Fabian Dorsch

(1974 - 2017)

In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non‐inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower‐level features of the objects concerned. The second objection maintains that non‐inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and other objects is limited to only some of their lower‐level features that realise their higher‐level aesthetic qualities. Although my concern with the view that aesthetic judgements are subject to non‐inferential justification is very general, my discussion is primarily structured around Sibley's well‐developed and influential version of this view.

The recent debate on cognitive phenomenology has largely focused on phenomenal aspects connected to the content of thoughts. By contrasts, aspects pertaining to their attitude have often been neglected, despite the fact that they are distinctive of the mental kind of thought concerned and, moreover, also present in experiences and thus less contentious than purely cognitive aspects. My main goal is to identify two central and closely related aspects of attitude that are phenomenologically salient and shared by thoughts with experiences, namely the rational role that they play in our mental lives and their determination by factors external to them, such as external objects or reasons. In particular, I aim to defend Phenomenal Rationalism about judgemental thoughts and perceptual experiences: the view that their phenomenal character reflects their rational role, that is, their capacity to provide and/or respond to reasons. I conclude with some remarks about how this view may be extended to other kinds of th...

This chapter overviews Hume’s thoughts on the nature and role of imagining and focusses primarily on three important distinctions that Hume draws among our conscious mental episodes: (i) between impressions and ideas; (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement and ideas of the fancy. In addition, the chapter considers Hume’s views on the imagination as a faculty of producing ideas, as well as on the part that imagining plays in the acquisition of modal knowledge and in the comprehension of, and resistance to, false or fictional opinions.

This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, there are different kinds of aesthetic experiences. By means of certain conceptual links, it is possible to extend this account to other aesthetic entities thus enabling the formulation of a general theory of the aesthetic in non-aesthetic terms. In particular, aesthetic values are identical with subjective dispositions to elicit aesthetic experiences under normal conditions. Accordingly, I endorse anti-realism about aesthetic values: their existence, nature and exemplification are mind-dependent, while their ascriptions to objects have genuine truth-values. I back up this account by arguing against the alternative positions that either take aesthetic values to be objective or deny the truth-aptness of their attributions. Furthermore, I put forward a relativist variant of anti-realism according to which ascriptions of different aesthetic values to a particular object are all correct, given that the aesthetic experiences involved are made under normal conditions and concern the same aesthetically nonevaluative features of that object. For there is no specifically aesthetic norm by means of which one of the faultless aesthetic experiences can be picked out as the only appropriate one. That aesthetic values nevertheless show a normative dimension is ensured by their conformity to a general account of values as capacities to satisfy, or dissatisfy, rational desires.

The imagination poses fascinating philosophical questions across a range of subjects including philosophy of mind, aesthetics and epistemology. However, until now it has been a relatively neglected topic. How do acts of imagining differ from other mental episodes, such as perceptions or judgements? What kind of awareness is involved in imagining? Can imagining ground knowledge and if so, how reliable is it? Is there some unity to the various forms of imagining? In this book Fabian Dorsch considers these questions, introducing and assessing all the main issues and arguments concerning imagination, including: episodic imagining imagining objects propositional imagining imagination and epistemology imagination and aesthetics imagination and cognitive science the unity of imagining. Including chapter summaries, annotated further reading and a glossary, _Imagination_ is an ideal starting point for anyone studying the philosophy of imagination for the first time as well as more advanced students and researchers in philosophy, psychology and related disciplines.

One prominent ambition of theories of colour is to pay full justice to how colours are subjectively given to us; and another to reconcile this first-personal perspective on colours with the third-personal one of the natural sciences. The goal of this article is to question whether we can satisfy the second ambition on the assumption that the first should and can be met. I aim to defend a negative answer to this question by arguing that the various kinds of experienced colour resemblances – notably similarities in hue distance, sameness in superdeterminables, and colour resemblances between surfaces, volumes and illuminants – cannot be accounted for in terms of the mental representation of the scientifically studied properties, which colours are best identified with in response to the second ambition.

In his paper, The Transparency of Experience, M.G.F. Martin has put forward a well- known – though not always equally well understood – argument for the disjunctivist, and against the intentional, approach to perceptual experiences. In this article, I intend to do four things: (i) to present the details of Martin’s complex argument; (ii) to defend its soundness against orthodox intentionalism; (iii) to show how Martin’s argument speaks as much in favour of experiential intentionalism as it speaks in favour of disjunctivism; and (iv) to argue that there is a related reason to prefer experiential intentionalism over Martin’s version of disjunctivism.

In this paper, I describe and discuss two mental phenomena which are somewhat neglected in the philosophy of mind: focused daydreaming and mind-wandering. My aim is to show that their natures are rather distinct, despite the fact that we tend to classify both as instances of daydreaming. The first difference between the two, I argue, is that, while focused daydreaming is an instance of imaginative mental agency, mind-wandering is not—though this does not mean that mind-wandering cannot involve mental agency at all. This personal-level difference in agency and purposiveness has, furthermore, the consequence that instances of mind-wandering do not constitute unified and self-contained segments of the stream of consciousness—in stark contrast to focused daydreams. Besides, the two kinds of mental phenomena differ in whether they possess a narrative structure, and in how we may make sense of the succession of mental episodes involved