Christopher Peacocke

Notes on Contributors • Preface • Christopher Peacocke, Introduction: The Issues and their Further Development I OBJECTIVE THOUGHT • John Campbell, Objects and Objectivity Commentaries • Bill Brewer, Thoughts about Objects, Places and Times • John O'Keefe, Cognitive Maps, Time and Causality II OBJECTIVITY AND THE UNITY OF CONSCIOUSNESS • Susan Hurley, Unity and Objectivity Commentaries • Anthony Marcel, What is Relevant to the Unity of Consciousness? • Michael Lockwood, Issues of Unity and Objectivity III UNDERSTANDING THE MENTAL:THEORY OR SIMULATION • MARTIN DAVIES, The Mental Simulation Debate Commentaries • Jane Heal, Simulation vs. Theory Theory: What is at Issue? • Josef Perner, The Necessity and Impossibility of Simulation

We can experience music as sad, as exuberant, as sombre. We can experience it as expressing immensity, identification with the rest of humanity, or gratitude. The foundational question of what it is for music to express these or anything else is easily asked; and it has proved extraordinarily difficult to answer satisfactorily. The question of what it is for emotion or other states to be heard in music is not the causal or computational question of how it comes to be heard. It is not the question of the social influences on how we hear music. Nor is it the question of the evolutionary explanation, if such there be, of the existence of such perceptions. It is the constitutive question, the ‘what-is-it?’ question, that is my concern here. It is a question unaddressed by purely syntactic analyses of music. A correct answer to this constitutive question constrains all those other, equally challenging, empirical questions about music. I am going to propose an answer to the constitutive question, drawing on the resources of our current philosophy of perception and cognition within contemporary philosophy of mind. In the very tight space available to me, I will not survey the extant competing proposals, but simply offer my own suggestion straight out, while noting some points of contrast with other approaches. My account is built from three components, or more strictly, from two components together with a certain conception of the way they are related to each other in the perception of music. My plan is to expound these components; to formulate the account built from them; to give some examples of what the account can explain; and to discuss very briefly its bearing on some classical issues about the perception of music.

This paper begins by considering Dummett's justificationist treatment of statements about the past in his book Truth and the Past (2004). Contrary to Dummett's position, there is no way of applying the intuitionistic distinction in the arithmetical case between direct and indirect methods of establishing a content to the case of past-tense statements. Attempts to do so either give the wrong truth conditions, or rely on notions not available to a justificationist position. A better, realistic treatment makes ineliminable use of identity of state in its positive account of understanding of the past tense; this account can also be applied to other subject matters besides the past. A theory is developed of how realists should conceive of the relation between meaning and evidence. Points from this discussion are used in criticism of Wright's minimalist conception of truth. Three grades of possible involvement of truth and reference in a substantive theory of intentional content are distinguished, and reasons are given for thinking that a range of contents involve the highest degree of involvement of reference and truth in their substantive individuation.