Jesse J. Prinz

When people are trying to determine whether an entity is capable of having certain kinds of mental states, they can proceed either by thinking about the entity from a *functional* standpoint or by thinking about the entity from a *physical* standpoint. We conducted a series of studies to determine how each of these standpoints impact people’s mental state ascriptions. The results point to a striking asymmetry. It appears that ascriptions of states involving phenomenal consciousness are sensitive to physical factors in a way that ascriptions of other states are not

First published in 1990, _Mind and Cognition: An Anthology_ is now firmly established as a popular teaching apparatus for upper level undergraduate and graduate courses in the philosophy of mind. Brings together the most important classic and contemporary articles in philosophy of mind and cognition Completely revised and updated throughout, in response to feedback from teachers in the field Now includes 20 new readings Each updated part opens with a brief, synoptic introduction to the individual field and a comprehensive further reading list Each section also includes three to four of the most influential papers that have been written in the philosophy of mind over the last 40 years.

For the past three decades there has been a substantial amount of scientific evidence supporting the view that attention is necessary and sufficient for perceptual representations to become conscious (i.e., for there to be something that it is like to experience a representational perceptual state). This view, however, has been recently questioned on the basis of some alleged counterevidence. In this paper we survey some of the most important recent findings. In doing so, we have two primary goals. The first is descriptive: we provide a literature review for those seeking an understanding of the present debate. The second is editorial: we suggest that the evidence alleging dissociations between consciousness and attention is not decisive. Thus, this is an opinionated overview of the debate. By presenting our assessment, we hope to bring out both sides in the debate and to underscore that the issues here remain matters of intense controversy and ongoing investigation.

Aesthetics is a normative domain. We evaluate artworks as better or worse, good or bad, great or grim. I will refer to a positive appraisal of an artwork as an aesthetic appreciation of that work, and I refer to a negative appraisal as aesthetic depreciation. (I will often drop the word “aesthetic.”) There has been considerable amount of work on what makes an artwork worthy of appreciation, and less, it seems, on the nature of appreciation itself. These two topics are related, of course, because they nature of appreciation may bear on what things are worthy of that response, or at least on what things are likely to elicit it. So I will have some things to say about the latter. But I want to focus in this discussion on appreciation itself. When we praise a work of art, when we say it has aesthetic value, what does our praise consist in? This is a question about aesthetic psychology. I am interested in what kind of mental state appreciation is. What kind of state are we expressing when we say a work of art is “good”? This question has parallels in other areas of value theory. In ethics, most notably, there has been much attention lavished on the question of what people express when they refer to an action as “morally good.” One popular class of theories, associated with the British moralists and their followers, posits a link between moral valuation and emotion. To call an act morally good is to express an emotion toward that act. I think this approach to morality is right on target (Prinz, 2007). Here I want to argue that an emotional account of aesthetic valuation is equally promising. There are important differences between the two domains, but both have an affective foundation. I suspect that valuing of all kinds involves the emotions. Here I will inquire into the role of emotions in aesthetic valuing. I will not claim that artworks express emotions or even that they necessarily evoke emotions..