In current histories, C.I. Lewis is credited for bringing the strict concept of qualia – concerned solely with sensory states – into contemporary philosophy. It is this strict notion which is then credited with bringing in worries about inverted spectra, philosophical zombies, and the idea that we can individuate the senses introspectively. In this paper, I argue that this is a mistaken reading of Lewis and the history of qualia. I argue that the strict notion of qualia stems from the (...) work of Johannes Müller in the mid-nineteenth century and his work on individuating the senses. The structuralist psychologists who followed in his wake, in turn, developed an account where the qualitative character of experience played no causal role. I also show that Lewis adamantly rejects this strict concept of qualia. He instead endorses a pragmatic conception of qualia derived from William James in which evaluative states – such as the painfulness of pain – play an essential, causal role in the life of the organism. The upshot is that Lewis positions himself against the strict conception of qualia, arguing it is phenomenologically false and philosophically wrong-headed. (shrink)

In his “A Programmatic Attempt at an Anthropology of Knowledge,” published in 1981, Yehuda Elkana briefly introduced the notions of dramatic and epic theater as metaphors for distinct and opposite conceptions of history. He elaborated more fully on this theme in a paper published in 1982 on the occasion of the Albert Einstein centenary celebration. Elkana there criticized the “myth of simplicity” surrounding Einstein, and proposed to replace a “facile holism” often attributed to Einstein with “two-tier thinking.” According to Elkana, (...) Einstein's historical epistemology was a blend of an epic, contingent view of historical scientific change coupled with strong scientific realism. (shrink)

How do we individuate the senses, what exactly do we do when we do so, and why does it matter? In the following article, I propose a general answer to these related questions based on Franz Brentano's views on the senses. After a short survey of various answers offered in the recent literature on the senses, I distinguish between two major ways of answering this question, causally and descriptively, arguing that only answers giving priority to description and to the classification (...) involved in it are on the right track for a general answer to the related questions. In the second part of the article, I argue that Brentano's descriptive psychology is an attractive candidate for such an answer. His descriptive psychology provides a plausible account of the classification involved in description, in particular regarding the classification of sensory qualities. I close the article by briefly explaining how Brentano spells out the priority of descriptive answers over causal ones. (shrink)

This article is primarily concerned with the philosophical problems that arise out of a consideration of painting. By painting I mean of course not any kind of application of paint to a surface – house painting for instance – but painting as an art, to use Richard Wollheim's phrase. Since Plato, philosophy has intermittently been concerned with these problems, and over the past 30 years, painting has come under a new focus as philosophy of art has increasingly turned its attention (...) to the issues that arise from particular art forms. I will also draw on some ideas developed in art history and theory, which have a suitably philosophical, that is, general or foundational, character. There are many philosophical issues that arise equally from painting and other art forms, but for just this reason, they are best addressed in a broader cross-art-form context, and I will mostly avoid dealing with them here. Instead, I will focus on issues that arise solely or with a special force from a consideration of painting. It will be helpful to roughly arrange these in two categories. The first is representation; the second is form. We shall see that these categories are difficult to keep separate with regard to painting and overlap at various points. (shrink)