“Hardwired” is a term commonly used to describe the properties of certain behaviors or brain regions. As its usage has increased exponentially in the past 50 years, both in popular media and the scholarly literature, the concept appears to have gained a cloak of respectability in scientific discourse. However, its specific meaning is difficult to pinpoint. In this paper, I examine how “hardwired” has been used in the psychological and neuroscientific literature. The analysis reveals two major themes: one centers on (...) certain purported characteristics of behaviors or brain regions, such as fixedness; the other places these and other characteristics within an evolutionary framework. Overall, the analysis reveals a degree of overlap between “hardwiring” and the folk biology concept of innateness. Various complications arise from such overlap, casting doubts on the usefulness and legitimacy of “hardwired” in scientific discourse. (shrink)

Philosophers have recently argued that since there are people who are blind, but don't know it, and people who echolocate, but don't know it, conscious introspection is highly unreliable. I contend that a second look at Anton's syndrome, human echolocation, and ‘facial vision’ suggests otherwise. These examples do not support skepticism about the reliability of introspection.

The concept of a socially extended mind suggests that our cognitive processes are extended not simply by the various tools and technologies we use, but by other minds in our intersubjective interactions and, more systematically, by institutions that, like tools and technologies, enable and sometimes constitute our cognitive processes. In this article we explore the potential of this concept to facilitate the development of a critical neuroscience. We explicate the concept of cognitive institution and suggest that science itself is a (...) good example. Science, through various practices and rules, shapes our cognitive activity so as to constitute a certain type of knowledge, packaged with relevant skills and techniques. To develop this example, we focus on neuroscience, its cultural impact, and the various institutional entanglements that complicate its influence on reframing conceptions of self and subjectivity, and on defining what questions count as important and what kind of answers will be valued. (shrink)

Certain enterprises at the fringes of science, such as intelligent design creationism, claim to identify phenomena that go beyond not just our present physics but any possible physical explanation. Asking what it would take for such a claim to succeed, we introduce a version of physicalism that formulates the proposition that all available data sets are best explained by combinations of “chance and necessity”—algorithmic rules and randomness. Physicalism would then be violated by the existence of oracles that produce certain kinds (...) of noncomputable functions. Examining how a candidate for such an oracle would be evaluated leads to questions that do not admit an easy resolution. Since we lack any plausible candidate for any such oracle, however, chance-and-necessity physicalism appears very likely to be correct. (shrink)

This article advances some considerations on the current production of hegemonic effects, starting with some problems posed by the work of one of the most influential writers in cultural studies – the American Palestinian critic Edward Said. Said's commentary on the coverage of Islam in the US media in the late 1970s allows for some challenging considerations on how hegemonic strategies directed at the formation of publics and public opinion are increasingly integrated within a global noopolitics of communication whose understanding (...) of the public is not derived from the notion of civil society but from the biopolitical element of the population – and the bio-racist segmentation that constitutes it. As outlined in Michel Foucault's analysis of liberal and neoliberal governmentality, such understanding of the public locates the latter straight within a new dispositif of power which is biopolitical and noopolitical at the same time, that is, which addresses itself at the same time to the biological, economic and spiritual life of the population. Such understanding involves a reconsideration of the constitution of publics and public opinion in times of netwars and information warfare as both subjects and objects of power/knowledge. In as much as such noopolitics affects what Maurizio Lazzarato calls a second bios, the life of the brain, it has the potential to give expression to the virtual power of immaterial events of subjectification which materialize in the bodies which actualize them and the possible, shared worlds that they are capable of producing. (shrink)

This paper uses the economic crisis of 2008 as a case study to examine the explanatory validity of collective mental representations. Distinguished economists such as Paul Krugman and Joseph Stiglitz attribute collective beliefs, desires, intentions, and emotions to organizations such as banks and governments. I argue that the most plausible interpretation of these attributions is that they are metaphorical pointers to a complex of multilevel social, psychological, and neural mechanisms. This interpretation also applies to collective knowledge in science: scientific communities (...) do not literally have collective representations, but social mechanisms do make important contributions to scientific knowledge. (shrink)

The readiness of Buddhists to dialogue with and embrace modern science has caused some to worry that this encounter will deform Buddhist traditions for the sake of acceptance by the West. But their strong tradition of epistemological skepticism and intellectual pluralism makes it unlikely that Buddhists will embrace scientific positivism. Given the tensions between religion and science in contemporary western society, it is perhaps this feature of Buddhism that can make the most fruitful contribution in its dialogue with science.

In lieu of an abstract, here is a brief excerpt of the content:The Place of Touch in the ArtsChristopher Perricone (bio)IntroductionIn Breughel's great picture, The Kermess, the dancers go round, they go round and around, the squeal and the blare and the tweedle of bagpipes, a bugle and fiddles tipping their bellies (round as the thick- sided glasses whose wash they impound) their hips and their bellies off balance to turn them. Kicking and rolling about the Fair Grounds, swinging their (...) butts, those shanks must be sound to bear up under such rollicking measures, prance as they dance In Breughel's great picture, The Kermess.1"The Dance" written by William Carlos Williams in 1944 is one of my favorites. Williams gives us a feel for that life of the kermess (a carnival) in his poem through Breughel's picture, as it were three times removed from the event itself. Of course, unlike Plato, I would argue that the vitality of the kermess is not lost in the poem; it is actually enhanced by a subtle sleight of hand. The poem is not primarily about Breughel's picture. It is about dance, about the dancers who go round, their squeal, the crude music, its rollicking measures, the dancers kicking and rolling and swinging, their hips, bellies, and butts. Reading this poem, I "see" those ordinary folk of Breughel's great picture. I "hear" their music. I "move" to their dance. The poem seems a condensation, a summary of the fine arts. Perhaps the poem is about poetry's power to reinvigorate imaginatively what we hear and see. Perhaps I think of festivities at which I have danced, how such festivities are essential to the human experience. Perhaps William Carlos Williams in 1944, World War II coming to a close, was anticipating similar good times.Tactile ValuesThe fine arts do much to educate our senses. One need only recall the many essays and books written on art, on how to look and hear, how various [End Page 90] critics draw our attention to the power of imagery and song. The well-formed visual and auditory sensations we gain from the arts are, as it were, the melody of those experiences. They are the pictures we store away, the tunes we whistle. However, here I want to draw attention to an overlooked sense—touch. I want to argue that touch is the bass line to the melody of sight and hearing in the arts, that is, that touch keeps the artwork coherent and grounded.This is an old idea. Bernhard Berenson had the idea when he was examining the painters of the Italian Renaissance. In a sense this article is a resurrection of Berenson's idea of "tactile values." Berenson was on to something both about painting and about the arts in general. However, he lacked the scientific evidence about touch and its role in human relationships needed to develop his idea of tactile values to any great extent.The idea of tactile values is first mentioned at the beginning of the essay "The Florentine Painters." Berenson is discussing the art of Giotto. However, prior to plunging into his subject, he says that we need to know what is essential to figure painting before we can appreciate its real value. What is essential are the "tactile values" we give to our retinal impressions, "a test of reality."2 Painting stimulates touch in order for it to stimulate our "tactile imagination."3 Giotto was a genius in stimulating the tactile imagination. Like other medieval masters, Giotto was a fine story teller and had great compositional skills. However, unlike Giotto, other medieval masters "never painted a figure which has artistic existence."4 Giotto's predecessors crafted "highly elaborate, very intelligible symbols, capable, indeed, of communicating something, but losing all higher value the moment the message is delivered."5 If such medieval symbols communicated anything at all, it was only some residue of what one might touch; whatever reality those symbols might have possessed was virtually eviscerated by the artists' emphasis on form and cognitive content. Giotto's predecessors were driven merely by ideas and, one might add, not altogether consistent and coherent ones. On the contrary, Giotto's work seemed to... (shrink)