The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning. This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words.... My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

This paper defends the view put forward by Donald Davidson in his paper 'What Metaphors Mean' that metaphorical utterances have no propositional meaning or message content other than the literal content of the expressions uttered. Davidson's own arguments for this position are examined, and found on the whole to be unconvincing, but further considerations are offered in support of his conclusion.

Consciousness is the subject of many metaphors, and one of the most hardy perennials compares consciousness to a spotlight, illuminating certain mental goings-on, while leaving others to do their work in the dark. One way of elaborating the spotlight metaphor is this: mental events are loaded on to one end of a conveyer belt by the senses, and move with the belt.

Consciousness is a mongrel concept: there are a number of very different "consciousnesses." Phenomenal consciousness is experience; the phenomenally conscious aspect of a state is what it is like to be in that state. The mark of access-consciousness, by contrast, is availability for use in reasoning and rationally guiding speech and action. These concepts are often partly or totally conflated, with bad results. This target article uses as an example a form of reasoning about a function of "consciousness" based on (...) the phenomenon of blindsight. Some information about stimuli in the blind field is represented in the brains of blindsight patients, as shown by their correct "guesses," but they cannot harness this information in the service of action, and this is said to show that a function of phenomenal consciousness is somehow to enable information represented in the brain to guide action. But stimuli in the blind field are BOTH access-unconscious and phenomenally unconscious. The fallacy is: an obvious function of the machinery of access-consciousness is illicitly transferred to phenomenal consciousness. (shrink)

This is my first publication of the distinction between phenomenal consciousness and access consciousness, though not using quite those terms. It ends with this: "The upshot is this: If Searle is using the access sense of "consciousness," his argument doesn't get to first base. If, as is more likely, he intends the what-it-is-like sense, his argument depends on assumptions about issues that the cognitivist is bound to regard as deeply unsettled empirical questions." Searle replies: "He refers to what he calls (...) an "access sense of consciousness." On my account there is no such sense.". (shrink)

Music, we are often told, is a language. But if music is a language, then who is speaking? The Composer's Voice tries to answer this obvious but infrequently raised question. In so doing, it puts forward a dramatistic theory of musical expression, based on the view that every composition is a symbolic utterance involving a fundamental act of impersonation. The voice we hear is not that of the composer himself, but of a persona--a musical projection of his consciousness that experiences (...) and communicates the events of the composition. Developing his argument by reference to numerous examples ina wide variety of styles, Mr. Cone moves from song and opera through program music to absolute instrumental music. In particular, he discusses the implications of his theory for performance. According to the dramatistic view, not only every singer but every instrumentalist as well becomes a kind of actor, assuming a role that functions both autonomously and as a component of the total musical persona. In his analysis of the problems inherent in this dual nature of the performer's job, Mr. Cone offers guidance that will prove of practical value to every performing musician. He has much to say to the listener as well. He recommends an imaginative participation in the component roles of musical work, leading to a sense of identification with the persona itself, as the path to complete musical understanding. And this approach is shown to be relevant to a number of specialized kids of listening as well--those applicable to analysis, historical scholarship, and criticism. The dance, too, is shown to depend on similar concepts. Although The Composer's Voice involves an investigation of how music functions as a form of communication, it is not primarily concerned with determine, or interpreting, the "content" of the message. A final chapter, however, puts forward a tentative explanation of musical "meaning" based on an interpretation of the art as a coalescence of symbolic utterance and symbolic gesture. While not essential to the main lines of the argument, it suggests interesting possibilities for further development of the dramatistic theory. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974. (shrink)

Control consciousness is the awareness or experience of seeming to be in control of one’s actions. One view, which I will be arguing against in the present paper, is that control consciousness is a form of sensory consciousness. In such a view, control consciousness is exhausted by sensory elements such as tactile and proprioceptive information. An opposing view, which I will be arguing for, is that sensory elements cannot be the whole story and must be supplemented by direct contributions of (...) nonsensory, motor elements. More specifically, I will be arguing for the view that the neural basis of control consciousness is constituted by states of recurrent activation in relatively intermediate levels of the motor hierarchy. (shrink)

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...) intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...) intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

The now-classic Metaphors We Live By changed our understanding of metaphor and its role in language and the mind. Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by"--metaphors that can shape our perceptions and actions without our ever noticing them. In (...) this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language. (shrink)

What place does consciousness have in the natural world? If we reject materialism, could there be a credible alternative? In one classic example, philosophers ask whether we can ever know what is it is like for bats to sense the world using sonar. It seems obvious to many that any amount of information about a bat's physical structure and information processing leaves us guessing about the central questions concerning the character of its experience. A Place for Consciousness begins with reflections (...) on the existence of this gap. Is it just a psychological shortcoming in our merely human understanding of the physical world? Is it a trivial consequence of the simple fact that we just cannot be bats? Or does it mean there really are facts about consciousness over and above the physical facts? If so, what does consciousness do? Why does it exist? Rosenberg sorts out these problems, especially those centering on the causal role of consciousness. He introduces a new paradigm called Liberal Naturalism for thinking about what causation is, about the natural world, and about how to create a detailed model to go along with the new paradigm. Arguing that experience is part of the categorical foundations of causality, he shows that within this new paradigm there is a place for something essentially like consciousness in all its traditional mysterious respects. A striking feature of Liberal Naturalism is that its central tenets are motivated independently of the mind-body problem, by analyzing causation itself. Because of this approach, when consciousness shows up in the picture it is not introduced in an ad hoc way, and its most puzzling features can be explained from first principles. Ultimately, Rosenberg's final solution gives consciousness a causally important role without supposing either that it is physical or that it interacts with the physical. (shrink)

To make progress on the problem of consciousness, we have to confront it directly. In this paper, I first isolate the truly hard part of the problem, separating it from more tractable parts and giving an account of why it is so difficult to explain. I critique some recent work that uses reductive methods to address consciousness, and argue that such methods inevitably fail to come to grips with the hardest part of the problem. Once this failure is recognized, the (...) door to further progress is opened. In the second half of the paper, I argue that if we move to a new kind of nonreductive explanation, a naturalistic account of consciousness can be given. I put forward my own candidate for such an account: a nonreductive theory based on principles of structural coherence and organizational invariance, and a double-aspect theory of information. (shrink)

When are psychologists entitled to call a certain theoretical construct "consciousness?" Over the past few decades cognitive psychologists have reintroduced almost the entire conceptual vocabulary of common sense psychology, but now in a way that is tied explicitly to reliable empirical observations, and to compelling and increasingly adequate theoretical models. Nevertheless, until the past few years most cognitive psychologists and neuroscientists avoided dealing with consciousness. Today there is an increasing willingness to do so. But is "consciousness" different from other theoretical (...) entities like "working memory" or "mental imagery"? Some argue that under no circumstances can empirical science speak of consciousness as such, while others claim that the scientific goal is "knowing what it is like to be a bat" --- to share an organism's conscious experience . The Bat Criterion is ominously reminiscent of the protracted debate on the consciousness of ants and amoebas that caused so much uneasiness in psychology around 1900. It seems to demand that we first solve the mind-body problem as a condition of doing sensible science, and thereby creates the risk of endless, fruitless controversy. The endless philosophical debate about consciousness helped trigger the Behaviorist revolution about 1913, which threw out the baby of consciousness with the bathwater of perennial, circular debate. We've been that way; let's not go back to it. This paper maintains that the position of behavioristic denial is far too restrictive, but that the Bat Criterion is far too demanding --- that in fact, we only need to specify comparable pairs of psychological phenomena that differ only in the fact that one member of any pair is conscious, while the other is not. This "method of contrastive analysis" is a generalization of the experimental method, with consciousness as a variable whose interaction with other psychological and biological phenomena can be assessed in standard ways. As usual in science, this strategy is pragmatic: If it appears to yield sensible results, it can be a stepping-stone toward further understanding . This paper describes five sets of well-established pairs of phenomena that meet these criteria. Others are presented elsewhere, with more of a theoretical interpretation . Here I simply want to show that any adequate theory of conscious experience must satisfy these demanding but achievable empirical constraints. (shrink)

i>: This paper explores the plausibility of panexperientialism by an examination of Gregg Rosenberg.

I argue that Gregg Rosenberg’s panexperientialism is either extremely implausible or irrelevant to the mystery of consciousness by introducing metaphysical and conceptual objections to his appeal to the notion of ‘protoconsciousness’.

Most of our musical concepts are premised upon musical motion and space, despite the fact that tones do not actually move within a musical space. This study utilizes Lakoff and Johnson's theory of metaphor to analyze the logic behind these basic musical concepts, and it grounds musical meaning in the logic of metaphoric thought, phenomenology, and embodied cognition. Concepts of motion and space are shown to emerge in the imagination of embodied listeners as they map experience in the domain of (...) actual motion onto the domain of musical experience. ;Chapter 1 offers an account of verticality in terms of a blend of ten sources, seven of which depend on the conceptual metaphor MORE IS HIGHER . Chapter 2 presents the 'mimetic hypothesis', which argues that we understand music in terms of our own experience of making vocal sounds and via tacit imitation of the sounds and gestures of performers. Chapter 3 examines the role of metaphor in Kaluli and Ancient Greek music theories and finds verticality integral in these contexts as well. The analysis of Greek theories also demonstrates the pervasiveness of the metaphor MORE IS HIGHER and demonstrates, among other things, that verticality in the West predates its representation in notation. Chapter 4 extends Lakoff and Johnson's analysis of our temporal metaphors and shows musical motion and space to be special cases of temporal motion and space. The identical dynamics of anticipation, presence, and memory in the domains of music and actual motion motivate us to map spatial relations onto the relations of tones. ;By setting out the details of the cross-domain mappings, we can account for both the logic and the paradox of musical motion and space. By grounding musical meaning in embodied cognition, this study also establishes the basis of an affective theory of meaning. (shrink)