Intention is one of the masterworks of twentieth-century philosophy in English. First published in 1957, it has acquired the status of a modern philosophical classic. The book attempts to show in detail that the natural and widely accepted picture of what we mean by an intention gives rise to insoluble problems and must be abandoned. This is a welcome reprint of a book that continues to grow in importance.

Kant's attempt to establish the principles behind the faculty of judgment remains one of the most important works on human reason.

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)

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation of (...) an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation of (...) an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the body to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others.

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above all, Merleau-Ponty's (...) insights about the embodied mind are a bold and refreshing challenge to the new era of virtual reality and artificial intelligence, as scientists and psychologists discover the centrality of the body to mind and intelligence. (shrink)

Drawing on resources from both the Analytical and Continental traditions, Form and World argues that a comprehension of Kant's aesthetics is necessary for grasping the scope and force of his epistemology. Fiona Hughes draws on phenomenological and aesthetic resources to bring out the continuing relevance of Kant's project. One of the difficulties faced in reading the Critique of Pure Reason is finding a way of reading the text as one continuous discussion. This book offers a reading at each stage of (...) Kant's epistemological argument, showing how various elements of Kant's argument, often thought of as extraneous or indefensible, can be integrated. This incisive study, arguing for the centrality of aesthetics in philosophy, and within experience in general, challenges a blind spot in the Anglo-American tradition of philosophy and will contribute to a growing interest in the general significance of aesthetic culture. (shrink)

What makes this work so important is that it returned the body to the forefront of philosophy for the first time since Plato.

In beliefs we live, we move and we are [...] the beliefs constitute the base of our life, the land on which we live [...] All our conduct, including the intellectual life, depends on the system of our authentic beliefs. In them [...] lies latent, as implications of whatever specifically we do or we think [...] the man, at heart, is believing or, which is equal, the deepest stratum of our life, the spirit that maintains and carries all the others, (...) is formed by beliefs...We know that the human being is a social animal. This is a common fact. Moreover, the human being is defined as a rational being. It is clear and nobody can deny that human creations include logic, mathematics, philosophy, science, and jurisprudence. These are all products of rationality or abstract thought. Nevertheless, human sociability goes further that the sociability of an animal herd. Societies were founded, cohere, develop, degenerate and die based on their belief systems. Reason cannot prove the .. (shrink)

What, if anything, has faith to do with intention? By ‘faith’ I have in mind the attitude described by William James: Suppose … that I am climbing in the Alps, and have had the illluck to work myself into a position from which the only escape is by a terrible leap. Being without similar experience, I have no evidence of my ability to perform it successfully; but hope and confidence in myself make me sure I shall not miss my aim, (...) and nerve my feet to execute what without those subjective emotions would perhaps have been impossible. But suppose that, on the contrary, the emotions of fear and mistrust preponderate; or suppose that…I feel it would be sinful to act upon an assumption unverified by previous experience,—why, then I shall hesitate so long that at last, exhausted and trembling, and launching myself in a moment of despair, I miss my foothold and roll into the abyss.… There are then cases where faith creates its own verification. Believe, and you shall be right, for you shall save yourself; doubt, and you shall again be right, for you shall perish. (shrink)

The smooth integration of the natural sciences with everyday lived experience is an important ambition of radical embodied cognitive science. In this paper we start from Koffka’s recommendation in his Principles of Gestalt Psychology that to realize this ambition psychology should be a “science of molar behaviour”. Molar behavior refers to the purposeful behaviour of the whole organism directed at an environment that is meaningfully structured for the animal. Koffka made a sharp distinction between the “behavioural environment” and the “geographical (...) environment”. We show how this distinction picks out the difference between the environment as perceived by an individual organism, and the shared publicly available environment. The ecological psychologist James Gibson was later critical of Koffka for inserting a private phenomenal reality in between animals and the shared environment. Gibson tried to make do with just the concept of affordances in his explanation of molar behaviour. We argue however that psychology as a science of molar behaviour will need to make appeal both to the concepts of shared publicly available affordances, and of the multiplicity of relevant affordances that invite an individual to act. A version of Koffka’s distinction between the two environments remains alive today in a distinction we have made between the field and landscape of affordances. Having distinguished the two environments, we go on to provide an account of how the two environments are related. Koffka suggested that the behavioural environment forms out of the causal interaction of the individual with a pre-existing, ready-made geographical environment. We argue that such an account of the relation between the two environments fails to do justice to the complex entanglement of the social with the material aspects of the geographical environment. To better account for this sociomaterial reality of the geographical environment, we propose a process-perspective on our distinction between the landscape and field of affordances. While the two environments can be conceptually distinguished, we argue they should also be viewed as standing in a relation of reciprocal and mutual dependence. (shrink)

Merleau-Ponty’s understanding of ‘passivity’ is a key to his account of perception. For Merleau-Ponty, perception is the way in which we are involved in the world, and it is on perception that the functions of understanding, reason, and reflection ultimately rest. While in his Phenomenology of Perception it is already clear that passive and active are intertwined, from a series of lectures he gave in 1954–5 we learn that inauguration or ‘institution’ arises out of a passivity that is not merely (...) an absence of activity. I show how the thoroughly temporal status of the subject as ‘instituting’ distinguishes it from a certain model of the ‘constituting’ subject. Next, I argue that, to grasp the sense in which Merleau-Ponty intends ‘passivity’, we must recognize its mediating or transitional status. Specifically, I examine terms that arise repeatedly in his analysis of the Freudian account of the unconscious — namely, ‘pivot’ and ‘enjambment’ — to show how they reveal the peculiar status of a passivity that operates through a dialectic focused on its transitional terms rather than on opposing poles. Finally, I suggest the exchange between passivity and institution that Merleau-Ponty has in mind can be illuminated through consideration of late Palaeolithic cave paintings, where the rock itself seems to begin an expression that the artist completes. (shrink)

There is a common assumption that intention is a complex behavioural disposition, or a motivational state underlying such a disposition. Associated with this position is the apparently commonsense view that an avowal of intention is a direct report of an inner motivational state, and indirectly an expression of a belief that it is likely that one will A. A central claim of this article is that the dispositional or motivational model is mistaken since it cannot acknowledge either the future-direction of (...) intention or the authority of avowals of intention. I argue that avowals of intention - first-person, present-tense ascriptions - express direct knowledge of a future action, knowledge that is not based on examination of one's present introspectible states or dispositions. Such avowals concern a future action, not a present state or disposition; just as self-ascriptions of belief concern the outer not the inner, so self-ascriptions of intention concern the future outer, not the present inner. One way of capturing this future-direction is to say that avowals of intention - and perhaps sense intentions themselves - are a kind of prediction, and not a description of one's present state of mind. This position is suggested by Anscombe in her monograph Intention (1963), and treats avowals of intention as judgements about the future, which unlike ordinary predictions are not based on evidence. However, since talk of prediction everywhere suggests an evidence-based stance - that meaningful hypothesis about the likely occurrence of events is being proposed, an hypothesis that can be falsified by evidence - the description future-outer thesis is preferred. I defend this thesis against various objections, arguing that it complements Anscombe's characterisation of intentions as based on reasons. (shrink)

This important work of archaeological theory challenges us to reconsider our ideas about the nature of things, past and present, arguing that objects themselves possess a dynamic presence that we must take into account if we are to understand the world we and they inhabit.

Anthropology is a disciplined inquiry into the conditions and potentials of human life. Generations of theorists, however, have expunged life from their accounts, treating it as the mere output of patterns, codes, structures or systems variously defined as genetic or cultural, natural or social. Building on his classic work The Perception of the Environment, Tim Ingold sets out to restore life to where it should belong, at the heart of anthropological concern. Being Alive ranges over such themes as the vitality (...) of materials, what it means to make things, the perception and formation of the ground, the mingling of earth and sky in the weather-world, the experiences of light, sound and feeling, the role of storytelling in the integration of knowledge, and the potential of drawing to unite observation and description. Our humanity, Ingold argues, does not come ready-made but is continually fashioned in our movements along ways of life. Starting from the idea of life as a process of wayfaring, Ingold presents a radically new understanding of movement, knowledge and description as dimensions not just of being in the world, but of being alive to what is going on there. (shrink)

Collected in this text are the written notes of courses on the concept of nature give by Merleau-Ponty at the College de France in the 1950s. The ideas that animated the philosopher's lectures emerge in an early, fluid form in the process of being elaborated, negotiated, critiqued and reconsidered.

My goal is to define intending. I defend the view that believing and desiring something are necessary for intending it. They are not sufficient, however, for some things we both expect and want (e.g., the sun to rise tomorrow) are unintendable. Restricting the objects of intention to our own future actions is unwarranted and unhelpful. Rather, the belief involved in intending must be based on the desire in a certain way. En route, I argue that expected but unwanted consequences are (...) not intended, examine the two senses of "desire," distinguish intending from being willing, and relate intending to a variety of other propositional at? titudes. (shrink)

§1. Intentionality; §2. Husserl's Phenomenological Conception of Intentionality; §3. The Distinction between Content and Object; §4. Husserl's Theory of Content: Noesis and Noema; §5. Noema and Object; §6. The Sensory Content of Perception; §7. The Internal Structure of Noematic Sinne; §8. Noema and Horizon; §9. Horizon and Background Beliefs.

Two approaches to instrumental rationality Suppose I intend end E, believe that a necessary means to E is M, and believe that M requires that I intend M. My attitudes concerning E and M engage a basic requirement of practical rationality, a requirement that, barring a change in my cited beliefs, I either intend M or give up intending E.2 Call this the Instrumental Rationality requirement – for short, the IR requirement.