Nick Zangwill

We describe music in terms of emotion. How should we understand this? Some say that emotion descriptions should be understood literally. Let us call those views “literalist.” By contrast “nonliteralists” deny this and say that such descriptions are typically metaphorical.1 This issue about the linguistic description of music is connected with a central issue about the na- ture of music. That issue is whether there is any essential connection between music and emotion. According to what we can call “emotion theories,” it is essential to music to be somehow related to real emotion. Prominent examples of such theories are these: it is the main function of all or most music to express emotions, to arouse emotions, or to represent emotions. 2 In my view, such theories have little plausibility, and they face a battery of powerful objections. In particular, these theories are objectionable on the grounds that essential features of emotion preclude such essential relations between music and emotion. 3 Yet to argue against various specific emotion theories of music, of which there is a large variety, does not address the reasons that draw people to emotion theories. I think that there are two main reasons. The first is that the most obvious explanation of why we describe music in emotion terms is that emotions, or relations to emotions, are part of what music is. The second reason is introspective, or phenomenological—that much music moves us when we listen to it, so it seems that music generates emotions in us, which we project onto the music when we describe it in emotion terms. In this article, my negative purpose is to dissolve these two reasons. My positive purpose is to argue for a particular nonliteralist view of linguistic descriptions of music in terms of emotion, a..

What is the relation between moral and natural properties? And how do we conceive of this relation? By ‘moral’ properties I will mean properties such as being evil, just or virtuous or having duties or rights; and by ‘natural’ properties I will mean properties such as psychological, sociological and physical properties.1 Suppose we judge that Queen Isabella of Spain was evil in 1492, or at least that many of her actions in 1492 were evil. Then we do not think that she had various natural properties in 1492  such as being a torturer, a bigot and desiring other’s pain  and by an astounding coincidence she or her actions also had the moral property of evil. Rather, we think that she or her..

I describe and defend the view in a philosophy of mind that I call 'Normative Essentialism', according to which propositional attitudes have normative essences. Those normative essences are 'horizontal' rational requirements, by which I mean the requirement to have certain propositional attitudes given other propositional attitudes. Different propositional attitudes impose different horizontal rational requirements. I distinguish a stronger and a weaker version of this doctrine and argue for the weaker version. I explore the consequences for knowledge of mind, and I then consider objections to the view from mental causation, from empirical psychology, and from animals and small children.

“Motivational externalism” is the externalism until they see more of what view that moral judgements have no motisuch a theory would be like. The mere posvational efficacy in themselves, and that sibility of such a theory is not sufficiently when they motivate us, the source of motireassuring, even given strong arguments vation lies outside the moral judgement in against the opposite position. For there may a separate desire. Motivational externalism also be objections to externalism. contrasts with “motivational internalism,” Moral philosophers have not spent much which is either the view that our moral effort spelling out the details of an exterjudgements are partly constituted by motinalist model of moral motivation. Those vation, or else that they would be if we who have endorsed externalism include were rational. The major problem for mo- Philippa Foot, Michael Stocker, David tivational internalism—in either guise—is Brink, Al Mele, Sigrún Svavarsdóttir, and that it flies in the face of common obsermyself (Foot 1972, Stocker 1979, Brink vation and first-personal experience of the 1989, 1997, Mele 1996, Svavarsdóttir fact that we can, without irrationality, be 1999, Zangwill 1999). But even these phiindifferent to morality. Philippa Foot piolosophers concentrated mostly on arguing neered this argument (Foot 1972). The pheagainst internalism or defending moral renomenon of indifference encourages alism rather than articulating the externalist motivational externalism. alternative. As a consequence, it is not clear This paper will not revisit this difficulty how the externalism that can be gleaned for internalism, but will travel in the opfrom these writings can be defended posite dialectical direction. The aim is to against various objections to externalism. expound and defend externalism, not to This paper is concerned to fashion an atargue against internalism. This paper will tractive version of externalism, and show address, and try to soothe away, the reluchow it evades objections. tance of many philosophers to embrace In section 1, a particular version of motimotivational externalism..

Most of the debate for and against aesthetic formalism in the twentieth century has been little more than a sequence of assertions, on both sides. But there is one discussion that stands out for its argumentative subtlety and depth, and that is Kendall Walton’s paper ‘Categories of Art’.1 In what follows I shall defend a certain version of formalism against the antiformalist arguments which Walton deploys. I want to show that while Walton’s arguments do indeed create insurmountable difficulties for an extreme version of formalism, he has not shown that a moderate version is problematic or inadequate. (I have no space to address anti-formalist arguments other than Walton’s.2) I shall defend moderate formalism rather than put forward positive considerations in its favour, although some of its attractions will become apparent as a side-effect. I pursue the positive case for moderate formalism elsewhere.3 I. FORMAL PROPERTIES AND FORMALISMS I.1. Walton begins his paper by raising an issue about whether those who make aesthetic judgements should only be concerned with what can be directly perceived in works of art. The issue of formalism has often been described in these terms. But Walton rightly distances himself from setting up a debate in that way. He moves on to take as his target the view that ‘Circumstances connected with a work’s origin ... have no essential bearing on an assessment of its aesthetic nature’ (p. 334).

Aesthetic Formalism has fallen on hard times. At best it receives unsympathetic discussion and swift rejection. At worst it is the object of abuse and derision. But I think that there is something to be said for it. In this paper, I shall try to find and secure the truth in formalism. I shall not try to defend formalism against all of the objections to it.1 Instead I shall articulate a moderate formalist view that draws on aesthetic0nonaesthetic determination and Kant’s distinction between free and dependent beauty. I shall examine four central art forms—painting, sculpture, lit-.

I raise the issue of the role of God with respect to morality and why we should be concerned with Him. Then the difficulty that God existence is still irrelevant even if He created the world and even if the Divine Commandment Theory is right that He is responsible for Morality. A Jewish Neo-Aristotelian solution is considered but rejected, and the Jewish Neoplatonist solution endorsed and sympathetically but cautiously endorsed. Free Will is considered from the Neoplatonist point of view. Something like Jewish incarnation is suggested at the end, with an appendix on sex.

Metaphysics-—the enquiry into the constitution of reality-seems like the very crown of philosophy. What could be more exciting, more important, and more substantive than the pursuit of such a discipline? The majority of philosophers have been content to assume that metaphysics is a viable enterprise; they have held various metaphysical views and engaged in metaphysical arguments. But there has always been a small but persistent maverick minority of philosophers who have cast aspersions on the whole undertaking. Metaphysics, they tell us, cannot be what it seems. There is something desperately wrong at the heart of the discipline. The jewel is a fake; it is in fact worthless glass. Philosophers make a lot of noise about metaphysics, but perhaps there are really no genuine metaphysical issues—only a lot of bogus hot air. Perhaps metaphysics is a meaningless tale told by idiot philosophers—full of sound and fury, signifying nothing. These pessimistic philosophers may have been few, but they rank among their numbers no less than Wittgenstein, the positivists, and perhaps Kant. So the attitude is to be taken seriously

I argue against the analytic moral functionalist view propounded by Frank Jackson and Philip Pettit. I focus on the ‘input’ clauses of our alleged ‘folk moral theory’. I argue that the examples they give of such input clauses cannot plausibly be interpreted as analytic truths. They are in fact substantive moral claims about the moral ‘domain’. It is a substantive claim that all human beings have equal moral standing. There are those who have rejected this, such as Herman Göring. He was loyal to a sub-class of humankind, but he suffered no conceptual confusion. Claims about what is morally relevant are substantive claims that cannot be known on purely conceptual grounds.

Must mental properties figure in psychological causal laws if they are causally efficacious? And do those psychological causal laws give the essence of mental properties? Contrary to the prevailing consensus, I argue that, on the usual conception of laws that is in play in these debates, there are in fact lawless causally efficacious properties both in and out of the philosophy of mind. I argue that this makes a great difference to the philosophical relevance of empirical psychology. 1 begin by making the case that revolutions and hurricanes are lawless phenomena, before arguing for a similar thesis about creativity, love, courage, dreams, daydreams, and musings. Furthermore, the empirical research on these phenomena suggests that the philosophical issues may be independent of what empirical psychology can tell us.

ANTI-FORMALISM has become the consensus in aesthetics. But in my view anti-formalism is not true to our aesthetic experience; it gives a revisionary account of the aesthetic properties that we think we find in works of art. The thesis I think we should hold is not extreme formalism—the view that all or almost all aesthetic properties are formal—but the moderate thesis that many are. This view has not been given its due because so many aestheticians have been convinced by anti-formalist arguments. In this short paper, I propose a systematic method for resisting anti-formalist arguments. The method is to apply one of three strategies. These strategies are repeatable archetypes. I shall show these neutralizing strategies at work with seven objections to formalism.

I defend traditional aesthetics against sociological criticism. I argue that “historicist” approaches are not supported by arguments and are intrinsically implausible. Hence the traditional ahistorical philosophical approach to the judgment of taste is justified. Many Marxist, feminist and postmodernist writers either eliminate aesthetic value or reduce it to their favourite political value. Others say that they merely want to give a historical explanation of the culturally local phenomenon of thinking in terms of the aesthetic. As a preliminary, I point out that the conception of the aesthetic these theorists operate with is a straw man. In particular, Kant would have rejected it. I then point out that the empirical evidence does not support their historicist views. Most sociological theorists adduce no evidence, thinking their view obviously correct. Where evidence is adduced, the evidence has little connection with their general historicist conclusions. Lastly, I put pressure on the historicist view, first by appealing to the enormity of the error attributed to ordinary people, and second by appealing to the inevitability of pragmatic inconsistency by those who assert the view. I conclude that traditional philosophical aesthetics was right to be ahistorical.

I give an informal presentation of the evolutionary game theoretic approach to the conventions that constitute linguistic meaning. The aim is to give a philosophical interpretation of the project, which accounts for the role of game theoretic mathematics in explaining linguistic phenomena. I articulate the main virtue of this sort of account, which is its psychological economy, and I point to the casual mechanisms that are the ground of the application of evolutionary game theory to linguistic phenomena. Lastly, I consider the objection that the account cannot explain predication, logic, and compositionality.

I defend extreme formalism about the aesthetics of inorganic nature. I outline the general issue over aesthetic formalism as it manifests itself in the visual arts. The main issue is over whether we need to know about the history of artworks in order to appreciate them aesthetically. I then turn to nature and concede that with organic nature we need to know a thing's biological kinds if we are fully to appreciate it. However, with in organic nature I deny that we need to know the deeper nature of the things we experience. What is important, I argue, are the appearances of those things not their real natures. I consider the beauty of clouds, which depends on an illusion of solidity, and I argue that scientific knowledge does not reveal beauty that is not available to the ignoramous. There is only the beauty of appearances, and it does not matter whether those appearances are accurate or illusory