This entry addresses the nature and epistemological role of intuition by considering the following questions: (1) What are intuitions?, (2) What roles do they serve in philosophical (and other “armchair”) inquiry?, (3) Ought they serve such roles?, (4) What are the implications of the empirical investigation of intuitions for their proper roles?, and (5) What is the content of intuitions prompted by the consideration of hypothetical cases?

Bibliography of works in experimental philosophy.

If one views humans’ creation and appreciation of art as grounded in our biological nature, it might be tempting to see art as a spandrel, as an adventitious by-product of some adaptation without adaptive significance in itself. Such a position connects art to our evolved human nature yet apparently avoids the demands of demonstrating how art behaviours enhanced the fitness of our ancestors in the Upper Paleolithic. In this paper I explore two arguments that count against the view that art (...) is a spandrel. The first rejects the idea that the spandrel option is somehow less demanding or controversial than the alternative view according to which art is an adaptation. The second argues that if art behaviours came to us as spandrels, they would not remain so; their occurrence in the usual manner would become normative because they would come to provide honest signals of fitness. (shrink)

Practitioners of the new ‘experimental philosophy’ have collected data that appear to show that some philosophical intuitions are culturally variable. Many experimental philosophers take this to pose a problem for a more traditional, ‘armchair’ style of philosophizing. It is argued that this is a mistake that derives from a false assumption about the character of philosophical methods; neither philosophy nor its methods have anything to fear from cultural variability in philosophical intuitions.

A great deal of work in analytic philosophy of art is related to defining what counts as art. So far, cognitive approaches to art have almost entirely ignored this literature. In this paper I discuss the role of intuition in analytic philosophy of art, to show how an empirical research program on art could take advantage of existing work in analytic philosophy. I suggest that the first step of this research program should be to understand how people intuitively categorize something (...) as art. Drawing on results from cognitive science and analytic philosophy, I show that the intuitive categorization of an artifact as art rests on the intentions attributed (frequently implicitly) to the creator of the artifact based both on its appearance and on background knowledge. I discuss how the issue of categorization is related to other empirical issues concerning our relationship to works of art, such as perception, appreciation, interpretation and evaluation. (shrink)

Advocates of the use of intuitions in philosophy argue that they are treated as evidence because they are evidential. Their opponents agree that they are treated as evidence, but argue that they should not be so used, since they are the wrong kinds of things. In contrast to both, we argue that, despite appearances, intuitions are not treated as evidence in philosophy whether or not they should be. Our positive account is that intuitions are a subclass of inclinations to believe. (...) Our thesis explains why intuitions play a role in persuasion and inquiry, without conceding that they are evidential. The account also makes predictions about the structure of intuitions that are confirmed by independent arguments. (shrink)

The topic is experimental philosophy as a naturalistic movement, and its bearing on the value of intuitions in philosophy. This paper explores first how the movement might bear on philosophy more generally, and how it might amount to something novel and promising. Then it turns to one accomplishment repeatedly claimed for it already: namely, the discrediting of armchair intuitions as used in philosophy.

This paper is an extended critical discussion of Jerrold Levinson's historical definition of art. I try out various different avenues of attack; it is not clear whether any of them is ultimately successful.

The paper elaborates upon various points and arguments in the author’s “A Priori Knowledge and the Scope of Philosophy” (Philosophical Studies, 1993), in which the author defends the autonomy of philosophy from the empirical sciences. It provides, for example, an extended defense of the modal reliabilist theory of basic evidence, including a new argument against evolutionary explanations of the reliability of intuitions. It also contains a fuller discussion of how to neutralize the threat of scientific essentialism to the autonomy of (...) philosophy. (shrink)

In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...) and if so, how. As the author sees it, the functionalist believes that an object is a work of art only if it performs a particular function (usually, that of providing a rewarding aesthetic experience). By contrast the proceduralist believes that something is an artwork only if it has been created according to certain rules and procedures. Davies attempts to demonstrate the fruitfulness of viewing the debate in terms of this framework, and he develops new arguments against both points of view--although he is more critical of functional than of procedural definitions. Because it has generated so much of the recent literature, Davies starts his analysis with a discussion of Morris Weitz's germinal paper, "The Role of Theory in Aesthetics." He goes on to examine other important works by Arthur Danto, George Dickie, and Ben Tilghman and develops in his critiques original arguments on such matters of the artificiality of artworks and the relevance of artists' intentions. (shrink)

As a procedure, reflective equilibrium is simply a familiar kind of standard scientific method with a new name. A theory is constructed to account for a set of observations. Recalcitrant data may be rejected as noise or explained away as the effects of interference of some sort. Recalcitrant data that cannot be plausibly dismissed force emendations in theory. What counts as a plausible dismissal depends, among other things, on the going theory, as well as on background theory and on knowledge (...) that may be relevant to under-standing the experimental design that is generating the observations, including knowledge of the apparatus and observation conditions. This sort of mutual adjustment between theory and data is a familiar feature of scientific practice. Whatever authority RE seems to have comes, I think, from a tacit or explicit recognition that it has the same form as this familiar sort of scientific inference. One way to see the rationale underlying this procedure in science is to focus on prediction. Think of prediction as a matter of projecting what is known onto uncharted territory. To do this, you need a vehicle—a theory—that captures some invariant or pattern in what is known so that you can project it onto the unknown. How convincing the projection is depends on two factors: how sure one is of the observational base, and how sure one is that the theory gets the invariants right. The two factors are not independent, of course. One's confidence in the observational base will be affected by how persuasively the theory identifies and dismisses noise; one's confidence in the theory, on the other hand, will depend on one's confidence in the observations it takes seriously. Prediction is important as a test of theory precisely because verified predictions seem to show that the theory has correctly captured the general in the particular, that it has got the drift of the observational evidence in which our confidence is ultimately grounded. (shrink)

Robert Fudge, Problems with Contextualizing Aesthetic Properties, p67Marcia Muelder Eaton, Response to Robert Fudge, p70.

Many philosophers claim that intuitions are evidential. Yet it is hard to see how introspecting one's mental states could provide evidence for such synthetic truths as those concerning, for example, the abstract and the counterfactual. Such considerations have sometimes been taken to lead to mentalism---the view that philosophy must concern itself only with matters of concept application or other mind-dependent topics suited to a contemplative approach---but this provides us with a poor account of what it is that philosophers take themselves (...) to be doing, for many of them are concerned with the extra-mental facts about the universe. Evidentialism therefore gestates a disaster for philosophy, for it ultimately demands an epistemology for the investigation into such matter as the abstract and the modal that simply will not be forthcoming. We make a different suggestion: That intuitions are inclinations to believe. Hence, according to us, a philosophical argument does well, as a socio-rhetorical matter of fact, when it is founded on premises philosophers are generally inclined to believe, whether or not those inclinations to believe connect appropriately to the extra-mental facts. Accordingly, the role of intuitions (inclinations to believe) in philosophical methodology is non-evidential, and the question of how they could be used as evidence falls away. (shrink)

Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.

Experimental philosophy is a new approach to philosophy that incorporates the experimental methodologies of psychology, behavioral economics, and sociology. Experimental philosophers generally maintain that, in addition to traditional philosophical practices, these ways of gathering evidence can be instrumental in shedding light on philosophically important issues. Rather than relying on their own intuitions about specific cases, experimental philosophers perform systematic experiments to determine what intuitions people have about those cases. These intuitions are then used as evidence. In this context, four main (...) approaches to experimental philosophy are introduced, a sample of experimental philosophy’s results is offered, and some of the philosophical importance of those results is explained. (shrink)

This paper criticizes Analytic philosophy with its reliance on intuitions in pursuit of conceptual analysis. Rejecting naturalism as an alternative philosophical method, I offer in its place a pragmatic and revisionary conception of philosophical method. I explain the method of Analytic philosophy and show why reliance on intuitions is essential to that method, which is unable to provide substantive answers to philosophical problems. I further show that reflective equilibrium or wide analysis requires some criterion of intuition choice and that this (...) criterion can be applied directly to definitions themselves. (shrink)

A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing thought experiments (...) against them. We will argue that philosophical intuitions are not available for the evaluation of the types of counterarguments that would need to be constructed. Instead, the evaluation of these theories, to the extent that it can succeed at all, will centrally rely on inferential, non-immediate access to our subjective musical experiences. Furthermore, attempted thought experiments lose their methodological function because no proper distinction can be drawn between the persons figuring in the thought-experimental scenario and the evaluator of the scenario. Consequently, some of the central contributions to what is generally understood to be analytic philosophy of art are shown to represent a form of aesthetic criticism, offering much less basis for rational argumentation than is often thought. (shrink)

Although experimental philosophers have been busy kindling fires under well-worn armchairs in areas of philosophy as varied as epistemology, normative ethics, theories of reference, and the free will controversy, the philosophy of art has remained largely untouched. As Denis Dutton observes: “There is precious little reference to empirical psychology in contemporary philosophical aesthetics, almost as if philosophers of art have wanted to protect their patch from incursions by psychologists.” I intend to show how techniques borrowed from experimental psychology can bring (...) light as well as warmth to the old debate over “What is art?”. (shrink)

What are the groundrules in the philosophy of art? What criteria of adequacy should we use for assessing theories of art?

Many philosophers would, in theory, agree that the methods and tools of philosophy ought to be supplemented by those of other academic disciplines. In practice, however, the sociological data suggest that most philosophers fail to engage or collaborate with other academics, and this article argues that this is problematic for philosophy as a discipline. In relation to the value of interdisciplinary collaboration, the article highlights how experimental philosophers can benefit the field, but only insofar as they draw from the distinctive (...) methods of philosophy and overcome the charge of “amateur psychology” by more consistently collaborating with the scientists they seek to emulate. It concludes that philosophers ought to collaborate with other academics in order to gain an experience‐based understanding of the methods of other disciplines in addition to an understanding of the content of these disciplines. (shrink)

I want to explore the possible connections between cognitive science and metaphysics. Of course, on one philosophical taxonomy, metaphysics includes the philosophy of mind. So all contributions that cognitive science might make to philosophy of mind would equally be contributions to metaphysics. But I shall bracket that portion of metaphysics.

Books reviewed:Michele M. Moody‐Adams, Fieldwork in Familiar Places: Morality, Culture, and PhilosophyHanna Fenichel Pitkin, The Attack of the Blob: Hannah Arendt's Concept of the SocialSusan Haack, Manifesto of a Passionate Moderate.