This volume consists of the first of the John Dewey Lectures delivered under the auspices of Columbia University's Philosophy Department as well as other essays by the author. Intended to clarify the meaning of the philosophical doctrines propounded by Professor Quine in 'Word and Objects', the essays included herein both support and expand those doctrines.

Ernest Sosa's A Virtue Epistemology, Vol. I is arguably the single-most important monograph to be published in analytic epistemology in the last ten years. Sosa, the first in the field to employ the notion of intellectual virtue – in his ground-breaking ‘The Raft and the Pyramid’– is the leading proponent of reliabilist versions of virtue epistemology. In A Virtue Epistemology, he deftly defends an externalist account of animal knowledge as apt belief, argues for a distinction between animal and reflective knowledge, (...) contends that rational intuition is an intellectual virtue ; and offers responses to dream scepticism, the problem of the criterion and the value problem. Nearly all of these arguments are new, albeit consistent with Sosa's earlier work; that is, consistent with two notable exceptions. First, c ontra Sosa's ‘Replies’ in Ernest Sosa and His Critics, A Virtue Epistemology explicitly contends that safety is not required for animal knowledge. Second, unlike Sosa's Knowledge in Perspective, which arguably construes the intellectual virtues as merely instrumentally valuable, A Virtue Epistemology explicitly contends that the intellectual virtues are instrumentally and constitutively valuable. Best read in conjunction with the above monographs and Epistemic Justification, A Virtue Epistemology is mandatory reading for epistemologists and graduate students in the field. It will rightly set the standard for debates in analytic epistemology for years to come.I will summarize and raise objections to two key conclusions that are unique to A Virtue Epistemology: the ‘kaleidoscope-perceiver’ has animal knowledge but lacks reflective knowledge; unlike the k-perceiver, the ordinary perceiver has reflective knowledge. My objections …. (shrink)

Where does the mind begin and end? Most philosophers and cognitive scientists take the view that the mind is bounded by the skull or skin of the individual. Robert Wilson, in this provocative and challenging 2004 book, provides the foundations for the view that the mind extends beyond the boundary of the individual. The approach adopted offers a unique blend of traditional philosophical analysis, cognitive science, and the history of psychology and the human sciences. The companion volume, Genes and the (...) Agents of Life, explores the theme in the biological sciences. Written with verve and clarity, this ambitious book will appeal to a broad swathe of professionals and students in philosophy, psychology, cognitive science, and the history of the behavioural and human sciences. You can download the table of contents here. (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

This article considers how people judge the identity of objects (e.g., how people decide that a description of an object at one time, t₀, belongs to the same object as a description of it at another time, t₁). The authors propose a causal continuer model for these judgments, based on an earlier theory by Nozick (1981). According to this model, the 2 descriptions belong to the same object if (a) the object at t₁ is among those that are causally close (...) enough to be genuine continuers of the original and (b) it is the closest of these close-enough contenders. A quantitative version of the model makes accurate predictions about judgments of which a pair of objects is identical to an original (Experiments 1 and 2). The model makes correct qualitative predictions about identity across radical disassembly (Experiment 1) as well as more ordinary transformations (Experiments 2 and 3). (shrink)

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth (...) of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)

The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

A variety of scientific disciplines have set as their task explaining mental activities, recognizing that in some way these activities depend upon our brain. But, until recently, the opportunities to conduct experiments directly on our brains were limited. As a result, research efforts were split between disciplines such as cognitive psychology, linguistics, and artificial intelligence that investigated behavior, while disciplines such as neuroanatomy, neurophysiology, and genetics experimented on the brains of non-human animals. In recent decades these disciplines integrated, and with (...) the advent of techniques for imaging activity in human brains, the term cognitive neuroscience has been applied to the integrated investigations of mind and brain. This book is a philosophical examination of how these disciplines continue in the mission of explaining our mental capacities. (shrink)

_Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way enriching (...) the readers understanding of art theory as well as the appreciation of art. Unique features of the textbook are: * chapter summaries * summaries of major theories of art and suggested analyses of the important categories used when talking and thinking of art * annotated suggested readings at the ends of chapters. Also available in this series: _Epistemology_ Pb: 0-415-13043-3: £12.99 _Ethics_ Pb: 0-415-15625-4: £11.99 _Metaphysics_ Pb: 0-415-14034-X: £12.99 _Philosophy of Mind_ Pb: 0-415-13060-3: £11.99 _Philosophy of Religion_ Pb: 0-415-13214-2: £12.99. (shrink)

This anthology brings together ten papers which have defined and advanced the debate between internalism and externalism in epistemology.

This volume presents new essays on the propositional imagination by leading researchers. The propositional imagination---the mental capacity we exploit when we imagine that everyone is colour-blind or that Hamlet is a procrastinator---plays an essential role in philosophical theorizing, engaging with fiction, and indeed in everyday life. Yet only recently has there been a systematic attempt to give a cognitive account of the propositional imagination. These thirteen essays, specially written for the volume, capitalize on this recent work, extending the theoretical picture (...) of the imagination and exploring the philosophical implications of cognitive accounts of the imagination. The book also investigates broader philosophical issues surrounding the propositional imagination. The first section addresses the nature of the imagination, its role in emotion production, and its sophistication manifestation in childhood. The essays in the second section focus on the nature of pretence and how pretence is implicated in adult communication. The third section addresses the problem of 'imaginative resistance', the striking fact that when we encounter morally repugnant assertions in fiction, we seem to resist imagining them and accepting them as fictionally true. In the final section, contributors explore the relation between imagining, conceiving, and judgements of possibility and impossibility. The Architecture of the Imagination will be an essential resource for the growing number of philosophers and psychologists studying the nature of the imagination and on its role in philosophy, aesthetics, and everyday life. (shrink)

In The Abuse of Beauty, art critic and philosopher Arthur Danto explains how the notion of beauty as anathema to art arose and flourished and offers a new way of looking at art and beauty. He draws on the thought of artists, critics, and philosophers such as Rimbaud, Fry, Matisse, and Greenberg, to reposition beauty as one of many modes -- along with sexuality, sublimity, disgust, and horror -- through which the human sensibility expresses itself. 20 black-and-white illustrations are included.

The patient with Capgras’ syndrome claims that people very familiar to him have been replaced by impostors. I argue that this disorder is due to the destruction of a representation that the patient has of the mind of the familiar person. This creates the appearance of a familiar body and face, but without the familiar personality, beliefs, and thoughts. The posterior site of damage in Capgras’ is often reported to be the temporoparietal junction, an area that has a role in (...) the mindreading system, a connected system of cortical areas that allow us to attribute mental states to others. Just as the Capgras’ patient claims that that man is not his father, the patient with asomatognosia claims that his arm is not really his. A similar account applies here, in that a nearby brain area, the supramarginal gyrus, is damaged. This area works in concert with the temporoparietal junction and other areas to produce a large representation of a mind inside a body situated in an environment. Damage to the mind-representing part of this system (coupled with damage to executive processes in the prefrontal lobes) causes Capgras’ syndrome, whereas damage to the body-representing part of this system (also coupled with executive damage) causes asomatognosia. (shrink)

"Prompted by modern critical discussions, the fourteen papers, lectures and articles assembled in this volume revolve around issues raised by twentieth-century art and theory."--Amazon.

Do children have a theory of mind? If they do, at what age is it acquired? What is the content of the theory, and how does it differ from that of adults? The Child's Theory of Mind integrates the diverse strands of this rapidly expanding field of study. It charts children's knowledge about a fundamental topic - the mind - and characterizes that developing knowledge as a coherent commonsense theory, strongly advancing the understanding of everyday theories as well as the (...) commonsense theory of mind. Wellman presents evidence that children as young as age three do possess a commonsense theory of mind - that they grasp the distinction between mental constructs and physical entities and that they have an understanding of the relationship between individuals' mental states and their overt actions. He delves in detail into questions about the nature of adults' commonsense theories of mind and about the nature of commonsense theories. Wellman then examines the content of the three-year-old's theory of mind, the nature of children's notions of mind before age three, the changes in the theory during subsequent development from ages three to six, and the young child's conception of mind in comparison with those of older children and adults. Henry M. Wellman is a Professor in the Department of Psychology and the Center for Human Growth and Development at the University of Michigan at Ann Arbor. (shrink)

An analysis of two heuristic strategies for the development of mechanistic models, illustrated with historical examples from the life sciences. In Discovering Complexity, William Bechtel and Robert Richardson examine two heuristics that guided the development of mechanistic models in the life sciences: decomposition and localization. Drawing on historical cases from disciplines including cell biology, cognitive neuroscience, and genetics, they identify a number of "choice points" that life scientists confront in developing mechanistic explanations and show how different choices result in divergent (...) explanatory models. Describing decomposition as the attempt to differentiate functional and structural components of a system and localization as the assignment of responsibility for specific functions to specific structures, Bechtel and Richardson examine the usefulness of these heuristics as well as their fallibility—the sometimes false assumption underlying them that nature is significantly decomposable and hierarchically organized. When Discovering Complexity was originally published in 1993, few philosophers of science perceived the centrality of seeking mechanisms to explain phenomena in biology, relying instead on the model of nomological explanation advanced by the logical positivists (a model Bechtel and Richardson found to be utterly inapplicable to the examples from the life sciences in their study). Since then, mechanism and mechanistic explanation have become widely discussed. In a substantive new introduction to this MIT Press edition of their book, Bechtel and Richardson examine both philosophical and scientific developments in research on mechanistic models since 1993. (shrink)

The Entombment (Titian) - Las Meninas (Velasquez) - The Descent from the Cross (Rogier Van Der Weyden) - The Crusaders Entering Constantinople (Delacroix) - The Miraculous Draught of Fishes (Raphael) - L'Enseigne de Gersaint (Watteau) - The Espolio (El Greco) - A painter in his Studio (Vermeer) - Study for The Leaping Horse (Constable) - The Third of May, 1808 (Goya) - Une Baignade, Asnieres (Seurat) - The Snowstorm (Turner) - The Virgin with St. Anne (Leonarda da Vinci) - L'Atelier (...) du Peintre (Courbet) - The Nativity (Botticelli) - Self-Portrait (Rembrandt). (shrink)

Noël Carroll; Art and Human Nature, The Journal of Aesthetics and Art Criticism, Volume 62, Issue 2, 5 May 2004, Pages 95–107, https://doi.org/10.1111/j.1540-59.

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

The article defines the function of the visual brain as a search for constancies with the aim of obtaining knowledge about the world, and claims that it is applicable with equal vigour to the function of art. We define the general function of art as a search for the constant, lasting, essential, and enduring features of objects, surfaces, faces, situations, and so on, which allows us not only to acquire knowledge about the particular object, or face, or condition represented on (...) the canvas but to generalize, based on that, about many other objects and thus acquire knowledge about a wide category of objects or faces. In this process, the artist must also be selective and invest his work with attributes that are essential, discarding much that is superfluous. It follows that one of the functions of art is an extension of the major function of the visual brain. Indeed, philosophers and artists often spoke about art in terms that are extremely similar to the language that a modern neurobiologist of vision would use, except that he would substitute the word ‘brain’ for the word ‘artist.’. (shrink)

Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?

This paper is a tentative step towards a historical cognitive science, in the domain of memory and personal identity. I treat theoretical models of memory in history as specimens of the way cultural norms and artifacts can permeate ('proto')scientific views of inner processes. I apply this analysis to the topic of psychological control over one's own body, brain, and mind. Some metaphors and models for memory and mental representation signal the projection inside of external aids. Overtly at least, medieval and (...) Renaissance theorists agreed that such models had to allow for, or even guarantee, some conception of cognitive order and discipline. Individual memory traces had to be independent, not mixed up or interfering with others. The long tradition of improving or bypassing 'natural memory' by deliberately internalizing artefactual models was part of an arduous process of self-fashioning. Moral panic about confusion and mixture features centrally in the imposition of cognitive discipline in local memory traditions. (shrink)

Emotions are viewed as having evolved through their adaptive value in dealing with fundamental life-tasks. Each emotion has unique features: signal, physiology, and antecedent events. Each emotion also has characteristics in common with other emotions: rapid onset, short duration, unbidden occurrence, automatic appraisal, and coherence among responses. These shared and unique characteristics are the product of our evolution, and distinguish emotions from other affective phenomena.

It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic (...) interplay between agent and context, allowing for artist and viewer to relate to the artist's work in similar ways. (shrink)

Embodied human minds operate in and spread across a vast and uneven world of things—artifacts, technologies, and institutions which they have collectively constructed and maintained through cultural and individual history. This chapter seeks to add a historical dimension to the enthusiastically future-oriented study of “natural-born cyborgs” in the philosophy of cognitive science,3 and a cognitive dimension to recent work on material memories and symbol systems in early modern England, bringing humoral psychophysiology together with material culture studies. The aim is to (...) sketch an integrative framework which spans early modern ideas and practices relating to brains, bodies, memory, and objects. Embodiment and environment, I’ll argue, were not (always) merely external influences on feeling, thinking, and remembering, but (in certain circumstances) partly constitutive of these activities. (shrink)

Alfred Gell puts forward a new anthropological theory of visual art, seen as a form of instrumental action: the making of things as a means of influencing the thoughts and actions of others. He shows how art objects embody complex intentionalities and mediate social agency, and he explores the psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian. Art and Agency (...) was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation. (shrink)