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  1. Kant’s “I Think” and the Agential Approach to Self-Knowledge.Houston Smit - 2019 - Canadian Journal of Philosophy 49 (7):980-1011.
    ABSTRACTThis paper relates Kant’s account of pure apperception to the agential approach to self-knowledge. It argues that his famous claim ‘The I think must be able to accompany all of my represent...
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  • Kant and the Transparency of the Mind.Alexandra M. Newton - 2019 - Canadian Journal of Philosophy 49 (7):890-915.
    ABSTRACTIt has become standard to treat Kant’s characterization of pure apperception as involving the claim that questions about what I think are transparent to questions about the world. By contra...
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  • The Varieties of Musical Experience.Brandon Polite - 2014 - Pragmatism Today 5 (2):93-100.
    Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...)
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  • Cognitive Penetration and the Perception of Art (Winner of 2012 Dialectica Essay Prize).Dustin Stokes - 2014 - Dialectica 68 (1):1-34.
    There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition has it (...)
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  • Perception and Its Modalities.Dustin Stokes, Mohan Matthen & Stephen Biggs (eds.) - 2014 - Oxford University Press.
    This volume is about the many ways we perceive. Contributors explore the nature of the individual senses, how and what they tell us about the world, and how they interrelate. They consider how the senses extract perceptual content from receptoral information. They consider what kinds of objects we perceive and whether multiple senses ever perceive a single event. They consider how many senses we have, what makes one sense distinct from another, and whether and why distinguishing senses may be useful. (...)
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  • Interpretivistic Conception of Quantification: Tool for Enhancing Quality of Life?Denis Larrivee & Adriana Gini - 2013 - Open Journal of Philosophy 3 (4):10.
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  • Normativity and Generality in Ethics and Aesthetics.Robert Audi - 2014 - Journal of Ethics 18 (4):373-390.
    Moral properties such as being wrong or being obligatory are not brute but based on other kinds of properties, such as being a lie or being promised. Aesthetic properties such as being graceful or being beautiful are similar to moral properties in being based on other kinds of properties, but in the aesthetic cases it may be impossible to specify just what these grounding properties are. Does any single property ground poetic beauty in the way promising grounds obligation to do (...)
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  • Music to My Eyes: Cross-Modal Interactions in the Perception of Emotions in Musical Performance.Bradley W. Vines, Carol L. Krumhansl, Marcelo M. Wanderley, Ioana M. Dalca & Daniel J. Levitin - 2011 - Cognition 118 (2):157-170.
  • Natural Sounds and Musical Sounds: A Dual Distinction.John Dyck - 2016 - Journal of Aesthetics and Art Criticism 74 (3):291-302.
    In this article I consider the relationship between natural sounds and music. I evaluate two prominent accounts of this relationship. These accounts satisfy an important condition, the difference condition: musical sounds are different from natural sounds. However, they fail to meet an equally important condition, the interaction condition: musical sounds and natural sounds can interact in aesthetically important ways to create unified aesthetic objects. I then propose an alternative account of the relationship between natural sounds and music that meets both (...)
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