Human beings have the unique ability to consciously reflect on the nature of the self. But reflection has its costs. We can ask what the self is, but as David Hume pointed out, the self, once reflected upon, may be nowhere to be found. The favored view is that we are material beings living in the material world. But if so, a host of destabilizing questions surface. If persons are just a sophisticated sort of animal, then what sense is there (...) to the idea that we are free agents who control our own destinies? What makes the life of any animal, even one as sophisticated as Homo sapiens, worth anything? What place is there in a material world for God? And if there is no place for a God, then what hold can morality possibly have on us--why isn't everything allowed? Flanagan's collection of essays takes on these questions and more. He continues the old philosophical project of reconciling a scientific view of ourselves with a view of ourselves as agents of free will and meaning-makers. But to this project he brings the latest insights of neuroscience, cognitive science, and psychiatry, exploring topics such as whether the conscious mind can be explained scientifically, whether dreams are self-expressive or just noise, the moral socialization of children, and the nature of psychological phenomena such as multiple personality disorder and false memory syndrome. What emerges from these explorations is a liberating vision which can make sense of the self, agency, character transformation, and the value and worth of human life. Flanagan concludes that nothing about a scientific view of persons must lead to nihilism. (shrink)

The Expression of Emotion collects cutting-edge essays on emotional expression written by leading philosophers, psychologists, and legal theorists. It highlights areas of interdisciplinary research interest, including facial expression, expressive action, and the role of both normativity and context in emotion perception. Whilst philosophical discussion of emotional expression has addressed the nature of expression and its relation to action theory, psychological work on the topic has focused on the specific mechanisms underpinning different facial expressions and their (...) recognition. Further, work in both legal and political theory has had much to say about the normative role of emotional expressions, but would benefit from greater engagement with both psychological and philosophical research. In combining philosophical, psychological, and legal work on emotional expression, the present volume brings these distinct approaches into a productive conversation. (shrink)

Mitchell S. Green presents a systematic philosophical study of self-expression - a pervasive phenomenon of the everyday life of humans and other species, which has received scant attention in its own right. He explores the ways in which self-expression reveals our states of thought, feeling, and experience, and he defends striking new theses concerning a wide range of fascinating topics: our ability to perceive emotion in others, artistic expression, empathy, expressive language, meaning, facial expression, and speech (...) acts. He draws on insights from evolutionary game theory, ethology, the philosophy of language, social psychology, pragmatics, aesthetics, and neuroscience to present a stimulating and accessible interdisciplinary work. (shrink)

This book brings together researchers from a range of disciplines that use diverse methodologies to provide new perspectives and formulate answers to questions about the meaning, means, and contextualisation of expressive performance in music.

According to Dewey, we are responsible for our conduct because it is “ourselves objectified in action”. This idea lies at the heart of an increasingly influential deep self approach to moral responsibility. Existing formulations of deep self views have two major problems: They are often underspecified, and they tend to understand the nature of the deep self in excessively rationalistic terms. Here I propose a new deep self theory of moral responsibility called the Self-Expression account that addresses these issues. (...) The account is composed of two parts. The first part answers the question, What is a deep self? Theorists have tended to favor cognitive views that understand the deep self in terms of rationally formed evaluative judgment. I propose instead a conative view that says one’s deep self consists of a distinctive kind of pro-attitude, cares, and I provide an account of cares in terms of their distinctive psychological functional role. The second part answers the question, When does an action express one’s deep self? I criticize the agentially demanding conditions set out in existing views and propose a more minimalist alternative. I show that the Self-Expression account handles issues that bedeviled traditional deep self views, including how to explain moral responsibility for spontaneous, out of character, and weak-willed actions. (shrink)

The French philosopher Renaud Barbaras remarked that late in Maurice Merleau-Ponty’s career, “The phenomenology of perception fulfills itself as a philosophy of expression.” In _Tracing Expression in Merleau-Ponty: Aesthetics, Philosophy of Biology, and Ontology, _Véronique M. Fóti_ _addresses the guiding yet neglected theme of expression in Merleau-Ponty’s thought. She traces Merleau-Ponty’s ideas about how individuals express creative or artistic impulses through his three essays on aesthetics, his engagement with animality and the “new biology” in the second of (...) his lecture courses on nature of 1957–58, and in his late ontology, articulated in 1964 in the fragmentary text of _Le visible et l’invisible _. With the exception of a discussion of Merleau-Ponty’s 1945 essay “Cezanne’s Doubt,” Fóti engages with Merleau-Ponty’s late and final thought, with close attention to both his scientific and philosophical interlocutors, especially the continental rationalists. Expression shows itself, in Merleau-Ponty’s thought, to be primordial, and this innate and fundamental nature of expression has implications for his understanding of artistic creation, science, and philosophy. (shrink)

Rigorously studying the inexpressible expression provoked by the silenced testimony of the Holocaust survivor, in Jean-François Lyotard's The Differend, and the religious faithful, in Pseudo-Dionysius' The Divine Names, proves to dissolve the apparent heterogeneity of postmodernism and Neoplatonist Christian mysticism and open radical new lines of dialogue. Expressing the Inexpressible critically evaluates each thinker and tradition, rethinks witnessing, testimony, sublimity, and apophaticism, and then engages them together to forge a new reading of silence and eros.

Many philosophers favour the simple knowledge account of assertion, which says you may assert something only if you know it. The simple account is true but importantly incomplete. I defend a more informative thesis, namely, that you may assert something only if your assertion expresses knowledge. I call this 'the express knowledge account of assertion', which I argue better handles a wider range of cases while at the same time explaining the simple knowledge account's appeal. §1 introduces some new data (...) that a knowledge account of assertion well explains. §2 explains the simple knowledge account's advantage over two of its main competitors. §3 presents a problem for the simple account and offers a solution, which is to adopt the express knowledge account. §4 encapsulates the case for the express knowledge account, and offers a unifying vision for the epistemology of belief and assertion. §5 answers an objection. §6 briefly sums up. Even those who ultimately reject my conclusion can still benefit from the new data presented in §1, and learn an important lesson from the problem discussed in §3, which demonstrates a general constraint on an acceptable account of the norm of assertion. (shrink)

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what (...) is the body expressed in electronic music then? The authors of this book reveal composers', performers', improvisers' and listeners' bodies, as well as the works' and technologies' figurative bodies as a rich source of expressive articulation. Bringing together humanities' scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves. (shrink)

In Spence v. Washington, the Supreme Court devised a two-part test for determining whether a nonverbal action is expressive conduct protected by the First Amendment. According to the Spence test, a nonverbal action is expressive if and only if: (1) it is intended to communicate a particularized message; and (2) in the circumstances in which the action is performed, the likelihood is great that the message will be understood by observers. -/- In subsequent cases, however, the Court has made clear (...) that the category of "expressive conduct" embraces a much wider variety of nonverbal behaviors than a literal reading of the Spence test would suggest. It includes, for example, such behaviors as composing instrumental music, creating nonrepresentational visual artworks, penning nonsense verse, and dancing in the nude for the entertainment of others. -/- Drawing on the work of Paul Grice, one of the twentieth century's most influential philosophers of language, this Comment develops a two-part expressive conduct test that captures the expressive character of this wider variety of behaviors. It shows that the Gricean test displays striking consistency with the Supreme Court's particularized judgments about which sorts of nonverbal conduct are expressive and which sorts are not. (shrink)

Expressing Our Attitudes pulls together over a decade of work by Mark Schroeder, one of the leading figures in contemporary metaethics. Two new and seven previously published papers weave treatments of propositions, truth, and the attitudes together with detailed development of competing alternative expressivist frameworks and discussion of their relative advantages. A substantial new introduction both offers new arguments of its own, and provides a map to reading these essays as a unified argument.Along with its sister volume, Explaining the Reasons (...) We Share, this volume advances the theme that metaethical inquiry is continuous with other areas of philosophy. (shrink)

In this commentary, John O'Neill concentrates upon three themes in the goal Merleau-Ponty set for himself, namely "to restore to things their concrete physiognomy, to organisms their individual ways of dealing with the world, and to subjectivity its inherence in history." O'Neill considers the three objectives in their original order: first, the study of animal and human psychology; then, the phenomenology of perception; and finally, certain extensions of these perspectives in the historical and social sciences.

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what (...) is the body expressed in electronic music then? The authors of this book reveal composers', performers', improvisers' and listeners' bodies, as well as the works' and technologies' figurative bodies as a rich source of expressive articulation. Bringing together humanities' scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves. (shrink)

Many philosophers hold that punishment has an expressive dimension. Advocates of expressive theories have different views about what makes punishment expressive, what kinds of mental states and what kinds of claims are, or legitimately can be expressed in punishment, and to what kind of audience or recipients, if any, punishment might express whatever it expresses. I shall argue that in order to assess the plausibility of an expressivist approach to justifying punishment we need to pay careful attention to whether the (...) things which punishment is supposed to express are aimed at an audience. For the ability of any version of expressivism to withstand two important challenges, which I call the harsh treatment challenge’ and the ‘publicity challenge’ respectively. will depend on the way it answers them. The first of these challenges has received considerable discussion in the literature on expressive theories of punishment; the second considerably less. This is unfortunate. For careful consideration of the publicity challenge should lead us to favor a version of the expressive theory which has been under-discussed: the view on which punishment has an intended audience, and on which the audience is society at large, rather than—as on the most popular version of that view—the criminal. Furthermore, this view turns out to be better equipped to meet the harsh treatment challenge, and to be so precisely because of the way in which it meets the publicity challenge. (shrink)

Kaplan (1999) argued that a different dimension of expressive meaning (“use-conditional”, as opposed to truth-conditional) is required to characterize the meaning of pejoratives, including slurs and racial epithets. Elaborating on this, writers have argued that the expressive meaning of pejoratives and slurs is either a conventional implicature (Potts 2007) or a presupposition (Macià 2002 and 2014, Schlenker 2007, Cepollaro and Stojanovic 2016). We argue that an expressive presuppositional theory accounts well for the data, but that expressive presuppositions are not just (...) propositions to be added to a common ground. We hold that expressives, including pejoratives and slurs, make requirements on a contextual record governed by sui generis norms specific to affective attitudes and their expressions. (shrink)

Expressions of emotion pose a serious challenge to the view that we perceive other people’s emotions directly. If we must perceive expressions in order to perceive emotions, then it is only ever the expressions that we are directly aware of, not emotions themselves. This paper develops a new response to this challenge by drawing an analogy between expressions of emotion and perceptual media. It is through illumination and sound, the paradigmatic examples of perceptual media, that we can see and hear (...) objects around us. Instead of screening these objects from view, however, they enable our perception while being transparent to us. With reference to perceptual constancy and transparency, I show how expressions show up in our experience of emotions in a surprisingly similar way. Given this, we can understand expressions as the media _through_ which we perceive emotions and overcome the above challenge to an otherwise attractive view. (shrink)

Potts (2005, 2007) has argued that expressives such as honky must be analyzed using an entirely new dimension of meaning. We explore a more conservative theory in which expressives are presuppositional expressions [Macià 2002] that are indexical and attitudinal (and sometimes shiftable): they predicate something of the mental state of the agent of the context (and this need not always be the agent of the actual context). Following Stalnaker’s recent work on informative presuppositions (2002), we argue that the presuppositions triggered (...) by expressives are automatically satisfied (= ’self-fulfilling’), hence the impression that they are not standard presupposition triggers. (shrink)

This paper proposes a semantics for free choice permission that explains both the non-classical behavior of modals and disjunction in sentences used to grant permission, and their classical behavior under negation. It also explains why permissions can expire when new information comes in and why free choice arises even when modals scope under disjunction. On the proposed approach, deontic modals update preference orderings, and connectives operate on these updates rather than propositions. The success of this approach stems from its capacity (...) to capture the difference between expressing the preferences that give rise to permissions and conveying propositions about those preferences. (shrink)

Expressives like damn and bastard have, when uttered, an immediate and powerful impact on the context. They are performative, often destructively so. They are revealing of the perspective from which the utterance is made, and they can have a dramatic impact on how current and future utterances are perceived. This, despite the fact that speakers are invariably hard-pressed to articulate what they mean. I develop a general theory of these volatile, indispensable meanings. The theory is built around a class of (...) expressive indices. These determine the expressive setting of the context of interpretation. Expressives morphemes act on that context, actively changing its expressive setting. The theory is multidimensional in the sense that descriptives and expressives are fundamentally different but receive a unified logical treatment. (shrink)

The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a (...) whole, and the word “expressiveness” is used for the audience-centered aspect, and I shall keep to this usage. In this paper I shall argue that although expression is closely related to expressiveness, the two concepts are distinct and, in particular, expressiveness cannot be analyzed in terms of expression, as has been recently suggested by Stephen Davies and Jerrold Levinson. Nonetheless, the richest examples of expression in the arts involve both expression and expressiveness. (shrink)

Critics have argued that human-controlled avatar interactions fail to facilitate the kinds of expressivity and social understanding afforded by our physical bodies. We identify three claims meant to justify the supposed expressive limits of avatar interactions compared to our physical interactions. First, “The Limited Expressivity Claim”: avatars have a more limited expressive range than our physical bodies. Second, “The Inputted Expressivity Claim”: any expressive avatarial behaviour must be deliberately inputted by the user. Third, “The Decoding Claim”: users must infer or (...) figure out the expressive meaning of human-controlled avatars’ behaviour through cognitively onerous processes. With the aim of critically assessing all three claims, we analyze data collected through observations of and interviews with expert players of the avatar-based video game League of Legends. Focusing on Daniel Stern’s (2010) notion of vitality, we analyze the participants’ descriptions of seeing and interacting with other avatars during performance. Our analysis shows that the informants experience human-based avatarial interactions as qualitatively different than interactions with bots, that the informants see the movements of other players’ avatars as having different expressive styles, and that the informants actively use and manipulate this avatarial expressivity during performance. The results of our analysis, we argue, provide reasons for loosening or resisting the three claims concerning the limits of avatarial expressivity. (shrink)

One of science's greatest intellects examines how people and animals display fear, anger, and pleasure. Darwin based this 1872 study on his personal observations, which anticipated later findings in neuroscience. Abounding in anecdotes and literary quotations, the book is illustrated with 21 figures and seven photographic plates. Its direct approach, accessible to professionals and amateurs alike, continues to inspire and inform modern research in psychology.

John Searle's Speech Acts made a highly original contribution to work in the philosophy of language. Expression and Meaning is a direct successor, concerned to develop and refine the account presented in Searle's earlier work, and to extend its application to other modes of discourse such as metaphor, fiction, reference, and indirect speech arts. Searle also presents a rational taxonomy of types of speech acts and explores the relation between the meanings of sentences and the contexts of their utterance. (...) The book points forward to a larger theme implicit in these problems - the basis certain features of speech have in the intentionality of mind, and even more generally, the relation of the philosophy of language to the philosophy of mind. (shrink)

This philosophical treatise on the foundations of semantics is a systematic effort to clarify, deepen, and defend the classical doctrine that words are conventional signs of mental states, principally thoughts and ideas, and that meaning consists in their expression. This expression theory of meaning is developed by carrying out the Gricean program, explaining what it is for words to have meaning in terms of speaker meaning, and what it is for a speaker to mean something in terms of (...) intention. But Grice's own formulations are rejected and alternatives developed. The foundations of the expression theory are explored at length, and the author develops the theory of thought as a fundamental cognitive phenomenon distinct from belief and desire, argues for the thesis that thoughts have parts, and identifies ideas or concepts with parts of thoughts. This book will appeal to students and professionals interested in the philosophy of language. (shrink)

John Searle's Speech Acts made a highly original contribution to work in the philosophy of language. Expression and Meaning is a direct successor, concerned to develop and refine the account presented in Searle's earlier work, and to extend its application to other modes of discourse such as metaphor, fiction, reference, and indirect speech arts. Searle also presents a rational taxonomy of types of speech acts and explores the relation between the meanings of sentences and the contexts of their utterance. (...) The book points forward to a larger theme implicit in these problems - the basis certain features of speech have in the intentionality of mind, and even more generally, the relation of the philosophy of language to the philosophy of mind. (shrink)

Views the merits of the documentary and examines its use in America during the thirties and early forties.

This article explores the importance of mental expression in understanding the phenomenon of inner speech. Most accounts of inner speech assume from the outset the common idea that the expressions of a subject (e.g., a smile) and their mental states (e.g., joy) are two different types of items somehow related to each other. This relational view of expression is challenged in this article. Firstly, it is argued that relational views of expression cannot explain some features of inner (...) speech. Secondly, a non-relational view of expression is developed, according to which mental states are patterns of expressive behavior. Thirdly, it is argued that only from the framework of non-relational expressivism is it possible to explain the main features of inner speech. Finally, it is concluded that non-relational expressivism emerges as a prominent contender among contemporary views of the mind, as it provides the only account of inner speech that can fully explain the phenomenon. (shrink)

Metaphorical utterances are construed as falling into two broad categories, in one of which are cases amenable to analysis in terms of semantic content, speaker meaning, and satisfaction conditions, and where image-construction is permissible but not mandatory. I call these image-permitting metaphors, and contrast them with image-demanding metaphors comprising a second category and whose understanding mandates the construction of a mental image. This construction, I suggest, is spontaneous, is not restricted to visual imagery, and its result is typically somatically marked (...) sensu Damasio. IDM’s are characteristically used in service of self-expression, and thereby in the elicitation of empathy. Even so, IDM’s may reasonably provoke banter over the aptness of the imagery they evoke. (shrink)

At least since Descartes, philosophers have been interested in the special knowledge or authority that we exhibit when we speak about our own thoughts, attitudes, and feelings. This book contends that even the best work in contemporary philosophy of mind fails to account for this sort of knowledge or authority because it does not pay the right sort of attention to the notion of expression. What's at stake is not only how to understand self-knowledge and first-person authority, but also (...) what it is that distinguishes conscious from unconscious psychological states, what the mental life of a nonlinguistic animal has in common with our sort of mental life, and how to think about Wittgenstein's legacy to the philosophy of mind. (shrink)

This philosophical treatise on the foundations of semantics is a systematic effort to clarify, deepen and defend the classical doctrine that words are conventional signs of mental states, principally thoughts and ideas, and that meaning consists in their expression. This expression theory of meaning is developed by carrying out the Gricean programme, explaining what it is for words to have meaning in terms of speaker meaning, and what it is for a speaker to mean something in terms of (...) intention. But Grice's own formulations are rejected and alternatives developed. The foundations of the expression theory are explored at length, and the author develops the theory of thought as a fundamental cognitive phenomenon distinct from belief and desire, argues for the thesis that thoughts have parts, and identifies ideas or concepts with parts of thoughts. This book will appeal to students and professionals interested in the philosophy of language. (shrink)

John Searle's Speech Acts made a highly original contribution to work in the philosophy of language. Expression and Meaning is a direct successor, concerned to develop and refine the account presented in Searle's earlier work, and to extend its application to other modes of discourse such as metaphor, fiction, reference, and indirect speech arts. Searle also presents a rational taxonomy of types of speech acts and explores the relation between the meanings of sentences and the contexts of their utterance. (...) The book points forward to a larger theme implicit in these problems - the basis certain features of speech have in the intentionality of mind, and even more generally, the relation of the philosophy of language to the philosophy of mind. (shrink)

The question is how to explain expressions of emotion. It is argued that not all expressions of emotion are open to the same sort of explanation. Those expressions which are actions can be explained, like other sorts of action, by reference to a belief and a desire; however, no genuine expression of emotion is done as a means to some further end. Certain expressions of emotion which are actions can also be given a deeper explanation as being expressive of (...) a wish. Expressions of emotion which are not actions cannot be given a belief-desire explanation: no belief is involved, and a desire is involved only in an honorific sense of 'desire'. The distinction amongst expressions of emotion between those which are actions and those which are not is not a precise one, and the paper concludes with some speculative remarks about borderline cases such as jumping for joy. (shrink)

The Expressiveness of the Body meditates on the contrasts between the human body described in classical Greek medicine and the body as envisaged by physicians in ancient China.

In part 4 of Meaning, Expression, and Thought, Davis rejects what he calls Fregean ideational theories, according to which the meaning of an expression is an idea; and then presents his own account, which states that, e.g., the meaning of 'Primzahl' in German is the property of meaning prime number. Before casting doubt on the latter ontology of meanings, I come to Frege's defence by pointing out that he was not an advocate of the position Davis named after (...) him because Fregean senses are not lexical meanings and Fregean thoughts are not types of mental events. (shrink)

This paper proposes that human expression of pain in the presence or absence of caregivers, and the detection of pain by observers, arises from evolved propensities. The function of pain is to demand attention and prioritise escape, recovery, and healing; where others can help achieve these goals, effective communication of pain is required. Evidence is reviewed of a distinct and specific facial expression of pain from infancy to old age, consistent across stimuli, and recognizable as pain by observers. (...) Voluntary control over amplitude is incomplete, and observers can better detect pain that the individual attempts to suppress rather than amplify or simulate. In many clinical and experimental settings, the facial expression of pain is incorporated with verbal and nonverbal vocal activity, posture, and movement in an overall category of pain behaviour. This is assumed by clinicians to be under operant control of social contingencies such as sympathy, caregiving, and practical help; thus, strong facial expression is presumed to constitute an attempt to manipulate these contingencies by amplification of the normal expression. Operant formulations support skepticism about the presence or extent of pain, judgments of malingering, and sometimes the withholding of caregiving and help. To the extent that pain expression is influenced by environmental contingencies, however, could equally plausibly constitute the release of suppression according to evolved contingent propensities that guide behaviour. Pain has been largely neglected in the evolutionary literature and the literature on expression of emotion, but an evolutionary account can generate improved assessment of pain and reactions to it. (shrink)

Understanding a work of representational art involves more than simply grasping what it represents. We can distinguish at least three types of content that representational works may possess. First, all representational works have explicit representational content. This includes the literal content of a linguistic work and the depictive content of a pictorial work. Second, they often have a conveyed content, which outstrips their explicit representational content, including much that is merely implicit in the work, and may exclude certain aspects of (...) explicit representational content, as when explicit representational content is used for nonliteral forms of representation such as irony, metaphor, symbolism, or allegory. It is part of the conveyed content of Bruegel's The Fall of Icarus (c. 1560) that Icarus has just fallen from the sky, although the landscape does not depict his fall. (shrink)

Darwin discusses why different muscles are brought into action under different emotions and how particular animals have adapted for association with man.

Human expression is open-ended, versatile, and diverse, ranging from ordinary language use to painting, from exaggerated displays of affection to micro-movements that aid coordination. Here we present and defend the claim that this expressive diversity is united by an interrelated suite of cognitive capacities, the evolved functions of which are the expression and recognition of informative intentions. We describe how evolutionary dynamics normally leash communication to narrow domains of statistical mutual benefit, and how expression is unleashed in (...) humans. The relevant cognitive capacities are cognitive adaptations to living in a partner choice social ecology; and they are, correspondingly, part of the ordinarily developing human cognitive phenotype, emerging early and reliably in ontogeny. In other words, we identify distinctive features of our species' social ecology to explain how and why humans, and only humans, evolved the cognitive capacities that, in turn, lead to massive diversity and open-endedness in means and modes of expression. Language use is but one of these modes of expression, albeit one of manifestly high importance. We make cross-species comparisons, describe how the relevant cognitive capacities can evolve in a gradual manner, and survey how unleashed expression facilitates not only language use, but also novel behaviour in many other domains too, focusing on the examples of joint action, teaching, punishment, and art, all of which are ubiquitous in human societies but relatively rare in other species. Much of this diversity derives from graded aspects of human expression, which can be used to satisfy informative intentions in creative and new ways. We aim to help reorient cognitive pragmatics, as a phenomenon that is not a supplement to linguistic communication and on the periphery of language science, but rather the foundation of the many of the most distinctive features of human behaviour, society, and culture. (shrink)

We consider second-order propositional modal logic (SOPML), an extension of the basic modal language with propositional quantifiers introduced by Kit Fine in 1970. We determine the precise expressive power of SOPML by giving analogues of the Van Benthem–Rosen theorem and the Goldblatt Thomason theorem. Furthermore, we show that the basic modal language is the bisimulation invariant fragment of SOPML, and we characterize the bounded fragment of first-order logic as being the intersection of first-order logic and SOPML.

There is a standard objection against purported explanations of how a language L can express the notion of being a true sentence of L. According to this objection, such explanations avoid one paradox (the Liar) only to succumb to another of the same kind. Even if L can contain its own truth predicate, we can identify another notion it cannot express, on pain of contradiction via Liar-like reasoning. This paper seeks to undermine such ‘revenge’ by arguing that it presupposes a (...) dubious assumption about the linguistic expression of concepts. Successful revenge would require that there be a notion other than truth that plays the same role with respect to concept-expression that truth is naturally thought to play before we are confronted with the Liar paradox. (shrink)

This chapter contains sections titled: Introduction Three Forms of Showing Showing How and Knowing How Perceiving Aspects and Affects Expressiveness and Showing How Congruence of Sensation and Affect Empathy and Epistemology Art and Skill.

This paper starts from the debate between proponents of a neo-Lockean psychological continuity view of personal identity, and defenders of the idea that we are simple mental substances. Each party has valid criticisms of the other; the impasse in the debate is traced to the Lockean assumption that substance is only externally related to its attributes. This suggests the possibility that we could develop a better account of mental substance if we thought of it as having an internal relation to (...) its states. I suggest that we may be able to do this by relying on the notion of expression. In developing this idea I draw heavily on aspects of Wittgenstein's philosophical psychology, while also developing and criticizing Strawson's account of persons and recent work by Lynne Baker. I conclude by arguing that mental substance, understood in this way, can only be grasped in narrative terms; substantialist and narrative accounts of personal identity, far from being opposed, are mutually supporting and require one another to be coherent. (shrink)

The U.S. election in November 2016 raised and amplified doubts about first-past-the-post (“plurality rule”) electoral systems. Arguments against plurality rule and for alternatives like preferential voting tend to be consequentialist: it is argued that systems like preferential voting produce different, better outcomes. After briefly noting why the consequentialist case against plurality rule is more complex and contentious than it first appears, I offer an expressive alternative: plurality rule produces actual or apparent dilemmas for voters in ways that are morally objectionable, (...) and avoidable under preferential voting systems. This expressive case against plurality rule is both simpler and more ecumenical than its consequentialist counterpart, and it provides strong reasons to prefer alternatives to plurality rule. Moreover, it suggests a distinct way of evaluating different alternatives like preferential voting. (shrink)

previous theories and the relevance of those criticisms to the new accounts. Additionally, we have included a new section at the end, which gives some directions to literature outside of formal semantics in which the notion of mass has been employed. We looked at work on mass expressions in psycholinguistics and computational linguistics here, and we discussed some research in the history of philosophy and in metaphysics that makes use of the notion of mass.

The paper is a critical discussion of the rich and insightful final chapter of Mitchell Green’s Self-Expression . There, Green seeks to elucidate the compelling, but inchoate intuition that when we’re fully and most expertly expressing ourselves, we can ‘push out’ from within not just our inner representations, but also the ways that we feel. I question, first, whether this type of ‘qualitative expression’ is really distinct from the other expressive forms that Green explores, and also whether it’s (...) genuinely ‘expressive’. I then scrutinize the nature of the ‘qualitative congruences’ that lie at the heart of Green’s theory; and I wonder whether they can play the role Green claims they can in providing a novel account of artistic expression. (shrink)

Many domains, notably the one involving predicates of personal taste, present the phenomenon of apparent faultless disagreement. Contextualism is a characteristically moderate implementation of the relativistic attempt to endorse such appearances. According to an often-voiced objection, although it straightforwardly accounts for the faultlessness, contextualism fails to respect “facts about disagreement.” With many other recent contributors to the debate, I contend that the notion of disagreement—“genuine,” “real,” “substantive,” “robust” disagreement—is indeed very flexible, and in particular can be constituted by contrasting attitudes. (...) As such, contextualism is clearly straightforwardly compatible with facts about the existence of disagreement. There is, however, a genuine prima facie worry for contextualism involving facts about the expression of disagreement in ordinary conversations. Elaborating on a suggestion by Lewis :113–138, 1989), I argue that the presupposition of commonality approach in López de Sa shows that there are versions of contextualism that are in good standing vis-à-vis such facts about the expression of disagreement. (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a (...) property when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)