Fabian Dorsch

(1974 - 2017)

In this chapter, Dorsch argues against empiricist positions which claim that empirical evidence can be sufficient to defeasibly justify aesthetic judgements, or judgements about the adequacy of aesthetic judgements, or sceptical judgements about someone’s capacity to form adequate aesthetic judgements. First, empirical evidence provides neither inferential, nor non-inferential justification for aesthetic opinions. Second, while empirical evidence may tell us how we do respond aesthetically to artworks, it cannot tell us how we should respond to them. And, third, empirical insights into the irrationality of many of our aesthetic judgements do not warrant the sceptical conclusion that we ought to refrain from forming aesthetic opinions. As a consequence of these limitations to aesthetic empiricism, we should endorse the rationalist position that aesthetic criticism is largely a matter of reasoning and, moreover, a collective undertaking.

This chapter provides an overview of the debate about the phenomenal presence of features in perceptual experience. First, it delineates the theme of the volume by characterizing phenomenal presence and drawing four important related distinctions: (i) between the phenomenal presence of features pertaining to the objects of experience and features pertaining to the experiences themselves; (ii) between sensory and non-sensory phenomenal presence in perceptual experience; (iii) between the phenomenal presence of features of objects that are in view and of objects that are out of sight; and (iv) between qualitative and categorical features of perceptual experiences. Then, the chapter contrasts the debate about phenomenal presence with the closely related debates about intrinsic qualia, cognitive phenomenology, and higher-level perception. Finally, it provides detailed descriptions of the content of the contributions to the volume and highlights their main claims and their philosophical significance for the debate about phenomenal presence and beyond.

This article overviews Hume’s thoughts on the nature and the role of imagining, with an almost exclusive focus on the first book of his Treatise of Human Nature. Over the course of this text, Hume draws and discusses three important distinctions among our conscious mental episodes : between impressions and ideas ; between ideas of the memory and ideas of the imagination; and, among the ideas of the imagination, between ideas of the judgement and ideas of the fancy. I discuss each distinction in turn, also in connection to contemporary views on imagining. In addition, I briefly consider Hume’s views on the imagination as a faculty aimed at the production of ideas, as well as on the role that imagining plays in the wider context of our mental lives, notably in the acquisition of modal knowledge and in the comprehension of stories and opinions that we take to be false or fictional.

In den letzten Jahren ist es recht populär geworden, traditionelle Fragen der philosophischen Ästhetik – wie zum Beispiel die nach der Natur und Rechtfertigung ästhetischer Beurteilungen – mithilfe empirischer Forschungsergebnisse zu beantworten zu versuchen. Diesem empiristisch geprägten Ansatz möchte ich gerne eine rationalistisch orientierte Auffassung der ästhetischen Erfahrung und Bewertung von Kunstwerken entgegensetzen. Insbesondere werde ich die ästhetische Relevanz dreier verschiedener Arten empirischer Studien kritisch diskutieren: (i) solcher, die einzelne Kunstwerke unter Einsatz der Natur- oder Geschichtswissenschaften erforschen; (ii) solcher, die sich der empirischen Methoden der Psychologie und der Soziologie bedienen, um unsere ästhetischen Beurteilungen einzelner Werke oder Werkgruppen zu untersuchen; und schliesslich (iii) solcher, die unser allgemeines ästhetisches Urteilsvermögen einer kognitionswissenschaftlichen Überprüfung unterziehen.

Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual artworks or, more generally, our interaction with art. The main thesis to be defended is that third-personal empirical findings are of limited significance for both critical and philosophical aesthetics. Indeed, they matter only to the extent to which they draw our attention to features or facts that we then iden- tify, from our first-personal perspective, as aesthetically relevant — for instance, as reasons counting for or against certain ascriptions of aesthetic value, or as factors that causally influence our actual as- sessments and thus render them partly inadequate or irrational. This limited significance of empirical findings is in line with the rationalist approach to the formation and justification of aesthetic judgements, that I have already started to defend elsewhere. With respect to critical aesthetics, one problem is that empirical investigations cannot capture the normativity of the aesthetic relevance of lower-level features or facts: the respective studies can tell us what we take to be reason-giving or valuable, but not what is reason-giving or valuable. Furthermore, we cannot use empirically knowable principles to infer the presence of aesthetic values or reasons on the basis of recognising measurable lower-level features because the only available principles are too specific to allow for their actual application to more than one existing object, or even for their actual formulation. For their antecedents make reference to a large number of very determinate properties, as well as sometimes to particular events of creation. The only exception are conceptual principles (such as ‘something symmetrical is balanced’) or default principles (such as ‘something elegant is, by default, beautiful’). But knowledge of these principles is of little inferential use due to the holistic character of the justificatory power of aesthetic reasons and, moreover, does not allow for empirical acquisition. With respect to philosophical aesthetics, I start with considering the limits of evolutionary accounts of aesthetic value. Even if it is true that humans originally came to value artworks because they recognised that artworks reveal certain skills or features of artists (such as imaginativeness or resourcefulness) that are desirable in sexual partners, it does not value that our reasons for valuing art have not changed, or at least not become much more complex. In addition, the answer to the question of why we value art from an evolutionary perspective has no obvious bearing on the issue of how we should appreciate art from an aesthetic perspective, or what such aesthetic appreciation would consist in. On the other hand, experimental studies showing that our actual aesthetic evaluations are influenced by factors (such as exposure e ects, or knowledge of the prices of objects), that undermine the good standing of our responses, just reveal that it is more difficult than perhaps expected to form sound aesthetic judgements; and that we need to improve our future aesthetic judgements by diminishing as much as possible the impact of those factors.

This collection brings together a selection of my recently published or forthcoming articles. What unites them is their common concern with one of the central ambitions of philosophy, namely to get clearer about our first-personal perspective onto the world and our minds. Three aspects of that perspective are of particular importance: consciousness, intentionality, and rationality. The collected essays address metaphysical and epistemological questions both concerning the nature of each of these aspects and concerning the various connections among them. More generally, given that intentionality and ratio- nality are both normative phenomena, the main theme of the articles is the relationship between consciousness and normativity and the centrality of this relationship to our first-personal perspective. This focus culminates in the defense of two specific views, experiential rationalism and experiential intentionalism. The first is, very roughly, the view that how our mental episodes are given in consciousness reflects their rational role in our mental lives: it is part of what our mental episodes subjectively are like that we phenomenally experience them as providing and/or responding to certain kinds of reasons. The central claim of the second view, on the other hand, is that the intentionality of our mental episodes is essentially linked to consciousness and involves a token-reflexive element: they intentionally present not only the world, but also themselves as being a certain way. Some of the essays also deal with the contrast between our first- and our third-personal perspectives and the — to some extent related — division of labour between philosophy and the empirical sciences. Both perspectives have their limitations and sometimes conflict with each other, raising the question of what the consequences are for accounts of our first-personal knowledge and its internal or external objects.

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.

The aim of this article is to present the disagreement between Moran and Walton on the nature of our affective responses to fiction and to defend a view on the issue which is opposed to Moran’s account and improves on Walton’s. Moran takes imagination-based affective responses to be instances of genuine emotion and treats them as episodes with an emotional attitude towards their contents. I argue against the existence of such attitudes, and that the affective element of such responses should rather be taken to be part of what is imagined. In this respect, I follow Walton; and I also agree with the latter that our affective responses to fiction are, as a consequence, not instances of real emotion. However, this gives rise to the challenge to be more specific about the nature of our responses and explain how they can still involve a phenomenologically salient affective element, given that propositionally imagining that one feels a certain emotion is ruled out because it may be done in a dispassionate way. The answer —already suggested, but not properly spelled out by Walton— is that affectively responding to some fictional element consists in imaginatively re-presenting an experience of emotional feeling towards it. The central thought is that the conscious and imaginative representation of the affective character of an instance of genuine emotion itself involves the respective phenomenologically salient affective element, despite not instantiating it.

Please send me an email ([email protected]) if you wish to receive a copy of the book. — 'In this highly ambitious, wide ranging, immensely impressive and ground-breaking work Fabian Dorsch surveys just about every account of the imagination that has ever been proposed. He identifies five central types of imagining that any unifying theory must accommodate and sets himself the task of determining whether any theory of what imagining consists in covers these five paradigms. Focussing on what he takes to be the three main theories, and giving them each equal consideration, he faults the first two and embraces the third, which argues that imagining is a special form of mental agency. The scholarship is immaculate, the writing crystal clear and the argumentation always powerful.' (Malcolm Budd).

Relationalism about perception minimally claims that instances of perception -- in contrast to instances of hallucination -- are constituted by the external objects perceived. Most variants of relationalism furthermore maintain that this difference in constitution is due to a difference in mental kind. One prominent example is acquaintance relationalism, which argues that perceptions are relational in virtue of acquainting us with external objects. I distinguish three variants of acquaintance relationalism -- which differ in their answers to the question of which kind of awareness hallucinations involve -- and object to all of them on two main grounds. First, none of the variants can explain how hallucinations can be introspectively indistinguishable from perceptions, despite their essential difference in awareness. Second, all three variants are unable to identify the feature of hallucinations that ensure that these experiences possess the same motivational power as corresponding perceptions. Since aquaintance relationalism can satisfy neither of these two desiderata on relationalist views, it should be rejected. Hence, if we want to be relationalists about perception, we should endorse a form of relationalism that treats perceptions -- as well as hallucinations -- as representational.

What is the scope of our conscious mental agency, and how do we acquire self-knowledge of it? Both questions are addressed through an investigation of what best explains our inability to form judgemental thoughts in direct response to practical reasons. Contrary to what Williams and others have argued, it cannot be their subjection to a truth norm, given that our failure to adhere to such a norm need not undermine their status as judgemental. Instead, it is argued that we cannot form judgements at will because we subjectively experience them as responses to epistemic reasons, and because this is incompatible with our experiential awareness of direct mental actions, such as instances of imagining. However, this latter awareness does not extend to indirect agency, which relies on epistemic or causal processes as means. Judging may therefore still count as an indirect action - just like, say, breaking a window by throwing a stone.

Farben sind für uns sowohl objektive, als auch phänomenale Eigenschaften. In seinem Buch argumentiert Fabian Dorsch, daß keine ontologische Theorie der Farben diesen beiden Seiten unseres Farbbegriffes gerecht werden k ann. Statt dessen sollten wir akzeptieren, daß letzterer sich auf zwei verschiedene Arten von Eigenschaften bezieht: die repräsentierten Reflektanzeigenschaften von Gegenständen und die qualitativen Eigenschaften unserer Farbwahrnehmungen, die als sinnliche Gegebenheitsweisen ersterer fungieren. Die Natur der Farben gibt einen detaillierten Überblick über die zeitgenössischen philosophischen und naturwissenschaftlichen Theorien der Farben und bietet sich aufgrund seines systematischen und umfassenden Charakters auch als ein seminar- oder vorlesungsbegleitendes Textbuch an.

In this chapter, I argue against empiricist positions which claim that empirical evidence can be sufficient to defeasibly justify aesthetic judgements, or judgements about the adequacy of aesthetic judgements, or sceptical judgements about someone's capacity to form adequate aesthetic judgements. First, empirical evidence provides neither inferential, nor non-inferential justification for aesthetic opinions. Second, while empirical evidence may tell us how we do respond aesthetically to artworks, it cannot tell us how we should respond to them. And, third, empirical insights into the irrationality of many of our aesthetic judgements do not warrant the sceptical conclusion that we ought to refrain from forming aesthetic opinions. As a consequence of these limitations to aesthetic empiricism, we should endorse the rationalist position that aesthetic criticism is largely a matter of reasoning and, moreover, a collective undertaking.

This is the original, longer draft for my entry on Hume in the 'The Routledge Hand- book of Philosophy of Imagination', edited by Amy Kind and published by Routledge in 2016 (see the separate entry). — Please always cite the Routledge version, unless there are passages concerned that did not make it into the Handbook for reasons of length. — -/- This chapter overviews Hume’s thoughts on the nature and the role of imagining, with an almost exclusive focus on the first book of his Treatise of Human Nature. Over the course of this text, Hume draws and discusses three important distinctions among our conscious mental episodes (or what he calls ‘perceptions’): (i) between impressions (including perceptual experiences) and ideas (including recollections, imaginings and occurrent beliefs); (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement (i.e. occurrent beliefs) and ideas of the fancy (i.e. imaginings). I discuss each distinction in turn, also in connection to contemporary views on imagining. In addition, I briefly consider Hume’s views on the imagination as a faculty aimed at the production of ideas, as well as on the role that imagining plays in the wider context of our mental lives, notably in the acquisition of modal knowledge and in the comprehension of, and resistance to, stories and opinions that we take to be false or fictional.

In this paper, I would like to put forward the claim that, at least in some central cases, visualising consists literally in imagining seeing. The first section of my paper is concerned with a defence of the specific argument for this claim that M. G. F. Martin presents in his paper 'The Transparency of Experience' (Martin 2002). This argument has been often misunderstood (or ignored), and it is worthwhile to discuss it in detail and to illus­trate what its precise nature is and why I take it to be sound. In the second section, I present a second and independent argument for the claim that visualising is imagining seeing, which is not to be found in Martin's writings, despite some crucial similarities with his own argument ‒ notably in the focus on the subjective aspects of visual experience. The last section deals with a particular objection to the idea that imagining takes perception as its direct object and says a bit more about how best to understand this claim.

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.