Can art, religion, or philosophy afford ineffable insights? If so, what are they? The idea of ineffability has puzzled philosophers from Laozi to Wittgenstein. In Ineffability and its Metaphysics: The Unspeakable in Art, Religion and Philosophy, Silvia Jonas examines different ways of thinking about what ineffable insights might involve metaphysically, and shows which of these are in fact incoherent. Jonas discusses the concepts of ineffable properties and objects, ineffable propositions, ineffable content, and ineffable knowledge, examining the metaphysical pitfalls involved in (...) these concepts. Ultimately, she defends the idea that ineffable insights as found in aesthetic, religious, and philosophical contexts are best understood in terms of self-acquaintance, a particular kind of non-propositional knowledge. Ineffability as a philosophical topic is as old as the history of philosophy itself, but contributions to the exploration of ineffability have been sparse. The theory developed by Jonas makes the concept tangible and usable in many different philosophical contexts. (shrink)

A. W. Moore argues in this bold, unusual, and ambitious book that it is possible to think about the world from no point of view. His argument involves discussion of a very wide range of fundamental philosophical issues, including the nature of persons, the subject-matter of mathematics, realism and anti-realism, value, the inexpressible, and God. The result is a powerful critique of our own finitude.

Yuriko Saito discusses aspects of our everyday experience that have been neglected by modern Western aesthetic theories.

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.

In much of the discussion of expressive qualities in the 19th and 20th Centuries, music and artworks were viewed as capable of expressing emotions too fine-grained to be captured by language or concepts, and this ineffability and nonconceptuality was seen as a primary source of the value of music and the arts. In recent debates about expressive qualities, however, there has been a good deal of skepticism about both the ineffability claim and the claim about value. This essay argues for (...) a moderate position on both of these claims. I argue that while many expressive qualities are indeed fine-grained, they are ultimately neither nonconceptual nor ineffable, since they can be adequately captured by demonstrative concepts of the form THAT MELANCHOLY EXPRESSIVE QUALITY, and hence by corresponding demonstrative language. But there is nonetheless a good deal of truth in the traditional ineffability claim, in that many expressive qualities are descriptively ineffable – they cannot be captured by non-demonstrative descriptive expressions. I also suggest, more briefly, that the descriptive ineffability of expressive qualities represents a significant source of the value of many works. (shrink)

: I present an argument for the existence of nonconceptual representational content. The argument is compatible with McDowell's defence of conceptualism against those arguments for nonconceptual content that draw upon claims about the fine‐grainedness of experience. I present a case for nonconceptual content that concentrates on the idea that experience can possess representational content that cannot perform the function of conceptual content, namely figure in the subject's reasons for belief and action. This sort of argument for nonconceptual content is best (...) achieved with examples from auditory perception, especially our perception of music. (shrink)

I present an argument for the existence of nonconceptual representational content. The argument is compatible with McDowell's defence of conceptualism against those arguments for nonconceptual content that draw upon claims about the fine‐grainedness of experience. I present a case for nonconceptual content that concentrates on the idea that experience can possess representational content that cannot perform the function of conceptual content, namely figure in the subject's reasons for belief and action. This sort of argument for nonconceptual content is best achieved (...) with examples from auditory perception, especially our perception of music. (shrink)

How do rational minds make contact with the world? The empiricist tradition sees a gap between mind and world, and takes sensory experience, fallible as it is, to provide our only bridge across that gap. In its crudest form, for example, the traditional idea is that our minds consult an inner realm of sensory experience, which provides us with evidence about the nature of external reality. Notoriously, however, it turns out to be far from clear that there is any viable (...) conception of experience which allows it to do the job. The original problem is to show that thought is rationally constrained by external reality. If sensory experience is to provide the solution--in particular, if it is to provide the answer to sceptical challenges--it must therefore meet two criteria. First, it must itself be `receptive'--i.e., appropriately constrained by external reality. Second, it must be the kind of thing that can enter into a logical or rational relationship with belief--it must already be `conceptual,' in other words. In arguing against the idea that anything could serve both roles, Wilfred Sellars termed this conception of experience "the Myth of the Given.". (shrink)

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 (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

Within a year of each other, three one-volume general dictionaries of philosophy have recently appeared; when our future colleagues in philosophy look back on the 1990s they may well think of it as the decade of reference works. But however productive these years may prove to be in this genre, clearly visible somewhere around the top of the heap will be this handy, useful, entertaining, and instructive contribution from Simon Blackburn. Its two immediate competitors are the Cambridge Dictionary of Philosophy, (...) edited by Robert Audi, and the Oxford Companion to Philosophy, edited by Ted Honderich. No detailed comparison will be attempted here, but two points stand out as obviously giving Blackburn’s dictionary a rather different use and flavor from the others: while containing a closely comparable number of entries, it is distinctly shorter and handier in format; and it has all been written by a single author. (shrink)

Auth: University College London, Distributed by Viking.

Emily Brady provides a systematic account of aesthetics in relation to the natural environment, offering a critical understanding of what aesthetic appreciation ...

The roots of environmental aesthetics reach back to the ideas of eighteenth-century thinkers who found nature an ideal source of aesthetic experience. Today, having blossomed into a significant subfield of aesthetics, environmental aesthetics studies and encourages the appreciation of not just natural environments but also human-made and human-modified landscapes. _Nature and Landscape_ is an important introduction to this rapidly growing area of aesthetic understanding and appreciation. Allen Carlson begins by tracing the development of the field's historical background, and then surveys (...) contemporary positions on the aesthetics of nature, such as scientific cognitivism, which holds that certain kinds of scientific knowledge are necessary for a full appreciation of natural environments. Carlson next turns to environments that have been created or changed by humans and the dilemmas that are posed by the appreciation of such landscapes. He examines how to aesthetically appreciate a variety of urban and rural landscapes and concludes with a discussion of whether there is, in general, a correct way to aesthetically experience the environment. (shrink)

Functional beauty in the aesthetic tradition -- Functional beauty in contemporary aesthetic theory -- Indeterminacy and the concept of function -- Function and form -- Nature and environment -- Architecture and the built environment -- Artefacts and everyday aesthetics -- The functions of art.

DESPITE CONSIDERABLE DIFFERENCES OF IDEOLOGY, objective, and style, these theorists join in giving voice to what is perhaps the most deeply rooted conviction in modern aesthetics: that aesthetic experience is, in some essential respect, ineffable. In apprehending a work of art we come to know something we cannot put into words.

In this paper I argue that recent attempts at explaining aesthetic ineffability have been unsuccessful. Either they misrepresent what aesthetic ineffability consists in, or they leave important aspects of it unexplained. I then show how a more satisfying account might be developed, once a distinction is made between two kinds of awareness. -/- .