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Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject. |
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What defines a work of art and determines the way in which we respond to it? |
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This book brings together Wollheim's broad and abiding concerns to illuminate human thought at its furthest reaches of introspection and expression. |
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Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art. |
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Images of myself being Napoleon can scarcely merely be images of the physical figure of Napoleon.... They will rather be images of, for instance, the desolation at Austerlitz as viewed by me vaguely aware of my short stature and my cockaded hat, my hand in my tunic. |
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For the last 25 years discussions and debates about commonsense psychology (or “folk psychology,” as it is often called) have been center stage in the philosophy of mind. There have been heated disagreements both about what folk psychology is and about how it is related to the scientific understanding of the mind/brain that is emerging in psychology and the neurosciences. In this chapter we will begin by explaining why folk psychology plays such an important role in the philosophy of mind. (...) |
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A central goal of contemporary cognitive science is the explanation of cognitive abilities or capacities. [Cummins 1983] During the last three decades a wide range of cognitive capacities have been subjected to careful empirical scrutiny. The adult's ability to produce and comprehend natural language sentences and the child's capacity to acquire a natural language were among the first to be explored. [Chomsky 1965, Fodor, Bever & Garrett 1974, Pinker 1989] There is also a rich literature on the ability to solve (...) |
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What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents a compelling case (...) |
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For a century there has been a divergence between what music theorists say music is about and what the ordinary listener actually experiences. Music theory has insisted on a separation of musical experience from the experience of emotions, from the passions. Yet a passionate experience of music is just what most ordinary listeners have. Charting a new course through the minefield of contemporary philosophy of music, Aaron Ridley provides a coherent defense of the ordinary listener's beliefs. Focusing on instrumental music (...) |
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Books reviewed in this article: Michael Tye, Consciousness, Color and Content J. C. King, Complex Demonstratives: A Quantificational Account. No categories |
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Books reviewed in this article: Michael Tye, Consciousness, Color and Content J. C. King, Complex Demonstratives: A Quantificational Account. No categories |
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A number of philosophers have argued in favour of the Dependency Thesis: if a subject sensorily imagines an F then he or she sensorily imagines from the inside perceptually experiencing an F in the imaginary world. They claim that it explains certain important features of imaginative experience, in brief: the fact that it is perspectival, the fact that it does not involve presentation of sensory qualities and the fact that mental images can serve a number of different imaginings. I argue (...) |
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A common objection to sense-datum theories of perception is that they cannot give an adequate account of the fact that introspection indicates that our sensory experiences are directed on, or are about, the mind-independent entities in the world around us, that our sense experience is transparent to the world. In this paper I point out that the main force of this claim is to point out an explanatory challenge to sense-datum theories. |
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As readers of this book will discover, from several disputes with me contained in its pages, Scruton and I are not in accord on a number of matters in the philosophy of music. Notwithstanding that, and more generally the fact that the book is controlled by a phenomenological-idealist perspective on music that I regard as fundamentally misplaced, in my estimation The Aesthetics of Music is the most valuable work to date on the subject of its title, one that addresses that (...) |
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As readers of this book will discover, from several disputes with me contained in its pages, Scruton and I are not in accord on a number of matters in the philosophy of music. Notwithstanding that, and more generally the fact that the book is controlled by a phenomenological-idealist perspective on music that I regard as fundamentally misplaced, in my estimation The Aesthetics of Music is the most valuable work to date on the subject of its title, one that addresses that (...) |
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In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ... |
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According to the standard account of actions and their explanations, intentional actions are actions done because the agent has a certain desire/belief pair that explains the action by rationalizing it. Any explanation of intentional action in terms of an appetite or occurrent emotion is hence assumed to be elliptical, implicitly appealing to some appropriate belief. In this paper, I challenge this assumption with respect to the " arational " actions of my title---a significant subset of the set of intentional actions (...) |
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The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington. |
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$95.00 new (collection) View on Amazon.com Direct download (3 more)  382 citations |
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One of the most notable aspects of Fodor's work is that it articulates features not only of speculative cognitive architectures but also of current research in ... |
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R. K. Elliott; VIII—Aesthetic Theory and the Experience of Art, Proceedings of the Aristotelian Society, Volume 67, Issue 1, 1 June 1967, Pages 111–126, https:/. |
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We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) |
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