We often consciously will our own actions. This experience is so profound that it tempts us to believe that our actions are caused by consciousness. It could also be a trick, however – the mind’s way of estimating its own apparent authorship by drawing causal inferences about relationships between thoughts and actions. Cognitive, social, and neuropsychological studies of apparent mental causation suggest that experiences of conscious will frequently depart from actual causal processes and so might not reflect direct perceptions of (...) conscious thought causing action. (shrink)

The paper argues that mental causation can be explained from the sufficiency of counterfactual dependence for causation together with relatively weak assumptions about the metaphysics of mind. If a physical event counterfactually depends on an earlier physical event, it also counterfactually depends on, and hence is caused by, a mental event that correlates with (or supervenes on) this earlier physical event, provided that this correlation (or supervenience) is sufficiently modally robust. This account of mental causation is consistent with the overdetermination (...) of physical events by mental events and other physical events, but does not entail it. (shrink)

From the back cover: "Un repaso de las publicaciones que han abordado las relaciones e intercambios entre los Estados Unidos de América y España, arroja un saldo positivo en los ámbitos sociológico, político y cultural; no así en el estricto campo de la filosofía, necesitado todavía de mayores estudios. Los once trabajos que integran Estados Unidos/España: Diálogos filosóficosrepresentan un esmerado aporte en esta dirección: el de paliar el citado desequilibrio mediante la reflexión en torno al influjo del pensamiento estadounidense en (...) España y a la recepción de la filosofía española —a través de Unamuno, Ortega y Gasset y Julián Marías— en la patria de Walt Whitman.“Es muy deseable que este activo diálogo filosófico entre los Estados Unidos y España se desarrolle todavía más en los próximos años” (cit. Jaime Nubiola). Esta ha sido la principal aspiración de esta obra: ensanchar este intercambio, esclarecer sus múltiples direcciones y abrir nuevos caminos de investigación.". (shrink)

This thesis develops methods for representing how the contents of theories of meaning become conceived by their users. These contents are treated as the range of systematically elicited conceptions afforded by a designated corpus of key texts. The approach being taken involves first detailing a formal scheme for the components of situations attributed to various entities. This scheme is then applied as a framing device to form a template which accounts for the shared structure between the mental spaces which embody (...) how people conceive different theories of meaning. For the purposes of this task, cognition is treated as embodied in the sense that both the form and content of personal conceptualisations are largely dependent on what both bodily and ecological factors afford. The purpose of this approach is to help understand how theories operate when viewed as worldly entities within a materialist framework. The significance of such understanding lies in enabling analyses and comparisons which account for the effects of material restrictions such as how a theory’s presentation must necessarily be selective and how human cognition operates on models set by precedent. The framework being provided here allows the conceptions each individual theory of meaning elicits to be reduced to formal, commensurate models which account for differences between typical influences on the conceptions characteristic of different demographics such as experts of related fields. Approaching theories of meaning from this angle also reveals new avenues of comparison concerning otherwise implicit details. One involves theory-internal conditions on the full material identity of meaning-instantiating entities. The other concerns the extent of the domains for aggregating applicable influences for which a theory accounts and the range of those it may accommodate. (shrink)

The German painter Caspar David Friedrich’s The Monk by the Sea, a picture that has played an important role in accounts of the prehistory of twentieth-century abstract art, is significant among other reasons because it bravely refused painting’s narrative vocation and in so doing radicalized the optics characteristic of the contemporary aesthetics of the sublime. Friedrich’s contemporary, the novelist and dramatist Heinrich von Kleist, intuited precisely this in his scintillating comments on the painting at the time it appeared. Invoking the (...) shocking idea that looking at The Monk by the Sea is like seeing through eyes whose lids have been cut off, he recognized that Friedrich had transformed the canvas into the locus not so much of narration and signification as of sensation. This article leans on the terms devised by Gilles Deleuze to explain the paintings of Francis Bacon in order to explore the seminal shift in the relationship between spectator and composition that Friedrich’s canvas dramatizes with such compelling power. (shrink)

This paper examines the vital role played by electron microscopy toward the modern definition of viruses, as formulated in the late 1950s. Before the 1930s viruses could neither be visualized by available technologies nor grown in artificial media. As such they were usually identified by their ability to cause diseases in their hosts and defined in such negative terms as “ultramicroscopic” or invisible infectious agents that could not be cultivated outside living cells. The invention of the electron microscope, with magnification (...) and resolution powers several orders of magnitude better than that of optical instruments, opened up possibilities for biological applications. The hitherto invisible viruses lent themselves especially well to investigation with this new instrument. We first offer a historical consideration of the development of the instrument and, more significantly, advances in techniques for preparing and observing specimens that turned the electron microscope into a routine biological tool. We then describe the ways in which the electron microscopic images, or micrographs, functioned as forms of new knowledge about viruses and resulted in a paradigm shift in the very definition of these entities. Micrographs were not mere illustrations since they did the work for the electron microscopists. Drawing extensively on primary publications, we adduce the role of the new instrument in understanding the so-called eclipse phase in virus multiplication and the unexpected spinoffs of data from electron microscopy in naming and classifying viruses. Thus, we show that electron microscopy functioned not only to provide evidence, but also arguments in facilitating a reordering of the world that it brought into the visual realm. (shrink)

Summary Colourful plant images are often taken as the icon of natural history illustration. However, so far, little attention has been paid to the question of how this beautiful colouring was achieved. At a case study of the eighteenth-century Nuremberg doctor and botanist, Christoph Jacob Trew, the process of how illustrations were hand-coloured, who was involved in this work, and how the colouring was supervised and evaluated is reconstructed, mostly based on Trew's correspondence with the engraver and publisher of his (...) books, Johann Jacob Haid in Augsburg. Furthermore, the question of standardizing colours, their uses and their recipes is discussed at two examples of the same time period: the colour charts of the Bauer brothers, arguably the most renowned botanical draughtsmen of the period, and the colour tables by the Regensburg naturalist, Jacob Christian Schaeffer. Hand-colouring botanical illustrations, it is argued, was far from a straightforward task but confronted botanists and their employees with a plethora of practical and methodological problems, to which different solutions were developed in the course of time. Analysing these problems and solutions reveals some new and interesting aspects of the practices of eighteenth-century botany and of the production of scientific illustrations in general. (shrink)

Roux begins by exploring the texts in which the origins of the scientific notion of thought experiments are usually said to be found. Her general claim is simple: the emergence of the notion of thought experiments relies on a succession of misunderstandings and omissions. She then examines, in a more systematic perspective, the three characteristics of the broad category of thought experiments nowadays in circulation: thought experiments are counterfactual, they involve a concrete scenario and they have a well-delimited cognitive intention. (...) Her aim in exploring these characteristics is twofold. Firstly, it is to show that each of these characteristics, considered individually, may be taken in a more or less strict sense, and consequently to explain the proliferation of thought experiments. Secondly, it is to suggest that the recent debates on thought experiments might have arisen because these three characteristics are not easily conciliated when they are considered together. Finally, in a third and last section, the nine essays of the introduced book are presented. (shrink)

This dissertation is an investigation into the architectural meaning of Kasimir Malevich's suprematist works and, more specifically, into the meaning of his Architectons of horizontal and vertical constructions. A critical "rewinding" of the diverse and seemingly contradictory suprematist periods--starting with the artist's chef d'oeuvre, his Funeral-Performance and moving backwards to the figurative works, the Architectons and then, to the 1913 Black Square, in its beginnings in futurist Zaum poetry--makes patent the fragmentary nature of the meaning of those periods and introduces (...) Suprematism-as-Architecture as the meaning of Suprematism in its entirety. Malevich's extensive written work is the guiding thread we follow in trying to demonstrate how the full meaning of Suprematism echoes, in the context of our Nietzschean world, Martin Heidegger's presentation of questions concerning building. Suprematism-as-Architecture equally opens up avenues of questioning concerning modern man's relation to the attainment of an architectural meaning, i.e., of a thinking-dwelling. (shrink)

This talk proposes a solution to the "paradox of thought experiments": how seemingly new empirical insights are derived by thought experiments which are entirely conducted inside one s head, so to speak, without any new empirical import. Rather than the discovery of new facts the purpose of a successful thought experiment is to transform vague intuitions about nature into explanatory standards, which may be uses later on as normative principles or formal constraints in the formation of new theories. The author (...) later wrote a Dr.-phil.-thesis on this subject: "Die Methode des Gedankenexperiments. Untersuchung zur Rationalität naturwissenschaftlicher Theoriereformen." (Bremen University, submitted October 5th 2001, summa cum laude) an abridged version of which has been published in the book: Ulrich Kühne, Die Methode des Gedankenexperiments. Frankfurt am Main: Suhrkamp Verlag 2005. 410 pages, ISBN: 978-3-518-29342-3. (shrink)