My thanks to the participants in a Jean Nicod Institute-Nottingham joint seminar in Paris (and to Elisabeth Pacherie who organised it), a conference on Kendall Walton’s work in Nottingham and, most recently, the participants in a research seminar in Queen’s University Belfast (and to David Evans, in particular, for organising it). I would also like to thank two anonymous referees and an editor of Mind & Language for their comments on earlier versions of the paper, which helped me to make a number of important clarifications and sharpen my defence of the position adopted. The following deserve special thanks: Rob Hopkins for comments and encouragement, Jerome Pelletier for his response to the original presentation, Kendall Walton for his response in the conference on his work, Greg Currie for organising the Kendall Walton conference, support, and providing very helpful written comments on a previous draft of the paper, and Jerrold Levinson for substantial detailed comments, time going through them with me, robust disagreement and encouragement. I would also like to thank the Leverhulme Trust for providing me with a Major Leverhulme Research Fellowship which gave me the time substantially to rework the paper, rethink its principal ideas and appreciate better the connection with my previous work on the imagination and how the present paper may contribute to the defence of a representationalist account of consciousness.
Expressive Perception as Projective Imagining
Version of Record online: 14 MAY 2008
© 2008 The Author Journal compilation © 2008 Blackwell Publishing Ltd
Mind & Language
Volume 23, Issue 3, pages 329–358, June 2008
How to Cite
NOORDHOF, P. (2008), Expressive Perception as Projective Imagining. Mind & Language, 23: 329–358. doi: 10.1111/j.1468-0017.2008.00346.x
- Issue online: 14 MAY 2008
- Version of Record online: 14 MAY 2008
Abstract: I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in terms of simulation and briefly comment upon the impact of work on cross-cultural perception of facial expression, modularity and autism for the proposal.