In ‘Rethinking Nature,’ Shaun Gallagher makes the case for a non-reductive, naturalized phenomenology. In doing so, he seeks to close the metaphysical gap between world and mind by pursuing a ‘world > mind’ strategy, conforming the natural world to the world of reason and experience. Here I assess the merits of this approach by comparison with the alternative ‘mind > world’ strategy, whereby the the world of reason and experience is conformed to the natural world. This latter approach is exemplified (...) by the method of ‘triangulating’ the mind through the integration of experiential, psychological, and neurophysiological evidence. While sympathetic to Gallagher’s ambition and aspects of his approach, I raise some doubts about the anti- or non-representational model of mind that he believes his revisionist metaphysics of nature supports. Arguably, representational assumptions are built into the concepts of perception, the senses, and the mind itself. Thus, even if the metaphysical gap between mind and world can be closed, the epistemic gap between an agent and its environment must still be bridged by the engine of representation that is the extended and embodied mind. (shrink)

What does it mean for an actor to empathize with the character she is playing? We review different theories of empathy and of acting. We then consider the notion of “twofoldness”, which has been used to characterize the observer or audience perspective on the relation between actor and character. This same kind of twofoldness or double attunement applies from the perspective of the actor herself who must, at certain points of preparation, distinguish between the character portrayed and her own portrayal (...) effected in her craft. We argue that this concept helps us to understand how the actor can empathize with her character. For the actor who must study and rehearse her character, empathy may begin with higher-order processes that provide a contextualized understanding of the character. This understanding eventually integrates with more basic empathic processes in her actual performance. (shrink)

In this paper, I review developments in discussions of fiction and emotion over the last decade concerning both the descriptive question of how to classify fiction-directed emotions and the normative question of how to evaluate those emotions. Although many advances have been made on these topics, a mistaken assumption is still common: that we must hold either that fiction-directed emotions are (empirically or normatively) the same as other emotions, or that they are different. I argue that we should reject this (...) dichotomy. (shrink)

In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber's Adagio for Strings—I follow the example set by Murray Smith in (...) Film, Art, and the Third Culture and discuss the complementary approaches of the humanities, the behavioral sciences, and the natural sciences to understanding music and its use in film. (shrink)