This is a welcome reprint of a book that continues to grow in importance.

Tackling some central problems in the philosophy of action, Mele constructs an explanatory model for intentional behavior, locating the place and significance of such mental phenomena as beliefs, desires, reason, and intentions in the etiology of intentional action. Part One comprises a comprehensive examination of the standard treatments of the relations between desires, beliefs, and actions. In Part Two, Mele goes on to develop a subtle and well-defended view that the motivational role of intentions is of a different sort from (...) that of beliefs and desires. Mele, also offers a provocative explanation of how we come to have intentions and elaborates on his earlier work concerning akratic failures of will. (shrink)

On the Nature of Photographic Realism’ Kendall Walton argues that lack of mental-state involvement in the formation of photographic images is a quality that sets them apart from handmade images such as paintings or sketches. This paper defends and substantially develops this idea. It argues that viewers' knowledge of this objective character of the photographic process provides them with special warrant for the acceptance of first-order perceptual beliefs formed as a result of viewing photographic images. As well, it distinguishes between (...) two different ways in which mental states can be involved in the formation of photographic images, and uses this distinction to ward off the objection that decisions about film type, composition, moment of exposure, etc. undermine the objectivity of the photographic process. (shrink)

This book, based on Jaegwon Kim's 1996 Townsend Lectures, presents the philosopher's current views on a variety of issues in the metaphysics of the mind...

What is the nature of, and what is the relationship between, external objects and our visual perceptual experience of them? In this book, Frank Jackson defends the answers provided by the traditional Representative theory of perception. He argues, among other things that we are never immediately aware of external objects, that they are the causes of our perceptual experiences and that they have only the primary qualities. In the course of the argument, sense data and the distinction between mediate and (...) immediate perception receive detailed defences and the author criticises attempts to reduce perceiving the believing and to show that the Representative theory makes the external world unknowable. Jackson recognises that his views are unfashionable but argues in detail that they are to be preferred to their currently favoured competitors. It will become an obvious point of reference for all future work on the philosophy of perception. (shrink)

Tackling some central problems in the philosophy of action, Mele constructs an explanatory model for intentional behavior, locating the place and significance of such mental phenomena as beliefs, desires, reasons, and intentions in the etiology of intentional action. In the first part, Mele illuminates the connection between desire and action and defends detailed characterizations of irresistible desires and reasons for action. Mele argues for the viability of a causal approach to the explanation of intentional action in terms of psychological states (...) and events, paying special attention to recent worries about the causal relevance of the mental. In Part Two, Mele goes on to develop a subtle and well-defended view that the motivational role of intentions is of a different sort from that of beliefs and desires. Mele's account, based largely on a careful study of the functions of intentions, presents intentions as states irreducible to collections of beliefs and desires which hinge on their executive and representational features. Springs of Action will be of interest not only to philosophers of action, but also to those interested in the philosophy of mind, metaphysics, and ethics. (shrink)

Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact.

An epistemological how-possible question asks how knowledge, or knowledge of some specific kind, is possible. Familiar epistemological how-possible questions include ‘How is knowledge of the external world possible?’, ‘How is knowledge of other minds possible?’ and ‘How is a priori knowledge possible?’ These are the three questions that I tackle in my book. In each case, I explain how and why the question arises and propose a way of answering it. The main negative claim of the book is that transcendental (...) arguments are of little use in answering how-possible questions. A transcendental demonstration of the necessity of a certain kind of knowledge does not amount to an explanation of its possibility. The main positive claim is that such questions call for what I describe as a multi-levels response. I give an account of the multi-levels approach and put it to use in explaining how various kinds of knowledge are possible.Epistemological how-possible questions are not directly concerned with whether knowledge is possible, but if we cannot explain how a certain kind of knowledge is possible then the reality of that kind of knowledge is called into question. How-possible questions are obstacle-dependent. We ask how knowledge …. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

What is the relation between a reason and an action when the reason explains the action by giving the agent's reason for doing what he did? We may call such explanations rationalizations, and say that the reason rationalizes the action. In this paper I want to defend the ancient - and common-sense - position that rationalization is a species of ordinary causal explanation. The defense no doubt requires some redeployment, but not more or less complete abandonment of the position, as (...) urged by many recent writers. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.

What is special about photographs? Traditional photography is, I argue, a system that sustains factive pictorial experience. Photographs sustain pictorial experience: we see things in them. Further, that experience is factive: if suchandsuch is seen in a photograph, then suchandsuch obtained when the photo was taken. More precisely, photographs are designed to sustain factive pictorial experience, and that experience is what we have when, in the photographic system as a whole, everything works as it is supposed to. In this respect (...) photographs differ from handmade pictures, and from other information-preserving tools, such as the readings on a geiger counter. This distinctive feature can be used to explain what is epistemically special about photographs, and also to give an account of the distinctive phenomenology of looking at a photograph rather than a handmade picture. All this provides the background against which to assess claims that digital photography differs from traditional in certain key ways. (shrink)

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...) represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

I focus on two questions: what is knowledge, and how is knowledge possible? The latter is an example of a how-possible question. I argue that how-possible questions are obstacle-dependent and that they need to be dealt with at three different levels, the level of means, of obstacle-removal, and of enabling conditions. At the first of these levels the possibility of knowledge is accounted for by identifying means of knowing, and I argue that the identification of such means also contributes to (...) a proper understanding of what knowledge is. (shrink)

According to the standard account of actions and their explanations, intentional actions are actions done because the agent has a certain desire/belief pair that explains the action by rationalizing it. Any explanation of intentional action in terms of an appetite or occurrent emotion is hence assumed to be elliptical, implicitly appealing to some appropriate belief. In this paper, I challenge this assumption with respect to the " arational " actions of my title---a significant subset of the set of intentional actions (...) explained by occurrent emotion. These actions threaten the standard account, not only by forming a recalcitrant set of counterexamples to it, but also, as we shall see, by undercutting the false semantic theory that holds that account in place. (shrink)

This paper considers Davidson's (1963) arguments for construing reasons as causes and attempts to show that he has failed to provide positive reasons for introducing causation into his analysis of rationalizing explanation. I consider various ways of spelling out his intuition that something is missing from explanation if we consider only the justificatory relation between reasons and action, and I argue that to the extent that there is anything missing, it should not be provided by construing reasons as causes. What (...) is ostensibly missing, and what I think Davidson is after, is some kind of determinate relation between explanans and explanandum. I argue that this is too strong a requirement to place on rationalizing explanation. (shrink)

In this important and impressive book, Gregory Currie tackles several fundamental topics in the philosophy of film and says much of general interest about the nature of imagination. The first part examines the nature of film representation, rejecting the view that spectators are subject to any kind of cognitive or perceptual illusions. Currie also argues against Walton’s transparency claim, which holds that when we look at a photograph we are literally seeing the object photographed. He instead defends perceptual realism, the (...) thesis that photographs resemble the objects they depict, where the resemblance is a matter of photographs triggering the same recognitional response as would the object photographed. He also argues convincingly that films should not be thought of as a language-like form of communication. (shrink)

How is knowledge of the external world possible? How is knowledge of other minds possible? How is a priori knowledge possible? These are all examples of how-possible questions in epistemology. In this highly original book Quassim Cassam explains how such questions arise and how they should be answered.

I argue that there are phenomenological constraints on what it is to see an object, and that these are overlooked by some theories that offer allegedly sufficient causal and counterfactual conditions on object-seeing.