The paper first addresses Husserl's conception of philosophical phenomenology, metaphysics, and the relation between them, in order to explain why, on Husserl's view, there is no metaphysics of consciousness without a phenomenology of consciousness. In doing so, it recalls some of the methodological tenets of Husserl's phenomenology, pointing out that phenomenology is an eidetic or a priori science which has first of all to do with mere ideal possibilities of consciousness and its correlates; metaphysics of consciousness, on the other hand, (...) has to do with its reality or actuality, requiring an eidetic foundation in order to become scientifically valuable. Presuming that, if consciousness is to be the subject-matter of a metaphysics which is not simply speculative or based on prejudice, it is crucial to get the phenomenology of consciousness right, the paper then engages in a detailed descriptive-eidetic analysis of mental acts of re-presenting something and tries to argue that their structures, involving components of non-actual experiencing, pose a serious problem for a materialistic or physicalistic metaphysics of consciousness. The paper ends with a brief comment on Husserl's broader view of metaphysics, having to do with the irrationality of the transcendental fact, i.e. the constitution of the factual world and the factual life of the mind. (shrink)

Do moral properties figure in the best explanatory account of the world? According to a popular realist argument, if they do, then they earn their ontological rights, for only properties that figure in the best explanation of experience are real properties. Although this realist strategy has been widely influential—not just in metaethics, but also in philosophy of mind and philosophy of science—no one has actually made the case that moral realism requires: namely, that moral facts really will figure in the (...) best explanatory picture of the world. This issue may have been neglected in part because the influential dialectic on moral explanations between philosophers Gilbert Harman and Nicholas Sturgeon has focused debate on whether moral facts figure in relevant explanations. Yet as others have noted, explanatory relevance is irrelevant when it comes to realism: after all, according to the popular realist argument, it is inference to the best explanation of experience that is supposed to confer ontological rights. I propose to ask, then, the relevant question about moral explanations: should we think that moral properties will figure in the best explanatory account of the world? (shrink)

Maps, notes, descriptions, diagrams, flowcharts, photographs, paintings, and prints, all, in one way or another, manage to be about things or stand for them. This article looks at three ways in which philosophers have explained the way that pictures represent the world. It starts by describing some leading perceptual accounts and then surveys contemporary content and structural alternatives.

The proper range and content of the unconscious in the human sciences should be established by reference to its conceptual relationship to the folk psychology that informs the standard form of explanation therein. A study of this relationship shows that human scientists should appeal to the unconscious only when the language of the conscious fails them, i.e. typically when they find a conflict between people's self-understanding and their actions. This study also shows that human scientists should adopt a broader concept (...) of the unconscious than the one developed by Freud, that is, one free from his ahistorical concept of the instincts and his ahistorical emphasis on the sexual experiences of childhood. The unconscious, understood in this way, has an ambiguous relationship to more recent linguistic and narrativist strands of psychoanalysis. (shrink)

The very idea of unconscious emotion has been thought puzzling. But in recent debate about emotions, comparatively little attention has been given explicitly to the question. I survey a number of recent attempts by philosophers to resolve the puzzle and provide some preliminary remarks about their viability. I identify and discuss three families of responses: unconscious emotions involve conscious feelings, unconscious emotions involve no feelings at all, and unconscious emotions involve unconscious feelings. The discussion is exploratory rather than decisive for (...) three reasons. First, the aim is to provide a framework for the debate, and identify a number of key issues for further research. Second, a number of the positions depend for their plausibility upon theoretical commitments that can be made clear, but cannot be evaluated in detail, in a survey article. Third, I believe no fully satisfactory, comprehensive solution has yet been developed. (shrink)

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. (shrink)

The way we think about disagreement is shaped by the systematic emphasizing of its adversarial, non-cooperative aspects. This is due to a perspective on arguing and disagreeing. Perspectives enable some thoughts and occlude others. We claim that the way some issues are thought of in aesthetics is conditioned by a similar phenomenon we call ‘the Received Image’ (RI), which parallels the influence on ethics of what Bernard Williams called ‘systems of morality’. Peter Kivy argued that disagreements in aesthetics, if genuine, (...) presuppose that contenders are tacit realists about ‘art-relevant properties’: the motivation for arguing lies in making the adversary acknowledge (epistemic) defeat (in pursuing agreement from others). He draws this conclusion from what he sees as a fundamental difference between aesthetics and ethics. However, in our view, Kivy and his opponents in the semantic meta-debate on disagreement think under the aegis of the RI. We look at disagreements about art from a neo-cognitivist perspective, and argue that heuristic similarities between aesthetics and ethics stand out with an understanding-based epistemology coupled with an adequate theory of artistic form: form as a perspective-generating device whose grasping involves ‘infinitely fine adjustments’. (shrink)

Beyond modularityattempts a synthesis of Fodor's anticonstructivist nativism and Piaget's antinativist constructivism. Contra Fodor, I argue that: (1) the study of cognitive development is essential to cognitive science, (2) the module/central processing dichotomy is too rigid, and (3) the mind does not begin with prespecified modules; rather, development involves a gradual process of “modularization.” Contra Piaget, I argue that: (1) development rarely involves stagelike domain-general change and (2) domainspecific predispositions give development a small but significant kickstart by focusing the infant's (...) attention on proprietary inputs. Development does not stop at efficient learning. A fundamental aspect of human development (“representational redescription”) is the hypothesized process by which information that isina cognitive system becomes progressively explicit knowledgetothat system. Development thus involves two complementary processes of progressive modularization and progressive “explicitation.” Empirical findings on the child as linguist, physicist, mathematician, psychologist, and notator are discussed in support of the theoretical framework. Each chapter concentrates first on the initial state of the infant mind/brain and on subsequent domain-specific learning in infancy and early childhood. It then goes on to explore data on older children's problem solving and theory building, with particular focus on evolving cognitive flexibility. Emphasis is placed throughout on the status of representations underlying different capacities and on the multiple levels at which knowledge is stored and accessible. Finally, consideration is given to the need for more formal developmental models, and a comparison is made between representational redescription and connectionist simulations of development. In conclusion, I consider what is special about human cognition by speculating on the status of representations underlying the structure of behavior in other species. (shrink)

We focus on Karmiloff-Smith's Representational redescription model, arguing that it poses some problems concerning the architecture of a redescribing system. To discuss the topic, we consider the implicit/explicit dichotomy and the relations between natur al language and the language of thought. We argue that the model regards how knowledge is employed rather than how it is represented in the system.

Midwest Studies In Philosophy, Volume 44, Issue 1, Page 92-116, December 2019.

This article initially discusses reasons why Freud researchers turn to critical realism since this is what led me to compare causality in the two traditions in the first place. Three arguments on causality follow. First, it is argued that Freud's analyses of unconscious processes merit closer attention by critical realists, focusing on the relation between causal unconscious processes and rationality, and causal unconscious processes and social change. It may be objected that this does not concern the discussion of causality proper, (...) to which I would reply that what we consider to be causally efficacious ultimately is relevant to our conception of causality. The second argument, which is the centrepiece, outlines Freud's conception of causality, his idea of overdetermination and his treatment of motives and reasons as causes. His notions of causality are compared to those of critical realism. Freud's idea of retroactive causality is discussed in relation to delayed causality in critical realism and the idea of disembedded space-time components. Finally, Freud's concept of determinism and the related concepts of repetition and chance are discussed and compared to ubiquity determinism in critical realism and the distinctions between causal and non-causal correlations and necessary and accidental sequences of events. While the first argument concerns presuppositions for the discussion of causality in psychoanalysis and its relevance for critical realism, the third concerns implications and/or applications of the two views on causality. It is my contention that the second argument needs to be placed in context of the other two in order for the two conceptions of causality to be understood adequately and most revealingly compared. (shrink)

Is intentionality possible without representation? This paper considers the conditions under which intentionality without representation could occur and what sort of perceptual content such intentionality would have. In addition, it considers the constraints on non-representational intentional content in organisms that have representation. The paper is divided into three parts. The first section compares and contrasts two opposed positions on non-representational intentionality, those of Herbert Dreyfus and John Searle. The second section reviews a neurobiological model that accommodates the possibility of non-representational (...) perceptual content. The final section provides a puzzle for theories of non-representational perceptual content, specifically in connection with the perception of representations. The puzzle of representation and perception illustrates a further need for all theories of perception, both philosophical and scientific: to provide a more finely developed definition of the notion of representation. (shrink)

Strictly speaking this is not an essay whose sole subject is music. For what I have to say here can be extrapolated to any other art that possesses the kinds of aesthetic properties that I am referring to, in music, as the ‘pure musical parameters’. But I shall not attempt such an extrapolation here, and leave it to the reader. So for all intents and purposes, this is an essay on music , more particularly, absolute music, music alone, without text, (...) title, program, dramatic setting, or any other extra-musical baggage. (shrink)

This paper discusses the viability of claims of mathematical beauty, asking whether mathematical beauty, if indeed there is such a thing, should be conceived of as a sub-variety of the more commonplace kinds of beauty: natural, artistic and human beauty; or, rather, as a substantive variety in its own right. If the latter, then, per the argument, it does not show itself in perceptual awareness – because perceptual presence is what characterises the commonplace kinds of beauty, and mathematical beauty is (...) not among these. I conclude that the reference to mathematical beauty merely expresses the awe in the mathematician about the intricate complexities and simplicity of certain proofs, theorems or mathematical “objects.”. (shrink)

This is the first volume of an impressive project on the relation of art, philosophy and social change. In an on-going argument and review ing several important aesthetic theories Paul Crow ther in this book argues for the idea that aesthetics should be a kind of critical assessment of art w orks' experiential consequences. Although I go along w ith his resistance against postmodernist reasoning, w hich functions as the starting point of his book, beyond that, our w ays often (...) part. My disagreement, how ever, does not annul the evident quality of the argument in this w ork. It is recommended reading material for all those aestheticians w ho are interested in the cognitive and non-cognitive functionality of art w orks and in the possibility of any influence of art on societal change. I w ill now discuss the most crucial steps in Crow ther's argument. Postmodernists claim to have undone the alleged rigidity of modern categories, like that of the autonomous subject, but according to Crow ther they reach this `achievement' by overemphasizing the fluidity of modes of know ledge and experience, and of their status as social constructs, but there may w ell exist flexible constants. Aesthetics can help w ith the analysis of these flexible constants, not by looking for the essences of art or aesthetic experience, but by supplementing our theoretical assessments w ith a critique of art. Crow ther proposes to view aesthetic experiences as w ell as w orks of art as functions of critical aw areness and of body-hold, an historicized version of Merleau-Ponty's much neglected notion of embodiment. Critical aesthetics actualizes the critical aw areness involved in our aesthetic experiences. Art, defined in terms of originality, roots in the body-hold of the artist, w ho moulds his medium to solve technical problems traditional art forms confront him w ith. Postmodernism involves only tw o theses, really. First, contemporary experience and sensibility are analyzed as imbued by the shocks generated by the rapid succession of mechanically reproduced events.. (shrink)