The basic kinds of physical causality that are foundational for other kinds of causality involve objects and the causal relations between them. These interactions do not involve events. If events were ontologically significant entities for causality in general, then they would play a role in simple mechanical interactions. But arguments about simple collisions looked at from different frames of reference show that events cannot play a role in simple mechanical interactions, and neither can the entirely hypothetical causal relations between events. (...) These arguments show that physics, which should be authoritative when it comes to the metaphysics of causality, gives no reasons to believe that events are causal agents. Force relations and some cases of energy-momentum transfer are examples of causal relations, with forces being paradigmatic in the macroscopic world, though it is conceivable that there are other kinds of causal relation. A relation between two objects is a causal relation if and only if when it is instantiated by the two objects there is a possibility that the objects that are the terms of the relation could change. The basic metaphysics of causality is about objects, causal relations, changes in objects, and a causal primitive. The paper also includes a discussion of the metaphysics of forces and a discussion of the metaphysics of energy and momentum exchanges. (shrink)

Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links (...) Gestalt theory with more recent dynamic models of brain activity and with accounts of brain complexity and neuronal synchronisation, the article concludes that psychological research on film needs to shift the focus from form to transformation, both in conceiving the perceptual and cognitive processing of films and in approaching film aesthetics more broadly. (shrink)

This paper considers the cognitive penetrability of our experiences of the durations of everyday events. I defend an account of subjective duration based in contemporary psychological and neurobiological research. I show its philosophical adequacy by demonstrating its utility in explain-ing the phenomenology of duration experiences. I then consider whether cognitive penetrability is a problem for these experiences. I argue that, to the contrary, the problem presupposes a relationship between perception and belief that duration perceptions and beliefs do not exhibit. In-stead, (...) the assignment of epistemic features to particular processing stages appears to answer to pragmatic needs, not psychological facts. (shrink)

Since Fodor 1970, negation has worn a Homogeneity Condition to the effect that homogeneous predicates, ) denote homogeneously—all or nothing —to characterize the meaning of – when uttered out-of-the blue, in contrast to –:The mirrors are smooth. The mirrors are not smooth. The mirrors circle the telescope’s reflector. The mirrors do not circle the telescope’s reflector. It has been a problem for philosophical logic and for the semantics of natural language that – appear to defy the Principle of Excluded Middle (...) while – do not—Smooth ¬Smooth Circle ¬Circle. An impoverished logical form – has been the occasion to embellish all else—Boolean algebra, lexical presuppositions, Strongest Meaning Hypothesis, trivalence, supervaluation, double strengthening, etc., enriching the semantics and pragmatics with what remains a special theory of negation, which may be dismissed when the logical syntax and semantics of negation reflects that negated sentences are also tensed sentences. (shrink)