David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Mind and Language 23 (3):329–358 (2008)
I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in terms of simulation and briefly comment upon the impact of work on cross-cultural perception of facial expression, modularity and autism for the proposal.
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References found in this work BETA
Ismay Barwell (1986). How Does Art Express Emotion? Journal of Aesthetics and Art Criticism 45 (2):175-181.
Malcolm Budd (1989). Music and the Communication of Emotion. Journal of Aesthetics and Art Criticism 47 (2):129-138.
Gregory Currie (2002). Desire in Imagination. In Tamar S. Gendler & John Hawthorne (eds.), Conceivability and Possibility. Oxford University Press. 201-221.
Gregory Currie & Ian Ravenscroft (2002). Recreative Minds: Imagination in Philosophy and Psychology. Oxford University Press.
Gregory Currie & Kim Sterelny (2000). How to Think About the Modularity of Mind-Reading. Philosophical Quarterly 50 (199):145-160.
Citations of this work BETA
Tom Cochrane (2010). Music, Emotions and the Influence of the Cognitive Sciences. Philosophy Compass 5 (11):978-988.
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