Argument mapping is a way of diagramming the logical structure of an argument to explicitly and concisely represent reasoning. The use of argument mapping in critical thinking instruction has increased dramatically in recent decades. This paper overviews the innovation and provides a procedural approach for new teaches wanting to use argument mapping in the classroom. A brief history of argument mapping is provided at the end of this paper.

Nelson Goodman notoriously distinguished between autographic works, whose instances should be identified by taking history of production into account, and allographic works, whose instances can be identified independently of history of production. Scholars such as Jerrold Levinson, Flint Schier, and Gregory Currie have criticized Goodman’s autographic/allographic distinction arguing that all works are such that their instances should be identified by taking history of production into account. I will address this objection by exploiting David Davies’ distinction between e-instances and p-instances of (...) a work, thereby restating the autographic/allographic distinction. Then, I will show that this way of restating this distinction leads us to effective accounts of relevant related phenomena such as forgery, plagiarism, and digital technologies. Finally, I will show the theoretical advantages of my account of the autographic/allographic distinction in comparison with an alternative account recently proposed by Jason D’Cruz and P.D. Magnus. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

What is Estonian Philosophy? What is Estonian Philosophy?

The paper discusses the thesis of extended belief and its implications for the possibility of extending ordinary, personal level knowledge. A common worry is that knowledge will overextend, that there will be ‘cognitive bloat’. If the subject’s standing beliefs can be realized in devices such as notebooks and smart phones, what is there to prevent the conclusion that she knows everything stored on such devices? One response to this worry is to block the move from belief to knowledge, and argue (...) that these externally stored beliefs, although reliable, do not qualify as knowledge. I argue, instead, that the fundamental problem arises at the level of belief. We prevent bloating of knowledge by preventing the bloating of belief. To do so, I argue, we need to take seriously Clark and Chalmers’ suggestion that what is distinctive of belief is its role in folk psychological explanations. Paying attention to this role shows that the usual examples, such as Otto’s notebook information, do not qualify as beliefs. To qualify, the external information would have to be much more directly connected to, and deeply integrated into, the subject’s overall system of beliefs and desires. (shrink)

Monroe C. Beardsley has been interpreted by many theorists as advocating antiexternalism with respect to an artwork's aesthetically relevant properties, typically its meaning. According to this orthodox interpretation, the meaning of a work is not established by external or contextual factors but by what is internally present in the work. This acontextual account of meaning is challenged by contextualism, which claims that a work's identity and meaning are in part determined by contextual factors. However, a close look at textual evidence (...) shows that Beardsley actually leans toward contextualism. In particular, his speech act theory of literature compels him to hold an explicit contextualist position with respect... (shrink)

Three studies provided evidence that syntax influences intentionality judgments. In Experiment 1, participants made either speeded or unspeeded intentionality judgments about ambiguously intentional subjects or objects. Participants were more likely to judge grammatical subjects as acting intentionally in the speeded relative to the reflective condition (thus showing an intentionality bias), but grammatical objects revealed the opposite pattern of results (thus showing an unintentionality bias). In Experiment 2, participants made an intentionality judgment about one of the two actors in a partially (...) symmetric sentence (e.g., “John exchanged products with Susan”). The results revealed a tendency to treat the grammatical subject as acting more intentionally than the grammatical object. In Experiment 3 participants were encouraged to think about the events that such sentences typically refer to, and the tendency was significantly reduced. These results suggest a privileged relationship between language and central theory-of-mind concepts. More specifically, there may be two ways of determining intentionality judgments: (1) an automatic verbal bias to treat grammatical subjects (but not objects) as intentional (2) a deeper, more careful consideration of the events typically described by a sentence. (shrink)

In Sight and Sensibility Dominic Lopes argues that expressiveness in pictures should be analyzed on the model of the “contour” theory of musical expressiveness, according to which an “expression” need not express anything about the inner psychological states of a person. According to his “contour theory of pictorial expression,” expression by scenes and designs requires “no being to whom the expressed emotion is attributable”. However, on this account expression has lost its fundamental raison d’être, that of manifesting somebody’s actual emotional (...) states. By contrast, I argue that successful works of pictorial expression depict the way the world appears to someone when in some emotional state. Moreover, the emotional attitude thus expressed by the work is an important unifying principle for pictures, and hence an important artistic value. (shrink)