I conclude that none of these arguments are compelling, and therefore that no good reason has been given to accept IC. (shrink)

According to cognitivism about emotion, emotions are reducible to some non-emotional states. In one version, they are reducible entirely to cognitive states, such as beliefs or judgments; in another, they are reducible to combinations of cognitive and conative states, such as desire or intention. Cognitivism is plausibly regarded as the orthodoxy in the philosophy of emotion since the 1980s. In a recent paper, however, Montague develops a powerful argument against cognitivism. Here I argue that the argument nonetheless (...) fails. (shrink)

According to the Strong Belief Thesis (SBT), intending to X entails the belief that one will X. John Brunero has attempted to impugn SBT by arguing that there are cases in which an agent intends to X but is unsure that she will X. Moreover, he claims that the standard reply to such putative counterexamples to SBT – namely, to claim that the unsure agent merely has an intention to try – comes at a high price. Specifically, it prevents SBT (...) from playing the kind of explanatory role the cognitivist requires. This article meets Brunero's challenge to SBT by offering an account of trying and intending to try that not only saves SBT from Brunero's criticism, but does so in a way that preserves the explanatory significance that cognitivists typically take SBT to have. (shrink)

The article begins with Jonathan Dancy’s attempt to refute the Humean Theory of Motivation. It first spells out Dancy’s argument for his alternative position, the view he labels ‘Pure Cognitivism’, according to which what motivate are always beliefs, never desires. The article next argues that Dancy’s argument for his position is flawed. On the one hand, it is not true that desire always comes with motivation in the agent; on the other, even if this was the case, it would (...) still not follow that desire is identical with the state of being motivated. When this negative work is done, the article turns to some positive, albeit admittedly tentative remarks about what sort of cognitivist theory of motivation one should endorse. The aim at this point is not to present a brand new theory, but rather to sketch an alternative that stems from what Dancy himself says and is in line with many of his endorsed commitments in other areas. In this way, by moving beyond Pure Cognitivism, the paper sketches a different, but still ‘Dancyesque’ theory of motivation. (shrink)

In a series of recent articles, Robin Jeshion has developed a theory of singular thought which she calls ‘cognitivism’. According to Jeshion, cognitivism offers a middle path between acquaintance theories—which she takes to impose too strong a requirement on singular thought, and semantic instrumentalism—which she takes to impose too weak a requirement. In this article, I raise a series of concerns about Jeshion's theory, and suggest that the relevant data can be accommodated by a version of acquaintance theory (...) that distinguishes unsuccessful thoughts of singular form from successful singular thoughts, and in addition allows for ‘trace-based’ acquaintance. (shrink)

According to Cian Dorr, non-cognitivism has the implausible implication that arguments like the following are cases of wishful thinking: If lying is wrong, then the souls of liars will be punished in the afterlife; lying is wrong; therefore, the souls of liars will be punished in the afterlife. Dorr further claims that if non-cognitivism implies that the above argument and similar arguments are cases of wishful thinking, then non-cognitivism remains implausible even if one solves the so-called Frege-Geach (...) problem. Dorr’s claims have faced a number of objections, but I believe that Dorr is on to something. So, after summarizing Dorr’s argument and briefly describing three flaws in what Dorr claims, I shall present a distinct objection to non-cognitivism and use the preceding to show what Dorr’s argument gets right and what it gets wrong. (shrink)

Cognitivist motivational internalism is the thesis that, if one believes that 'It is right to ϕ', then one will be motivated to ϕ. This thesis—which captures the practical nature of morality—is in tension with a Humean constraint on belief: belief cannot motivate action without the assistance of a conceptually independent desire. When defending cognitivist motivational internalism it is tempting to either argue that the Humean constraint only applies to non-moral beliefs or that moral beliefs only motivate ceteris paribus . But (...) succumbing to the first temptation places one under a burden to justify what is motivationally exceptional about moral beliefs and succumbing to the second temptation saddles one with a thesis that fails to do justice to the practicality intuition that cognitivist motivational internalism is suppose to capture. In this paper, I offer a way of defending cognitivist motivational internalism, which does not require accepting that there is anything motivationally unusual about moral beliefs. I argue that no belief satisfies the Humean constraint: all beliefs are capable of motivating without the assistance of a conceptually independent desire. (shrink)

Derek Parfit defended Non-Realist Cognitivism. It is an open secret that this metaethical theory is often thought at best puzzling and at worst objectionably unclear. Employing truthmaker theory, I provide an account of Non-Realist Cognitivism that dispels charges of objectionable unclarity, clarifies how to assess it, and explains why, if plausible, it would be an attractive theory. I develop concerns that the theory involves cheating into an objection that ultimately reveals Non-Realist Cognitivism faces a dilemma. Whether it (...) can escape demands further attention. In bridging metaethics and the truthmaking literature, I illustrate the importance of greater meta-metaphysical reflection in metaethics. (shrink)

This paper has a narrow and a broader target. The narrow target is a particular version of what I call the mental-files conception of singular thought, proposed by Robin Jeshion, and known as cognitivism. The broader target is the MFC in general. I give an argument against Jeshion's view, which gives us preliminary reason to reject the MFC more broadly. I argue Jeshion's theory of singular thought should be rejected because the central connection she makes between significance and singularity (...) does not hold. However, my argument grants Jeshion's claim that there is a connection between significance and file-thinking. The upshot is not only that we have reason to reject Jeshion's significance constraint on singular thought, but that we have reason to question the connection made by MFC proponents between file-thinking and singularity. (shrink)

This article introduces a non‐cognitivist account of metaphysical explanation according to which the core function of judgements of the form ⌜x because y⌝ is not to state truth‐apt beliefs. Instead, their core function is to express attitudes of commitment to, and recommendation of the acceptance of certain norms governing interventional conduct at contexts.

The hypothesis of this paper is that legal positivism depends on the non plausibility of strong moral cognitivism because of the non necessary connection thesis between law and morality that legal positivism is supposed to acknowledge. The paper concludes that only when based on strong moral cognitivism is it consistent to sustain the typical non-positivistic thesis of the necessary connection between law and morality. Habermas’s Philosophy of law is confronted with both positions.

In On What Matters, Derek Parfit defends a new metaethical theory, which he calls non-realist cognitivism. It claims that normative judgments are beliefs; that some normative beliefs are true; that the normative concepts that are a part of the propositions that are the contents of normative beliefs are irreducible, unanalysable and of their own unique kind; and that neither the natural features of the reality nor any additional normative features of the reality make the relevant normative beliefs true. The (...) aim of this article is to argue that Parfit’s theory is problematic because its defenders have no resources to make sense of the nature of normative truth, which is an essential element of their view. I do this by showing how the traditional theories of truth are not available for the non-realist cognitivists. (shrink)

Abstract The paper explicates a set of criteria the joint satisfaction of which is taken to qualify moral judgements as cognitive. The paper examines evidence that some moral judgements meet these criteria, and relates the resulting conception of moral judgements to ongoing controversies about cognitivism in ethics.

Taking my cue from Michael Smith, I try to extract a decent argument for non-cognitivism from the text of the Treatise. I argue that the premises are false and that the whole thing rests on a petitio principi. I then re-jig the argument so as to support that conclusion that Hume actually believed (namely that an action is virtuous if it would excite the approbation of a suitably qualified spectator). This argument too rests on false premises and a begged (...) question. Thus the Motivation Argument fails BOTH as an argument for noncognitivism AND as an argument for what Hume actually believed, that moral distinctions are not derived from reason and that moral properties are akin to secondary qualities. So far as the Motivation Argument is concerned, both cognitivists and rationalists can rest easy. Themes: 1) Hume’s Slavery of Reason thesis is only defensible if passions are not only desires but sometimes dispositions to acquire desires (DTADs). 2) A desire for our good on the whole, which Humeans need to posit to fend off apparent counterexamples to the Slavery of Reason Thesis, does not sit well with the Humean theory of how novel desires arise (an objection due originally to Reid). 3) Hume is wrong to suppose that ‘abstract or demonstrative reasoning never influences any of our actions, but only as it directs our judgment concerning causes and effects’ as the examples of Russell and Hobbes convincingly demonstrate. This ironic as both Russell and Hobbes subscribed to the Slavery of Reason Thesis. 4) I critique Michael Smith’s critique of motivational externalism. (shrink)

Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on (...) class='Hi'>aesthetic testimony seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (shrink)

What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of (...) this is that there are aesthetic obligations to act, not only permissions. So, I conclude, the aesthetic asks little of us as patients and much of as agents. (shrink)

In this paper I outline and defend a new approach to personal-identity—personal-identity non-cognitivism—and argue that it has several advantages over its cognitivist rivals. On this view utterances of personal-identity sentences express a non-cognitive attitude towards relevant person-stages. The resulting view offers a pleasingly nuanced picture of what we are doing when we utter such sentences.