Psychophysical scaling models of the form R = f, with R the response and I some intensity of an attribute, all assume that people judge the amounts of an attribute. With simple biases excepted, most also assume that judgments are independent of space, time, and features of the situation other than the one being judged. Many data support these ideas: Magnitude estimations of brightness increase with luminance. Nevertheless, I argue that the general model is wrong. The stabilized retinal image literature (...) shows that nothing is seen if light does not change over time. The classification literature shows that dimensions often combine to produce emergent properties that cannot be described by the elements in the stimulus. These and other effects cannot be adjusted for by simply adding variables to the general model because some factors do not combine linearly. The proposed alternative is that people initially judge the entire stimulus – the object in terms of its environment. This agrees with the constancy literature that shows that objects and their attributes are identified through their relations to other aspects of the scene. That the environment determines judgments is masked in scaling studies where the standard procedure is to hold context constant. In a typical brightness study the essential stimulus might be the intensity of the light or a difference between the light and the background. The two are perfectly confounded. This issue is examined in the case of audition. Judgments of the loudness of a tone depend on how much that tone differs from the previous tone in both pitch and loudness. To judge loudness people first seem to process the stimulus object in terms of differences between it and other aspects in the situation; only then do they assess the feature of interest. Psychophysical judgments will therefore be better interpreted by theories of attention that are based in biology or psychology than those that are based in classical physics. (shrink)

This article traces the historical origins of the modern concept of a private inner self., with precursors in Plato and Plotinus, its first full appearance in Augustine, its classic modern form in Locke, and its dissolution in postmodernism. The article elaborates the historical narrative given in my Augustine's Invention of the Inner Self (Oxford University Press, 2000).

The emperor's new mind (hereafter Emperor) is an attempt to put forward a scientific alternative to the viewpoint of according to which mental activity is merely the acting out of some algorithmic procedure. John Searle and other thinkers have likewise argued that mere calculation does not, of itself, evoke conscious mental attributes, such as understanding or intentionality, but they are still prepared to accept the action the brain, like that of any other physical object, could in principle be simulated by (...) a computer. In Emperor I go further than this and suggest that the outward manifestations ofconscious mental activity cannot even be properly simulated by calculation. To support this view, I use various arguments to show that the results of mathematical insight, in particular, do not seem to be obtained algorithmically. The main thrust ofthis work, however, is to present an overview ofthe present state of physical understanding and to show that an important gap exists at the point where, quantum and classical physics meet, as well as to speculate on how the conscious brain might be taking advantage ofwhatever new physics is needed to fill this gap to achieve its nonalgorithmic effects. (shrink)

I argue that José Luis Bermúdez has not shown that there is a paradox in our concept of self-consciousness. The deflationary theory is not a plausible theory of self-consciousness, so its paradoxicality is irrelevant. A more plausible theory, 'the simple theory', is not paradoxical. However, I do think there is a puzzle about the connection between self-consciousness and 'I'-thoughts.

A distinction is made between imagination in the narrow sense and in the broad sense. Narrow imagination is characterised as the ability to "see" pictures in the mind's eye or to "hear" melodies in the head. Broad imagination is taken to be the faculty of creating, either in the strict sense of making something ex nihilo or in the looser sense of seeing patterns in some data. The article focuses on a particular sort of broad imagination, the kind that has (...) to do with creating, not a work of art, a scientific theory or a political vision but one's own life. We shape our lives through our actions, and these actions not only influence our future—a commonplace—but also determine our past, which is a new and more controversial perspective. (shrink)

Dans son article de 1944, « The Semantic Conception of Truth and the Foundations of Semantics », Alfred Tarski réfère en propres termes à la notion médiévale de « suppositio materialis ». L’interprétation qu’il en suggère, cependant, est historiquement trompeuse et l’inexactitude historique se double, en l’occurrence, de ce que l’on peut tenir pour une malencontreuse erreur philosophique. Dans « “la neige est blanche” est vraie », Tarski voit l’expression « la neige est blanche » comme le nom d’une certaine (...) phrase, alors que les médiévaux y auraient vu plutôt une occurrence de cette phrase elle-même prise dans un usage spécial, la suppositio materialis. L’article montre en quoi les deux approches diffèrent et soutient que la théorie médiévale est philosophiquement préférable, en ce que : 1) elle est descriptivement plus adéquate en ce qui concerne le fonctionnement réel des langues naturelles ; 2) elle est plus appropriée même pour les langages construits qu’elle rend plus fonctionnels et plus intelligibles ; 3) elle repose sur l’identification d’un phénomène important dont la généralité échappe aux sémantiques d’inspiration tarskienne, celui de la dualité de principe entre l’extension d’un terme pris en lui-même et celle qu’il reçoit dans un contexte propositionnel donné.In his 1944 paper “The Semantic Conception of Truth and the Foundations of Semantics”, Alfred Tarski refers in so many words to the medieval idea of “suppositio materialis”. The interpretation he suggests for it, however, is historically misleading, and this historical inaccuracy yields in this case what can be taken to be an unfortunate philosophical mistake. In “ ‘snow is white’ is true ”, Tarski sees the phrase “snow is white” as the name of a certain sentence, while the medieval philosophers would have seen it rather as an occurrence of that very sentence, but taken in a special use, the suppositio materialis . The paper shows how these two approaches differ exactly and argues that the medieval theory is philosophically preferable in that it is descriptively more adequate with respect to natural languages, it is more appropriate even for artificial languages, which it renders both more effective and more intelligible, and it rests upon the identification of an important phenomenon, the generality of which is missed by the Tarskian type semantics, namely the duality of principle between the extension of a term in itself and the extension it receives within a given propositional context. (shrink)

In this paper I want to propose that we see solipsism as arising from certain problems we have about identifying ourselves as subjects in an objective world. The discussion will centre on Wittgenstein.

Sophocles' Antigone contains the first recorded instance of the word αὑτ ό νομος, the source for our word “autonomous”. I argue that reflection upon the human aspiration toward autonomy is central to that work. I begin by focusing on the difficulty readers of the play have determining whether Antigone's actions in the play should be considered autonomous and then suggest that recognizing this difficulty is crucial to a proper understanding of the play. The very aspects of Antigone's character that seem (...) to militate against understanding her actions within the play as autonomous—her rejection of life, her intimacy with death and the way she seems defined by her incestuous heritage— serve to illustrate the inherently problematic character of a moral ideal that we can provisionally call Antigone's autonomy. I show how the movement of the play can be understood in terms of Antigone's progress from what Kant would characterize as a heteronomous representation of her irremissible duty to bury her dead brother, to a self-conception defined by a recognition and embrace of her autonomy understood as, in Kant's words, “a respect for something entirely different from life”. Antigone's autonomy is exemplified by her choice to be dead, the choice to bear the burden of responsibility to her own. This choice, I argue, must be understood as the choice of herself as defined by her obligation to her own. Sophocles' Antigone suggests that the moral ideal Antigone represents is unliveable, but that this ideal is nonetheless essential to human moral aspiration. (shrink)