Conceiving the past and future

The authors compared people's views of their histories and futures by asking them to recall and anticipate personally significant episodes. It was hypothesized and found in Study 1 that individuals spontaneously recall an affectively mixed past, containing both "highs" and "lows," whereas they anticipate homogeneously ideal futures. It was further hypothesized that people devote little thought to negative futures, and this was tested directly in Studies 2 and 3 by assessing how quickly past and likely future events came to mind. Asked to report positive and negative episodes from the past and future, participants took longer to generate future negative than positive events. Speed of recall was unaffected by the valence of past episodes. In Study 4, the response latency difference was again replicated for future events and it was demonstrated that people are slower in both generating negative future events and judging those events as likely.     

Conceiving, Experiencing, and Conceiving Experiencing: Neo-Kantianism and the History of the Concept of Experience

It is often claimed that epistemological thought divides around the issue of the place of experience in knowledge: While empiricists argue that experience is the only legitimate source of knowledge, rationalists find other such sources. The trouble with such accounts is not that they are wrong, but that they are incomplete. On occasion, epistemological differences run deeper, raising the very notion of experience as an issue for epistemology. This paper looks at two epistemological debates which concerned not simply the place of experience in knowledge but also the appropriate account of experience itself. The first episode is the rise of Marburg Neo-Kantianism in the 1870s – in particular the seminal work of Hermann Cohen in his Kants Theorie der Erfahrung (1871). Cohen's principal point was that Kant's significance as an epistemologist was in providing a new theory of experience, one that tied experience to exact science and led to a new stress on the formal conditions of exact knowledge. The second episode is Carnap's rejection of epistemology in the 1930s in favour of a program of the logic of science. My focus in each case will be the interplay between an epistemology focused on exact science as the locus of knowledge and a concomitant call for logical methods in epistemology. This revised version was published online in June 2006 with corrections to the Cover Date.     

Conceiving Possibility： Kierkegaard and Zhuangzi

This paper examines two notions of possibility conceived by Kierkegaard and Zhuangzi respectively. Kierkegaard conceives of it with appeals to the feeling of anxiety, while Zhuangzi deals with it in terms of a type of aesthetic feeling. Based on these distinctions, the paper goes further to explore two types of human existence as fostered by these two corresponding concepts of possibility. According to Kierkegaard, in order to maintain a connection with possibility, which would provide freedom to human existence, one must have faith in the redeemer bringing back possibility so that an individual human being might renew his or her choice ceaselessly. Zhuangzi, on the other hand, advises staying in the realm of nothingness and letting go of all things to avoid being trapped by the struggle of discerning between good and evil.     

Musical minds

Music might be described as just a special form of noise, but evidence is accumulating to show that listening to it can lead to pronounced physiological and emotional responses. In a recent article, Trainor et al. have shown that specific aspects of musical structure are processed automatically in the human brain, raising the question of whether our response to music has specifically evolved or merely occurs as a side-effect of neural architecture.     

Conceiving Emotions: Martha Nussbaum's Upheavals of Thought

In Upheavals of Thought , Martha Nussbaum offers a theory of the emotions. She argues that emotions are best conceived as thoughts, and she argues that emotion-thoughts can make valuable contributions to the moral life. She develops extensive accounts of compassion and erotic love as thoughts that are of great moral import. This paper seeks to elucidate what it means, for Nussbaum, to say that emotions are forms of thought. It raises critical questions about her conception of the structure of emotion, and about her conception of compassion, in particular. Finally, the paper seeks to show how analyzing the structure, as well as the moral value, of the emotions ultimately requires entering the realm of religious ethics.     

Conceiving of entities as objects and as stuff

What is the difference between conceiving of an entity as an object of some kind and conceiving of it as an amount of solid stuff? We propose that the difference lies in how one thinks about the entity's structure. Object construals require thinking of the structure as being nonarbitrary, whereas substance construals require thinking of the structure as being arbitrary. We report six experiments that provide empirical support for this proposal. Regularity of structure, repetition of structure, and the existence of structure-dependent functions, all of which provide reasons to consider the structure of an entity to be nonarbitrary, were shown to bias participants towards object construals. We also discuss how the proposed account of what it means to construe an entity as an object or as some stuff can account for a range of findings in the literature on lexical development. These include the relation between cohesiveness and ontological category, shape and ontological category, and complexity of shape and ontological category. Finally, we discuss the nature of construals and the relation of object and substance construals to the physical, design, and intentional stances.     

Kant's Musical Antiformalism

According to the orthodox view of Kant's philosophy of music, Kant is the founder of musical formalism, the view that music is pure, contentless form, and appreciated as such. On this orthodox view, Kant is an innovator in philosophy of music, though his views are confused and sometimes contradictory. Sometimes, we are told, Kant indicates that music is a fine art and sometimes that it is merely an agreeable art. None of the orthodox position is correct. Kant's views on music are familiar, even a little old fashioned for their time. His views are consistent. He believes that some music is fine art and that the fine arts are imitative arts. Imitative arts have content, and Kant believes that at least some music has content. Our views on Kant's philosophy of music ought to be thoroughly revised.     

音乐之脑

回顾并总结了近年来对音乐认知神经基础的研究结果,包括人类感知乐曲的音高、理解音乐的结构和意义中的脑基础,音乐家和普通人在音乐认知上的脑功能差异,以及东西方听众在聆听本土和非本土音乐时的脑活动差异,并对国内利用脑功能成像技术和事件相关电位技术研究音乐认知的前景作出展望