We suffer from genealogical anxiety when we worry that the contingent origins of our representations, once revealed, will somehow undermine or cast doubt on those representations. Is such anxiety ever rational? Many have apparently thought so, from pre-Socratic critics of Greek theology to contemporary evolutionary debunkers of morality. One strategy for vindicating critical genealogies is to see them as undermining the epistemic standing of our representations—the justification of our beliefs, the aptness of our concepts, and so on. I argue that (...) this strategy is not as promising as it might first seem. Instead, I suggest that critical genealogies can wield a sort of meta-epistemic power; in so far as we wish to resist the genealogical critic, we are under pressure to see ourselves as the beneficiaries of a certain kind of good luck: what I call genealogical luck. But there is also a resolutely non-epistemic way of understanding the power of critical genealogies, one that is essential, I argue, for understanding the genealogical projects of various theorists, including Nietzsche and Catharine MacKinnon. For critical genealogies can reveal what it is that our representations do—and what we, in turn, might do with them. (shrink)

This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences.

Brains, it has recently been argued, are essentially prediction machines. They are bundles of cells that support perception and action by constantly attempting to match incoming sensory inputs with top-down expectations or predictions. This is achieved using a hierarchical generative model that aims to minimize prediction error within a bidirectional cascade of cortical processing. Such accounts offer a unifying model of perception and action, illuminate the functional role of attention, and may neatly capture the special contribution of cortical processing to (...) adaptive success. This target article critically examines this approach, concluding that it offers the best clue yet to the shape of a unified science of mind and action. Sections 1 and 2 lay out the key elements and implications of the approach. Section 3 explores a variety of pitfalls and challenges, spanning the evidential, the methodological, and the more properly conceptual. The paper ends (sections 4 and 5) by asking how such approaches might impact our more general vision of mind, experience, and agency. (shrink)

The Turing Test is claimed by many to be a way to test for the presence, in computers, of such ``deep'' phenomena as thought and consciousness. Unfortunately, attempts to build computational systems able to pass TT have devolved into shallow symbol manipulation designed to, by hook or by crook, trick. The human creators of such systems know all too well that they have merely tried to fool those people who interact with their systems into believing that these systems really have (...) minds. And the problem is fundamental: the structure of the TT is such as to cultivate tricksters. A better test is one that insists on a certain restrictive epistemic relation between an artificial agent A, its output o, and the human architect H of A – a relation which, roughly speaking, obtains when H cannot account for how A produced o. We call this test the ``Lovelace Test'' in honor of Lady Lovelace, who believed that only when computers originate things should they be believed to have minds. (shrink)

The present volume brings Arendt's notes for these lectures together with other of her texts on the topic of judging and provides important clues to the likely direction of Arendt's thinking in this area.

In this paper I argue that Turing’s responses to the mathematical objection are straightforward, despite recent claims to the contrary. I then go on to show that by understanding the importance of learning machines for Turing as related not to the mathematical objection, but to Lady Lovelace’s objection, we can better understand Turing’s response to Lady Lovelace’s objection. Finally, I argue that by understanding Turing’s responses to these objections more clearly, we discover a hitherto unrecognized, substantive thesis in his philosophical (...) thinking about the nature of mind. (shrink)

The aim of the paper is to argue that the difference between creative and non-creative mental processes is not a functional/computational, but an experiential one. In other words, what is distinctive about creative mental processes is not the functional/computational mechanism that leads to the emergence of a creative idea, be it the recombination of old ideas or the transformation of one’s conceptual space, but the way in which this mental process is experienced. The explanatory power of the functional/computational theories and (...) the experiential account is compared and it is pointed out that if creativity is a natural kind, it is not a functional/computational, but an experiential natural kind. (shrink)

What can--and what can't--philosophy do? What are its ethical risks--and its possible rewards? How does it differ from science? In Philosophy as a Humanistic Discipline, Bernard Williams addresses these questions and presents a striking vision of philosophy as fundamentally different from science in its aims and methods even though there is still in philosophy "something that counts as getting it right." Written with his distinctive combination of rigor, imagination, depth, and humanism, the book amply demonstrates why Williams was one of (...) the greatest philosophers of the twentieth century. Spanning his career from his first publication to one of his last lectures, the book's previously unpublished or uncollected essays address metaphysics, epistemology, and ethics, as well as the scope and limits of philosophy itself. The essays are unified by Williams's constant concern that philosophy maintain contact with the human problems that animate it in the first place. As the book's editor, A. W. Moore, writes in his introduction, the title essay is "a kind of manifesto for Williams's conception of his own life's work." It is where he most directly asks "what philosophy can and cannot contribute to the project of making sense of things"--answering that what philosophy can best help make sense of is "being human." Philosophy as a Humanistic Discipline is one of three posthumous books by Williams to be published by Princeton University Press. In the Beginning Was the Deed: Realism and Moralism in Political Argument was published in the fall of 2005. The Sense of the Past: Essays in the History of Philosophy is being published shortly after the present volume. (shrink)

What can--and what can't--philosophy do? What are its ethical risks--and its possible rewards? How does it differ from science? In Philosophy as a Humanistic Discipline , Bernard Williams addresses these questions and presents a striking vision of philosophy as fundamentally different from science in its aims and methods even though there is still in philosophy "something that counts as getting it right." Written with his distinctive combination of rigor, imagination, depth, and humanism, the book amply demonstrates why Williams was one (...) of the greatest philosophers of the twentieth century. Spanning his career from his first publication to one of his last lectures, the book's previously unpublished or uncollected essays address metaphysics, epistemology, and ethics, as well as the scope and limits of philosophy itself. The essays are unified by Williams's constant concern that philosophy maintain contact with the human problems that animate it in the first place. As the book's editor, A. W. Moore, writes in his introduction, the title essay is "a kind of manifesto for Williams's conception of his own life's work." It is where he most directly asks "what philosophy can and cannot contribute to the project of making sense of things"--answering that what philosophy can best help make sense of is "being human." Philosophy as a Humanistic Discipline is one of three posthumous books by Williams to be published by Princeton University Press. In the Beginning Was the Deed: Realism and Moralism in Political Argument was published in the fall of 2005. The Sense of the Past: Essays in the History of Philosophy is being published shortly after the present volume. (shrink)

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

The applications of Artificial Intelligence lie all around us; in our homes, schools and offices, in our cinemas, in art galleries and - not least - on the Internet. The results of Artificial Intelligence have been invaluable to biologists, psychologists, and linguists in helping to understand the processes of memory, learning, and language from a fresh angle.As a concept, Artificial Intelligence has fuelled and sharpened the philosophical debates concerning the nature of the mind, intelligence, and the uniqueness of human beings. (...) Margaret A. Boden reviews the philosophical and technological challenges raised by Artificial Intelligence, considering whether programs could ever be really intelligent, creative or even conscious, and shows how the pursuit of Artificial Intelligence has helped us to appreciate how human and animal minds are possible. (shrink)

The scope of this book is the characterization of the template for the properly aesthetic experience, composed of the prerequisite and the three subsequent phases: excess, pause, and recuperation.

Presents a collection of essays and previously unpublished writings that look at the philosophical aspects of political science, including Marxian philosophy.

Margaret Boden presents a series of essays in which she explores the nature of creativity in a wide range of art forms. Creativity is the generation of novel, surprising, and valuable ideas. Boden identifies three forms of creativity each eliciting a different form of surprise.