Results for 'Robert Hopkins'

954 found
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  1. Design and syntax in pictures.Robert Hopkins - 2024 - Mind and Language 39 (3):312-329.
    Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's (...)
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  2. Inflected Pictorial Experience: Its Treatment and Significance.Robert Hopkins - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford, GB: Oxford University Press. pp. 151.
    Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...)
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  3. How to Be a Pessimist about Aesthetic Testimony.Robert Hopkins - 2011 - Journal of Philosophy 108 (3):138-157.
    Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...)
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  4. Episodic Memory as Representing the Past to Oneself.Robert Hopkins - 2014 - Review of Philosophy and Psychology 5 (3):313-331.
    Episodic memory is sometimes described as mental time travel. This suggests three ideas: that episodic memory offers us access to the past that is quasi-experiential, that it is a source of knowledge of the past, and that it is, at root, passive. I offer an account of episodic memory that rejects all three ideas. The account claims that remembering is a matter of representing the past to oneself, in a way suitably responsive to how one experienced the remembered episode to (...)
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  5. Artistic Style as the Expression of Ideals.Robert Hopkins & Nick Riggle - 2021 - Philosophers' Imprint 21 (NO. 8):1-18.
    What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...)
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  6. How To Form Aesthetic Belief: Interpreting The Acquaintance Principle.Robert Hopkins - 2006 - Postgraduate Journal of Aesthetics 3 (3):85-99.
    What are the legitimate sources of aesthetic belief? Which methods for forming aesthetic belief are acceptable? Although the question is rarely framed explicitly, it is a familiar idea that there is something distinctive about aesthetic matters in this respect. Crudely, the thought is that the legitimate routes to belief are rather more limited in the aesthetic case than elsewhere. If so, this might tell us something about the sorts of facts that aesthetic beliefs describe, about the nature of our aesthetic (...)
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  7. Imagining the Past: on the nature of episodic memory.Robert Hopkins - 2018 - In Fiona MacPherson Fabian Dorsch (ed.), Memory and Imagination. Oxford University Press.
    What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...)
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  8. Explaining depiction.Robert Hopkins - 1995 - Philosophical Review 104 (3):425-455.
    An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how more precisely (...)
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  9. The Sculpted Image?Robert Hopkins - 2020 - In Fred Rush, Ingvild Torsen & Kristin Gjesdal (eds.), Philosophy of Sculpture: Historical Problems, Contemporary Approaches. Routledge. pp. 187-205.
    Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...)
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  10. "Remember Leonard Shelby": 'Memento' and the Double Life of Memory.Robert Hopkins - 2016 - In Julian Dodd (ed.), Art, Mind, and Narrative: Themes From the Work of Peter Goldie. New York, NY: Oxford University Press UK. pp. 89-99.
    Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so very much (...)
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  11. Aesthetics, experience, and discrimination.Robert Hopkins - 2005 - Journal of Aesthetics and Art Criticism 63 (2):119–133.
    Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those experiences (...)
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  12. Critical Reasoning and Critical Perception.Robert Hopkins - 2004 - In Dominic Lopes & Matthew Kieran (eds.), Knowing Art: Essays in Epistemology and Aesthetics. Springer. pp. 137-153.
    The outcome of criticism is a perception. Does this mean that criticism cannot count as a rational process? For it to do so, it seems it would have to be possible for there to be an argument for a perception. Yet perceptions do not seem to be the right sort of item to serve as the conclusions of arguments. Is this appearance borne out? I examine why perceptions might not be able to play that role, and explore what would have (...)
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  13. Imagination and affective response.Robert Hopkins - 2010 - In Jonathan Webber (ed.), Reading Sartre: On Phenomenology and Existentialism. New York: Routledge. pp. 100-117.
    What is the relation between affective states, such as emotions and pleasure, and imagining? Do the latter cause the former, just as perceptual states do? Or are the former merely imagined, along with suitable objects? I consider this issue against the backdrop of Sartre’s theory of imagination, and drawing on his highly illuminating discussion of it. I suggest that, while it is commonly assumed that imaginative states cause affective responses much as do perceptions, the alternatives merit more careful consideration than (...)
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  14. Realism in film (and other representations).Robert Hopkins - 2016 - In Katherine Thomson-Jones (ed.), Current Controversies in Philosophy of Film. New York: Routledge.
    What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper question: (...)
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  15. Sculpting in time: temporally inflected experience of cinema.Robert Hopkins - 2018 - In Jérôme Pelletier & Alberto Voltolini (eds.), The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. London: Routledge. pp. 201-223.
    We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can that (...)
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  16. What Perky did not show.Robert Hopkins - 2012 - Analysis 72 (3):431-439.
    Some philosophers take Perky's experiments to show that perceiving can be mistaken for visualizing and so that the two sometimes match in phenomenology. On Segal’s alternative interpretation Perky’s subjects did not consciously perceive the stimuli at all. I argue that even setting this alternative aside, Perky's results do not prove what the philosophers think. She showed her subjects, not the objects they were asked to visualise, but pictures of them. What they mistook for visualizing was not perceptual consciousness of stimuli, (...)
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  17. The speaking image: visual communication and the nature of depiction.Robert Hopkins - 2005 - In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Malden, MA: Wiley-Blackwell. pp. 135--159.
    This paper summarises the main claims I have made in a series of publications on depiction. Having described six features of depiction that any account should explain, I sketch an account that does this. The account understands depiction in terms of the experience to which it gives rise, and construes that experience as one of resemblance. The property in respect of which resemblance is experienced was identified by Thomas Reid, in his account of ‘visible figure’. I defend the account against (...)
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  18. The Spectator in the Picture.Robert Hopkins - 2001 - In Rob van Gerwen (ed.), Richard Wollheim on the art of painting: art as representation and expression. Cambridge: Cambridge University Press. pp. 215-231.
    This paper considers whether pictures ever implicitly represent internal spectators of the scenes they depict, and what theoretical construal to offer of their doing so. Richard Wollheim's discussion (Painting as an Art, ch.3) is taken as the most sophisticated attempt to answer these questions. I argue that Wollheim does not provide convincing argument for his claim that some pictures implicitly represent an internal spectator with whom the viewer of the picture is to imaginatively identify. instead, I defend a view on (...)
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  19. The Real Challenge to Photography (as Communicative Representational Art).Robert Hopkins - 2015 - Journal of the American Philosophical Association 1 (2):329-348.
    I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...)
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  20. Perspective, Convention and Compromise.Robert Hopkins - 2003 - In Heiko Hecht Margaret Atherton & Schwartz Robert (eds.), Looking into Pictures. MIT Press. pp. 145-165.
    What is special about picturing according to the rules of perspectival drawing systems? My answer is at once both radical and conciliatory. I think that depiction essentially involves a distinctive experience, an experience of resemblance. More precisely, the picture must be seen as preserving what Thomas Reid (Enquiry 1764) called the "visible figure" of what is represented. It follows from this, and from some other plausible premises, that if a picture is to depict detailed spatial arrangements, rather than simply to (...)
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  21. Sartre.Robert Hopkins - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. New York: Routledge. pp. 82-93.
    In The Imaginary Sartre offers a systematic, insightful and heterodox account of imagining in many forms. Beginning with four ‘characteristics’ he takes to capture the phenomenology of imagining, he draws on considerations both philosophical and psychological to describe the deeper nature of the state that has those features. The result is a view that remains the most potent challenge to the Humean orthodoxy that to this day dominates both philosophical and psychological thinking on the topic.
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  22. Sculpture.Robert Hopkins - 2003 - In Jerrold Levinson (ed.), The Oxford handbook of aesthetics. New York: Oxford University Press. pp. 572-582.
    What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop the views of Susanne (...)
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  23. Sculpture and Space.Robert Hopkins - 2003 - In Matthew Kieran & Dominic Lopes (eds.), Imagination, Philosophy and the Arts. New York: Routledge. pp. 272-290.
    What is distinctive about sculpture as an artform? I argue that it is related to the space around it as painting and the other pictorial arts are not. I expound and develop Langer's suggestive comments on this issue, before asking what the major strengths and weaknesses of that position might be.
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  24. The philosophical implications of the Perky experiments: reply to Hopkins.Bence Nanay - 2012 - Analysis 72 (3):439-443.
    The Perky experiments are taken to demonstrate the phenomenal similarity between perception and visualization. Robert Hopkins argues that this interpretation should be resisted because it ignores an important feature of the experiments, namely, that they involve picture perception, rather than ordinary seeing. My aim is to point out that the force of this argument depends on one’s views on picture perception. On what I take to be the most mainstream account of picture perception, Hopkins’s argument does not (...)
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  25. McIntosh's Unrealistic Picture of Peacocke and Hopkins on Realistic Pictures.C. Abell - 2005 - British Journal of Aesthetics 45 (1):64-68.
    I defend Christopher Peacocke's and Robert Hopkins's experienced resemblance accounts of depiction against criticisms put forward by Gavin McIntosh in a recent article in this journal. I argue that, while there may be reasons for rejecting Peacocke's and Hopkins's accounts, McIntosh fails to provide any.
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  26. On outlining the shape of depiction.Catharine Abell - 2005 - Ratio 18 (1):27–38.
    In this paper, I discuss the account of depiction proposed by Robert Hopkins in his book Picture, Image and Experience. I first briefly summarise Hopkins’s account, according to which we experience depictions as resembling their objects in respect of outline shape. I then ask whether Hopkins’s account can perform the explanatory tasks required of an adequate account of depiction. I argue that there are at least two reasons for which Hopkins’s account of depiction is inadequate. (...)
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  27. Aesthetic Acquaintance.James Shelley - 2023 - Pacific Philosophical Quarterly 104 (2):392-407.
    If, as Richard Wollheim says, the Acquaintance Principle is ‘a well-entrenched principle in aesthetics,’ it would be surprising if there were not something true at which those who have asserted it have been aiming. I argue that the Acquaintance Principle cannot be true on any traditional epistemic interpretation, nor on any usability interpretation of the sort Robert Hopkins has recently suggested. I then argue for an interpretation of the principle that treats acquaintance as the end to which judgments (...)
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  28. Depicting Depictions.René Jagnow - 2016 - Pacific Philosophical Quarterly 98 (S1):453-479.
    How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in the (...)
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  29. Wat is een afbeelding?Hans Maes - 2011 - Esthetica: Tijdschrift Voor Kunst En Filosofie 3.
    This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman.
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  30. Can One Be A Quasi-Realist About The Aesthetic?Christopher Dowling - 2006 - Postgraduate Journal of Aesthetics 3 (3):100-109.
    For ordinary judgements it is often the case that it may be justifiable to change one's mind given that others agree in holding an opposing view. In the case of judgements of beauty this is never the case; these are autonomous. Robert Hopkins has discussed the following (familiar) explanation: Judgements of beauty are not genuine assertions at all; rather they are expressions of some response or experience. Since to acknowledge the disagreement of others is not to respond to (...)
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  31. Sculpture.Sherri Irvin - 2013 - In Berys Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics Third Edition. Routledge. pp. 606-615.
    This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.
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  32. Covid-19. A origem do vírus feito para infectar humanos.Frederico Rochaferreira - 2020 - In Covid-19. A origem do vírus feito para infectar humanos. Portugal: Lisbon Press. pp. 212.
    Nos meses de Junho/Julho - 2019, houve relatos de vazamento de patógenos do Fort Detrick, instalação do Comando Médico do Exército dos EUA, conhecido por desenvolver armas biológicas e que abriga um dos muitos laboratórios BSL-4 do país. Em agosto de 2019, a instalação foi fechada para investigação e a imprensa não teve acesso a informações detalhadas. -/- Em setembro de 2019, um vírus mortal começou a se espalhar nos EUA infectando 26 milhões de pessoas naquele outono, com pelo menos (...)
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  33. Realization.Carl F. Craver & Robert A. Wilson - 2006 - In Paul Thagard (ed.), Handbook of the Philosophy of Psychology and Cognitive Science. Elsevier.
    For the greater part of the last 50 years, it has been common for philosophers of mind and cognitive scientists to invoke the notion of realization in discussing the relationship between the mind and the brain. In traditional philosophy of mind, mental states are said to be realized, instantiated, or implemented in brain states. Artificial intelligence is sometimes described as the attempt either to model or to actually construct systems that realize some of the same psychological abilities that we and (...)
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  34. Germ-line enhancement of humans and nonhumans.J. Robert Loftis - 2005 - Kennedy Institute of Ethics Journal 15 (1):57-76.
    : The current difference in attitude toward germ-line enhancement in humans and nonhumans is unjustified. Society should be more cautious in modifying the genes of nonhumans and more bold in thinking about modifying our own genome. I identify four classes of arguments pertaining to germ-line enhancement: safety arguments, justice arguments, trust arguments, and naturalness arguments. The first three types are compelling, but do not distinguish between human and nonhuman cases. The final class of argument would justify a distinction between human (...)
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  35. Against Cumulative Type Theory.Tim Button & Robert Trueman - 2022 - Review of Symbolic Logic 15 (4):907-49.
    Standard Type Theory, STT, tells us that b^n(a^m) is well-formed iff n=m+1. However, Linnebo and Rayo have advocated the use of Cumulative Type Theory, CTT, has more relaxed type-restrictions: according to CTT, b^β(a^α) is well-formed iff β > α. In this paper, we set ourselves against CTT. We begin our case by arguing against Linnebo and Rayo’s claim that CTT sheds new philosophical light on set theory. We then argue that, while CTT ’s type-restrictions are unjustifiable, the type-restrictions imposed by (...)
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  36. Maternal Autonomy and Prenatal Harm.Nathan Robert Howard - 2023 - Bioethics 37 (3):246-255.
    Inflicting harm is generally preferable to inflicting death. If you must choose between the two, you should generally choose to harm. But prenatal harm seems different. If a mother must choose between harming her fetus or aborting it, she may choose either, at least in many cases. So it seems that prenatal harm is particularly objectionable, sometimes on a par with death. This paper offers an explanation of why prenatal harm seems particularly objectionable by drawing an analogy to the all-or-nothing (...)
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  37. Disagreement and Free Speech.Sebastien Bishop & Robert Mark Simpson - forthcoming - In Maria Baghramian, J. Adam Carter & Rach Cosker-Rowland (eds.), Routledge Handbook of Philosophy of Disagreement. Routledge.
    This chapter examines two ways in which liberal thinkers have appealed to claims about disagreement in order to defend a principle of free speech. One argument, from Mill, says that free speech is a necessary condition for healthy disagreement, and that healthy disagreement is conducive to human flourishing. The other argument says that in a community of people who disagree about questions of value, free speech is a necessary condition of legitimate democratic government. We argue that both of these arguments, (...)
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  38. Ignorance and awareness.Paul Silva & Robert Weston Siscoe - 2024 - Noûs 58 (1):225-243.
    Knowledge implies the presence of a positive relation between a person and a fact. Factual ignorance, on the other hand, implies the absence of some positive relation between a person and a fact. The two most influential views of ignorance hold that what is lacking in cases of factual ignorance is knowledge or true belief, but these accounts fail to explain a number of basic facts about ignorance. In their place, we propose a novel and systematic defense of the view (...)
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  39. The Goals of Moral Worth.Nathan Robert Howard - 2021 - Oxford Studies in Metaethics.
    While it is tempting to suppose that an act has moral worth just when and because it is motivated by sufficient moral reasons, philosophers have, largely, come to doubt this analysis. Doubt is rooted in two claims. The first is that some facts can motivate a given act in multiple ways, not all of which are consistent with moral worth. The second is the orthodox view that normative reasons are facts. I defend the tempting analysis by proposing and defending a (...)
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  40. The virtues of interpretable medical artificial intelligence.Joshua Hatherley, Robert Sparrow & Mark Howard - forthcoming - Cambridge Quarterly of Healthcare Ethics.
    Artificial intelligence (AI) systems have demonstrated impressive performance across a variety of clinical tasks. However, notoriously, sometimes these systems are 'black boxes'. The initial response in the literature was a demand for 'explainable AI'. However, recently, several authors have suggested that making AI more explainable or 'interpretable' is likely to be at the cost of the accuracy of these systems and that prioritising interpretability in medical AI may constitute a 'lethal prejudice'. In this paper, we defend the value of interpretability (...)
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  41. Gradational accuracy and nonclassical semantics.J. Robert G. Williams - 2012 - Review of Symbolic Logic 5 (4):513-537.
    Joyce (1998) gives an argument for probabilism: the doctrine that rational credences should conform to the axioms of probability. In doing so, he provides a distinctive take on how the normative force of probabilism relates to the injunction to believe what is true. But Joyce presupposes that the truth values of the propositions over which credences are defined are classical. I generalize the core of Joyce’s argument to remove this presupposition. On the same assumptions as Joyce uses, the credences of (...)
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  42. A fictionalist theory of universals.Tim Button & Robert Trueman - 2024 - In Peter Fritz & Nicholas K. Jones (eds.), Higher-Order Metaphysics. Oxford University Press.
    Universals are putative objects like wisdom, morality, redness, etc. Although we believe in properties (which, we argue, are not a kind of object), we do not believe in universals. However, a number of ordinary, natural language constructions seem to commit us to their existence. In this paper, we provide a fictionalist theory of universals, which allows us to speak as if universals existed, whilst denying that any really do.
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  43. Rational Illogicality.J. Robert G. Williams - 2018 - Australasian Journal of Philosophy 96 (1):127-141.
    Many accounts of structural rationality give a special role to logic. This paper reviews the problem case of clear-eyed logical uncertainty. An account of rational norms on belief that does not give a special role to logic is developed: doxastic probabilism.
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  44. (1 other version)Response to Eklund.Elizabeth Barnes & J. Robert G. Williams - 2011 - Oxford Studies in Metaphysics 6.
    This chapter defends the account of metaphysical indeterminacy of Barnes and Williams against Eklund's objections.
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  45. Epistemic value in the subpersonal vale.J. Adam Carter & Robert D. Rupert - 2020 - Synthese 198 (10):9243-9272.
    A vexing problem in contemporary epistemology—one with origins in Plato’s Meno—concerns the value of knowledge, and in particular, whether and how the value of knowledge exceeds the value of mere true opinion. The recent literature is deeply divided on the matter of how best to address the problem. One point, however, remains unquestioned: that if a solution is to be found, it will be at the personal level, the level at which states of subjects or agents, as such, appear. We (...)
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  46. The Cognitive Role of Fictionality.J. Robert G. Williams & Richard Woodward - 2019 - Philosophy and Phenomenological Research.
    The question of the cognitive role of fictionality is this: what is the correct cognitive attitude to take to p, when it is fictional that p? We began by considering one answer to this question, implicit in the work of Kendall Walton, that the correct response to a fictional proposition is to imagine that proposition. However, this approach is silent in cases of fictional incompleteness, where neither p nor its negation are fictional. We argue that that Waltonians should embrace a (...)
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  47. Epistemic Permissivism and Reasonable Pluralism.R. Rowland & Robert Mark Simpson - 2021 - In Michael Hannon & Jeroen de Ridder (eds.), The Routledge Handbook of Political Epistemology. New York: Routledge. pp. 112-122.
    There is an intuitive difference in how we think about pluralism and attitudinal diversity in epistemological contexts versus political contexts. In an epistemological context, it seems problematically arbitrary to hold a particular belief on some issue, while also thinking it perfectly reasonable to hold a totally different belief on the same issue given the same evidence. By contrast, though, it doesn’t seem problematically arbitrary to have a particular set of political commitments, while at the same time thinking it perfectly reasonable (...)
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  48. Consciousness and Complexity: Neurobiological Naturalism and Integrated Information Theory.Francesco Ellia & Robert Chis-Ciure - 2022 - Consciousness and Cognition 100 (C):103281.
    In this paper, we take a meta-theoretical stance and aim to compare and assess two conceptual frameworks that endeavor to explain phenomenal experience. In particular, we compare Feinberg & Mallatt’s Neurobiological Naturalism (NN) and Tononi’s and colleagues' Integrated Information Theory (IIT), given that the former pointed out some similarities between the two theories (Feinberg & Mallatt 2016c-d). To probe their similarity, we first give a general introduction to both frameworks. Next, we expound a ground plan for carrying out our analysis. (...)
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  49. Moving.Stewart Candlish & Robert Wilson - 1988 - Australasian Journal of Philosophy 66 (2):174 – 187.
    This article discusses Jennifer Hornsby's account of action in her *Actions*, together with Brian O'Shaughnessy's in *The Will*.
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  50. Moral Diversity and Moral Responsibility.Brian Kogelmann & Robert H. Wallace - 2018 - Journal of the American Philosophical Association 4 (3):371-389.
    In large, impersonal moral orders many of us wish to maintain good will toward our fellow citizens only if we are reasonably sure they will maintain good will toward us. The mutual maintaining of good will, then, requires that we somehow communicate our intentions to one another. But how do we actually do this? The current paper argues that when we engage in moral responsibility practices—that is, when we express our reactive attitudes by blaming, praising, and resenting—we communicate a desire (...)
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