Sensory substitution devices make use of one substituting modality to get access to environmental information normally accessed through another modality . Based on behavioural and neuroimaging data, some authors have claimed that using a vision-substituting device results in visual perception. Reviewing these data, we contend that this claim is untenable. We argue that the kind of information processed by a SSD is metamodal, so that it can be accessed through any sensory modality and that the phenomenology associated with the use (...) of a SSD is best described in terms of spatial phenomenology, only. (shrink)

In general outline, Astell's A Serious Proposal to the Ladies is well understood. In Part I, Astell argues that women are educable, and she proposes the construction of a women's academy. In Part II, she proposes a method for the improvement of the mind. In this article, I reconstruct and contextualize Astell's arguments and proposals within her theory of mind and her account of the skeptical predicament that she sees as being endemic among women. I argue that Astell's two proposals (...) are best understood as strategies that, when employed, will allow women to critique prejudice and custom. (shrink)

The author discusses why the philosophy of the subject has been important\nto postmodernists. The author commences with a discussion on the\nintellectual background of postmodernism and its relations with other\nkinds of philosophy and with history. This paper concludes with a\ndiscussion about Michel Foucault's views on education and training\nand what impact this had on development of policy in New Zealand.

I propose an analysis of the notion of a substance. I define two 'quasi-logical' independence relations, and state the analysis in terms of the distribution of these relations among substances and properties generally. This analysis treats the categories of substance and property as mutually dependent. To show that it (probably) states a sufficient condition for substance, I argue that it is in a certain kind of equilibrium. This illustrates a promising general approach to analysing fundamental metaphysical notions.

(2013). Complexity and Transdisciplinarity: Reflections on Theory and Practice. World Futures: Vol. 69, The Complexity of Life and Lives of Complexity, pp. 200-230.

I exist. That is something I know. Most philosophers think that Descartes was right that each of us knows that we exist. Furthermore most philosophers agree with Descartes that there is something special about how we know it. Agreement ends there. There is little agreement about exactly what is special about this knowledge. I shall present an account that is in some respects Cartesian in spirit, although I shall not pursue interpretive questions very far. On this account, I know that (...) I exist a priori; and I shall advance an explanation of how this a priori knowledge is possible and actual. I then consider the question of whether the belief that I exist is justified and, if so, how. I argue that the situation is different in important ways from the knowledge that I exist. (shrink)

Long recognised as a painting ‘about’ painting, Velázquez’s Las Meninas comes to Lacan’s aid as he explicates the object a in Seminar XIII, The Object of Psychoanalysis (1965–1966). The famous seventeenth century painting provides Lacan with a visual mapping of the ‘ghost story’ he discovers in the Cartesian cogito, insofar as it depicts the unravelling of the Cartesian representational project at the moment of its founding gesture. This article traces Lacan’s argument as he turns to art, linear perspective and topology (...) to model how the object a persistently eludes the grasp of scientific knowledge. Following a discussion of distance-point perspective in Renaissance Italy and the role this innovation played in enabling distorted depictions of objects in space, I propose Henry James’s ghost story, “The Jolly Corner,” as the sequel to Lacan’s reading of Las Meninas. In James’s tale, we obtain a narrative account of what the figures in Velasquez’s painting might ‘see’ as they return our gaze towards us. (shrink)

It has been argued that Hume's account of testimony is seriously inadequate: an autonomous knower of the sort Hume defends cannot, through simple inductive methods, justify accepting another's testimony as true. This conclusion is no doubt correct. But Hume does not defend the idea of an autonomous knower, nor does he defend relying upon simple inductive methods. An examination of Hume's critique of Descartes’ method of doubt shows him as a defender of what might be called the responsible knower, and (...) reveals the sophistication of the inductive methods he wishes to defend. It is shown that Hume can and does use these methods to justify accepting the testimony of others. (shrink)

Focusing on God's essential attributes of omnipotence, omniscience, being eternal and omnipresent, being a creator and sustainer, and being a person, I examine how far recent discussion has been able to provide for each of these divine attributes a consistent interpretation. I also consider briefly whether the attributes are compatible with each other.

The basic alternatives seem to be either a Humean reductionist view that any particular assertion needs backing with inductive evidence for its reliability before it can retionally be believed, or a Reidian criterial view that testimony is intrinscially, though defeasibly, credible, in the absence of evidence against its reliability.Some recent arguments from the constraints on interpreting any linguistic performances as assertions with propositional content have some force against the reductionist view. We thus have reason to accept the criterial view, at (...) least as applied to eyewitness reports. But these considerations do not establish that any rational enquirer must have the concept of other minds or testimony. The logical possibility of the lone enquirer, who uses symbols and thereby expresses some knowledge of his world, remains open — but it is a question we have no need to pronounce upon. (shrink)

§1 Analytic philosophers interested in depiction have focused for the most part on two problems: first, explaining how pictures represent; second, describing the distinctive kinds of artistic value pictures can possess, or the distinctive ways in which they can embody artistic values that extend more broadly across the arts. I shall discuss the first problem here. The main concepts I shall be concerned with are depiction, resemblance, sense and reference.

Despite the fact about colour, that it is one of the most obvious and conspicuous features of the world, there is a vast number of different theories about colour, theories which seem to be proliferating rather than decreasing. How is it possible that there can be so much disagreement about what colours are? Is it possible that these different theorists are not talking about the same thing? Could it be that more than one of them is right? Indeed some theorists, (...) e.g. Leo M. Hurvich, D. L. McAdam and K. Nassau, say that the term ‘colour’ is used to identify a range of different properties, e.g. pigments, properties of light, and sensations. Such a view has its attractions, but it raises the question of what it is that unites these various concepts – what is it that would make them all concepts of colour? What is it that justifies using the same terms, ‘yellow’, ‘blue’, ‘pink’, mauve’, and so on?This paper aims to address this question, arguing that its answer supports the conclusion that the best theory of colour is a form of anti‐realism: the Illusory theory of colours. There are two parts to this thesis, one negative, the other positive. The negative part is that there are no colours, as they are ordinarily conceived. The positive part is that, nevertheless, the world is such that ‘it is as if there are such colours’. Such a theory has important implications. One is that it doesn’t fall neatly into the usual taxonomy of philosophical theories. In particular, it does not deserve the label ‘eliminativist’. Another is that it allows some space for the views expressed by Hurvich, McAdam and Nassau, but not quite in the sense that they intend. (shrink)

This article deals with the social production of knowledge in the exact sciences. After defining the term ?exact science?, it delineates the broad dynamic of its history. It, then, offers a socio-economic historical explanation of why the production of knowledge has become a major industry, if not the largest industry, in the last hundred years. The article concludes by drawing a detailed blueprint of the components, mechanisms, and specificities of the knowledge industry.