The Expressiveness Of Perceptual Experience

A face strikes us immediately as sad, and so, too, do a mourner, a willow tree, a house on a prairie, and a group of onlookers. The spontaneous emergence of affective and other qualities of people, things, places, and events falls under the heading of physiognomy, a phenomenon discussed since at least Aristotle, and a key feature of evolutionary theory, psychology, and perception as well as professional practice (“profiling”) and popular talk. However, physiognomy is a controversial topic because of a suspect history, and is often renamed as non-verbal communication. The Expressiveness of Perceptual Experience: Physiognomy Reconsidered examines this venerable, attractive, and contentious topic within the unique perspective of research-oriented psychology. Included are the processes involved, primarily perceptual; origins, mainly evolutionary; and social-cultural factors as supplements. Discussed within a holistic-experiential (phenomenological)-aesthetic framework are physiognomy’s ties to the arts as well as emotions, synesthesia, learning, development, and personality. Empirical investigations are summarized, including the author’s.

A natural landscape can look serene, a shade of colour cheerful and a piece of music might sound heartrending. Why do we ascribe affective qualities to objects that can't entertain psychological states? The capacity that objects, and especially artworks, have to express affective states is a bizarre phenomenon that needs to be clarified in numerous respects. Philosophers are still struggling with the phenomenon of expressiveness being a matter of imagination, perception, or mnemonic association, and usually do not agree on the role that emotions and human bodily expressions play in it. Benenti questions the main theories that populate the aesthetics domain using the tools of philosophy of mind. This study deals with crucial debates concerning seeing-in, cognitive penetration, the relation between phenomenal character and representational content and between emotions and expressions. It aims at providing a viable account of the experience we have of expressive properties by casting light on its fundamentally perceptual nature. The outcome is an empirically informed and critical overview of a topic which has been rather neglected in the philosophy of mind. The book will be of interest to scholars of the philosophy of mind, aesthetics, the cognitive sciences, and psychology.

In the last few years there has been an explosion of philosophical interest in perception; after decades of neglect, it is now one of the most fertile areas for new work. Perceptual Experience presents new work by fifteen of the world's leading philosophers. All papers are written specially for this volume, and they cover a broad range of topics dealing with sensation and representation, consciousness and awareness, and the connections between perception and knowledge and between perception and action. This will be the book on the philosophy of perception, a fascinating resource for philosophers and psychologists.

In recent years, there has been a notable increase in philosophical interest in perception. Perception is the basic and primary way in which we get in touch with our world in cognitive and active terms: by perceiving the surrounding world, we come to form true beliefs about it and successfully inhabit it through our actions. As such, correctly understanding the nature of perception will help to shed light on many other central philosophical issues. This book offers a defence of the content view of perceptual experience, of the idea that our perceptual experiences represent the world as being a certain way, and so have representational content. An articulated framework is provided for understanding the nature of these experiences in terms of contentful states, as well as for exploring the epistemological, semantical and phenomenological consequences of such an understanding. In addition, the book also includes a detailed and systematic account of how we conceive and ascribe the content of our experiences and their relation to our phenomenology, beliefs and knowledge of the world.

This innovative new collection features six original essays exploring the spatial, temporal, and other structures that shape conscious perception. Includes cutting-edge research on an increasingly influential topic in the philosophy of the mind Explores structural differences between the senses and between different theories of perceptual experience Offers innovative new arguments on the philosophy of perception written by leading scholars in the field

Despite the very obvious differences between looking at Manet’s Woman with a Parrot and listening to Elgar’s Cello Concerto, both experiences provoke similar questions in the thoughtful aesthete: why does the painting seem to express reverie and the music, nostalgia? How do we experience the reverie and nostalgia in such works of art? Why do we find these experiences rewarding in similar ways? As our awareness of emotion in art, and our engagement with art’s emotions, can make such a special contribution to our life, it is timely for a philosopher to seek to account for the nature and significance of the experience of art’s emotions. Damien Freeman develops a new theory of emotion that is suitable for resolving key questions in aesthetics. He then reviews and evaluates three existing approaches to artistic expression, and proposes a new approach to the emotional experience of art that draws on the strengths of the existing approaches. Finally, he seeks to establish the ethical significance of this emotional experience of art for human flourishing. Freeman challenges the reader not only to consider how art engages with emotion, but how we should connect up our answers to questions concerning the nature and value of the experiences offered by works of art.

This is the most authoritative and comprehensive guide ever published to the state of the art in philosophy of mind, a flourishing area of research. An outstanding team of contributors offer 45 new critical surveys of a wide range of topics.

The development of phenomenological philosophy in Japan is a well-established tradition that reaches back to the early 20th-century. The past decades have witnessed significant contributions and advances in different areas of phenomenological thought in Japan that remain unknown, or only partially known, to an international philosophical public. This volume offers a selection of original phenomenological research in Japan to an international audience in the form of an English language publication. The contributions in this volume range over classical figures in the phenomenological movement (Husserl, Heidegger, Levinas, Merleau-Monty), recent trends in French phenomenology, and contemporary inter-disciplinary approaches. In addition to this diverse engagement with European thinkers, many of the contributions in this volume establish critical and complimentary discussions with 20th-century Japanese philosophers.