The idea that choreographic movements communicate to audiences by kinetic transfer is a commonplace among choreographers, dancers, and dance educators.1 Moreover, most dance lovers can cite their own favorite examples—the bounciness of the Royal Danish Ballet, the stomping of Bharata Natyam performers, the stag leaps in the thundering Greek chorus in Martha Graham’s Night Journey, or the contagious rhythmic transfer that takes over our feet when we watch classic tap dancers like Buster Brown. The perceptual capacity for kinetic transfer was (...) succinctly identified and theorized by John Martin. He called this capacity metakinesis. Martin was influenced by Theodor Lipps’s earlier theory of empathy. Lipps introduced his notion of empathy as a way to characterize our muscular responses to the perceived internal dynamics of inanimate objects under stress and tension, for example, weight-bearing columns and cantilevered boulders. Martin argued analogously about dance. -/- In what follows, we explore and evaluate three general challenges to the existence and significance of kinetic transfer in dance: challenges to the very possibility of kinesthetic understanding in dance, questions about the relevance of kinetic transfer to explanations of artistic communication in dance, and concerns about the relevance of kinetic transfer to evaluative questions germane to dance appreciation. We do not subscribe to every aspect of Martin’s story. Nevertheless, we think that Martin was exceedingly prescient. His speculations appear to be supported by recent research in neuroscience and psychology.We feel as a result that Martin’s comments are highly suggestive of what might be going on in ordinary dance consumers (or at least moderately informed ones). Critically, however, we do not model these contributions in terms of a discrete, stand-alone kinesthetic sense as Martin did. Rather, we argue that metakinesis and kinetic transfer refer to a general crossmodal sensorimotor perceptual capacity that contributes to our understanding and experience of actions in everyday contexts. Nor do we claim that audiences recognize and understand dance solely on the basis of kinetic transfer. Rather, we argue that this sensorimotor capacity is a contributing factor in our perceptual engagement with dance works, one of a range of tools ready to hand to choreographers and dancers for conveying information critical to the content of their works. (shrink)

What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of (...) art from interdisciplinary research focused on our perceptual engagement with artworks. Recent breakthroughs in cognitive science and behavioral science can explain how we recognize artworks and how we differentiate them from more quotidian artifacts. Seeley pushes this line of reasoning, showing how cognitive science can help reveal the way artworks function as a unique source of value. Cognitive systems integrate this information into our experience of art, guiding attention and shaping what we perceive. Our understanding and appreciation of artworks is therefore carried in our perceptual experience of them. -/- Attentional Engines explores the pitfalls and potential of this interdisciplinary strategy for understanding art. It articulates a cognitivist theory of art grounded in perceptual psychology and neuroscience and demonstrates its application to a range of puzzles in the philosophy of the arts. This includes questions about the nature of depiction, the role played by metakinesis in dance appreciation, the nature of musical expression, and the power of movies. The provocative interdisciplinary theories Seeley presents will appeal to scholars and students interested in aesthetics, philosophy of mind, philosophy of art, cognitive science, and anyone with a burning curiosity about how artworks work. (shrink)

In the philosophy of perception, olfaction is the perennial problem child, presenting a range of difficulties to those seeking to define its proper referents, and its phenomenological content. Here, we argue that many of these difficulties can be resolved by recognizing the object-like representation of odors in the brain, and by postulating that the basic objects of olfaction are best defined by their biological value to the organism, rather than physico-chemical dimensions of stimuli. Building on this organism-centered account, we speculate (...) that the phenomenological space of olfaction is organized into a number of coarse affective dimensions that apply categorically. This organization may be especially useful for coupling sensation to decision-making and instrumental action in a sensory modality where the stimulus space is especially complex and high-dimensional. (shrink)

To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...) science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

Philosophical accounts of narrative fiction can be loosely divided into two types. Participant accounts argue that some sort of simulation, or 1st person perspective taking plays a critical role in our engagement with narratives. Observer accounts argue to the contrary that we primarily engage narrative fictions from a 3rd person point of view, as either side participants or outside observers. Recent psychological research suggests a means to evaluate this debate. The perception of distance and slope is influenced by the energetic (...) (e.g., task difficulty) and emotional (e.g., anxiety) costs of actions. These effects are limited to increases in the costs of actions agents intend to perform themselves, generalize to cases where participants imagine acting, and demonstrate a role for tacit motor simulation in action planning. If participant accounts are sound, one should, therefore, find similar effects across changes in the interpretation of the costs of actions depicted in static images. We asked people to copy the rough spatial layout of two paintings across different interpretations of the costs of the actions they depicted. We predicted that increasing costs would cause participants to draw distances as longer and hills as steeper. Our results confirm this prediction for the energetic, but not the emotional, costs of actions. (shrink)

" In a book that seeks to shift the ground of debate within theory of knowledge, William P. Alston finds that the century-lo.

Mit diesem klaren und provokativen erkenntnistheoretischen Ansatz im Bereich der Religionsphilosophie argumentiert William P. Alston, dass die Wahrnehmung Gottes eines der wichtigsten Beitrage zu den Grunden des religiosen Glaubens liefert. Dabei spielt sein Begriff des direkten erfahrungsmassigen Bewusstsein eine entscheidende Rolle. Nach einem Uberblick uber verschiedene berichtete direkte Gotteserfahrungen zeigt Alston, dass eine Person auf der Grundlage der mystischen Erfahrung berechtigt ist, an Gott zu glauben. "Dieses grossartige Buch ist die Frucht von Jahrzehnten des Reifens und der durchdringenden Reflexion. (...) Wie zu erwarten war, nimmt es die Diskussion des umgebenden Themas der Gotteserfahrung auf und fuhrt es zu einer neuen Ebene der Einsicht und der Durchdringung." Alvin Plantinga, Universitat von Notre Dame, USA "Die Erkenntnistheorie des religiosen Glaubens war vor einiger Zeit das heisseste Thema der Religionsphilosophie. Alstons Arbeit ist der beste und interessanteste Beitrag zu diesem Gebiet. Alston ist nicht nur mit der Verteidigung des religiosen Glaubens beschaftigt, sondern er eroffnet einen plausiblen Vorschlag zum verbesserten Verstandnisses der Frage nach der Entstehung des religiosen Glaubens. Gott wahrnehmen ist sicher der wichtigste Beitrag zur Religionsphilosophie in diesem Jahr." Robert Merrihew Adams, Universitat von Califonien, Los Angeles". (shrink)

From the author of the New York Times bestselling novels The Shack, Cross Roads, and Eve comes a compelling, conversational exploration of the wrong-headed ideas we sometimes have and share about God. Now available in Spanish.

Introduction As the title indicates, the chief focus of this book is epistemic justification. But just what is epistemic justification and what is its place ...

Introduction i. Character of the Book The central thesis of this book is that experiential awareness of God, or as I shall be saying, the perception of God, ...

William P. Alston formulates and defends a realist conception of truth, which he calls alethic realism (from "aletheia", Greek for "truth").

Chapter INTRODUCTION i. The Problem Why suppose that sense perception is, by and large, an accurate source of information about the physical environment? ...

In this clear and provocative account of the epistemology of religious experience, William P. Alston argues that the perception of God—his term for direct experiential awareness of God—makes a major contribution to the grounds of religious belief. Surveying the variety of reported direct experiences of God, Alston demonstrates that a person can be justified in holding certain beliefs about God on the basis of mystical experience.

William P. Alston. difference in the scope of the rule reflects the fact that I-rules exist for the sake of making communication possible. Whereas their cousins are enacted and enforced for other reasons. We could distinguish I-rules just by this ...

What is it for a sentence to have a certain meaning? This is the question that the distinguished analytic philosopher William P. Alston addresses in this major contribution to the philosophy of language. His answer focuses on the given sentence's potential to play the role that its speaker had in mind, what he terms the usability of the sentence to perform the illocutionary act intended by its speaker. Alston defines an illocutionary act as an act of saying something with (...) a certain "content." He develops his account of what it is to perform such acts in terms of taking responsibility, in uttering a sentence, for the existence of certain conditions. In requesting someone to open a window, for example, the speaker takes responsibility for its being the case that the window is closed and that the speaker has an interest in its being opened. In Illocutionary Acts and Sentence Meaning, Alston expands upon this concept, creating a framework of five categories of illocutionary act and going on to argue that sentence meaning is fundamentally a matter of illocutionary act potential; that is, for a sentence to have a particular meaning is for it to be usable to perform illocutionary acts of a certain type. In providing detailed and explicit patterns of analysis for the whole range of illocutionary acts, Alston makes a unique contribution to the field of philosophy of language—one that is likely to generate debate for years to come. (shrink)

Beliefs are freely attributed to God nowadays in Anglo–American philosophical theology. This practice undoubtedly reflects the twentieth–century popularity of the view that knowledge consists of true justified belief . The connection is frequently made explicit. If knowledge is true justified belief then whatever God knows He believes. It would seem that much recent talk of divine beliefs stems from Nelson Pike's widely discussed article, ‘Divine Omniscience and Voluntary Action’. In this essay Pike develops a version of the classic argument for (...) the incompatibility of divine foreknowledge and free will in terms of divine forebelief. He introduces this shift by premising that ‘ A knows X ’ entails ‘A believes X ’. As a result of all this, philosophers have increasingly been using the concept of belief in defining ‘omniscience’. (shrink)

Justification, or at least ‘justification’, bulks large in recent epistemology. The view that knowledge consists of true-justified-belief has been prominent in this century, and the justification of belief has attracted considerable attention in its own right. But it is usually not at all clear just what an epistemologist means by ‘justified’, just what concept the term is used to express. An enormous amount of energy has gone into the attempt to specify conditions under which beliefs of one or another sort (...) are justified; but relatively little has been done to explain what it is for a belief to be justified, what that is for which conditions are being sought. The most common procedure has been to proceed on the basis of a number of obvious cases of justified belief, without pausing to determine what property it is of which these cases are instances. Now even if there were some single determinate concept that all these theoriests have implicitly in mind, this procedure would be less than wholly satisfactory. For in the absence of an explicit account of the concept being applied, we lack the most fundamental basis for deciding between supposed intuitions and for evaluating proposed conditions of justification. And in any event, as philosophers we do not seek merely to speak the truth, but also to gain an explicit, reflective understanding of the matters with which we deal. We want to know not only when our beliefs are justified, but also what it is to enjoy that status. True, not every fundamental concept can be explicated, but we shall find that much can be done with this one. (shrink)

Internalism restricts justifiers to what is "within" the subject. two main forms of internalism are (1) perspectival internalism (pi), which restricts justifiers to what the subject knows or justifiably believes, and (2) access internalism (ai), which restricts justifiers to what is directly accessible to the subject. the two forms are analyzed and interrelated, and the grounds for each are examined. it is concluded that although pi is both unacceptable and without adequate support, a modest form of ai might be defended.

This paper distinguishes and interrelates a number of respects in which persons have been thought to be in a specially favorable epistemic position vis-A-Vis their own mental states. The most important distinction is a six-Fold one between infallibility, Omniscience, Indubitability, Incorrigibility, Truth-Sufficiency, And self-Warrant. Each of these varieties can then be sub-Divided as the kind of modality, If any, Involved. It is also argued that discussions of self-Knowledge have been hampered by a failure to recognize these distinctions.

Divine Nature and Human Language is a collection of twelve essays in philosophical theology by William P. Alston, one of the leading figures in the current renaissance in the philosophy of religion. Using the equipment of contemporary analytical philosophy, Alston explores, partly refashions, and defends a largely traditional conception of God and His work in the world a conception that finds its origins in medieval philosophical theology. These essays fall into two groups: those concerned with theological language and those (...) that deal with the nature, status, and activity of God. In Part 1, Alston develops a conceptual scheme for discussing the topic of theological language. He also argues that there is a core of literal talk about God and even a core of predicates univocally applicable to God and creatures. Furthermore, he shows that God can be referred to directly as well as descriptively. In Parts II and III, the author sketches out a middle way between a classical conception of God exemplified by Aquinas and the more recent “process” or “panentheist” conception exemplified by Hartshorne. Alston argues that such a God can act so as to have real effects in the world and can enter into genuine dialogue and otherwise interact with human beings. In addition, he defends the idea that God provides a foundation for morality. The first collection of Alston's ground breaking work in the philosophy of religion, Divine Nature and Human Language will be welcomed by scholars and students of the philosophy of religion, metaphysics, theology, and religious studies. (shrink)

1. The Naturalistic Turn in Philosophy of Science 2. The Framework of Mechanistic Explanation: Parts, Operations, and Organization 3. Representing and Reasoning About Mechanisms 4. Mental Mechanisms: Mechanisms that Process Information 5. Discovering Mental Mechanisms 6 . Summary.

Immediate knowledge is here construed as true belief that does not owe its status as knowledge to support by other knowledge (or justified belief) of the same subject. The bulk of the paper is devoted to a criticism of attempts to show the impossibility of immediate knowledge. I concentrate on attempts by Wilfrid Sellars and Laurence Bonjour to show that putative immediate knowledge really depends on higher-level knowledge or justified belief about the status of the beliefs involved in the putative (...) immediate knowledge. It is concluded that their arguments are lacking in cogency. (shrink)