: To what extent do moral judgments depend on conscious reasoning from explicitly understood principles? We address this question by investigating one particular moral principle, the principle of the double effect. Using web-based technology, we collected a large data set on individuals’ responses to a series of moral dilemmas, asking when harm to innocent others is permissible. Each moral dilemma presented a choice between action and inaction, both resulting in lives saved and lives lost. Results showed that: patterns of moral (...) judgments were consistent with the principle of double effect and showed little variation across differences in gender, age, educational level, ethnicity, religion or national affiliation and a majority of subjects failed to provide justifications that could account for their judgments. These results indicate that the principle of the double effect may be operative in our moral judgments but not open to conscious introspection. We discuss these results in light of current psychological theories of moral cognition, emphasizing the need to consider the unconscious appraisal system that mentally represents the causal and intentional properties of human action. (shrink)

The central problem for pragmatics is that sentence meaning vastly underdetermines speaker’s meaning. The goal of pragmatics is to explain how the gap between sentence meaning and speaker’s meaning is bridged. This paper defends the broadly Gricean view that pragmatic interpretation is ultimately an exercise in mind-reading, involving the inferential attribution of intentions. We argue, however, that the interpretation process does not simply consist in applying general mind-reading abilities to a particular (communicative) domain. Rather, it involves a dedicated comprehension module, (...) with its own special principles and mechanisms. We show how such a metacommunicative module might have evolved, and what principles and mechanisms it might contain. (shrink)

The interaction between the recovery of the artist’s intentions and the perception of an artwork is a classic topic for philosophy and history of art. It also frequently, albeit sometimes implicitly, comes up in everyday thought and conversation about art and artworks. Since recent work in cognitive science can help us understand how we perceive and understand the intentions of others, this discipline could fruitfully participate in a multidisciplinary investigation of the role of intention recovery in art perception. The method (...) I propose is to look for cases where recovery of the artist’s intentions interacts with perception of a work of art, and this cannot be explain by a simple top-down influence of conscious propositional knowledge on perception. I will focus on drawing and show that recovery of the draftsman’s intentional actions is handled by a psychological process shaped by the motor system of the observer. (shrink)

To what extent do moral judgments depend on conscious reasoning from explicitly understood principles? We address this question by investigating one particular moral principle, the principle of the double effect. Using web-based technology, we collected a large data set on individuals' responses to a series of moral dilemmas, asking when harm to innocent others is permissible. Each moral dilemma presented a choice between action and inaction, both resulting in lives saved and lives lost. Results showed that: (1) patterns of moral (...) judgments were consistent with the principle of double effect and showed little variation across differences in gender, age, educational level, ethnicity, religion or national affiliation (within the limited range of our sample population) and (2) a majority of subjects failed to provide justifications that could account for their judgments. These results indicate that the principle of the double effect may be operative in our moral judgments but not open to conscious introspection. We discuss these results in light of current psychological theories of moral cognition, emphasizing the need to consider the unconscious appraisal system that mentally represents the causal and intentional properties of human action. (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)

Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book (...) distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account 0f artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument. (shrink)

This essay in the "anthropology of science" is about how cognition constrains culture in producing science. The example is folk biology, whose cultural recurrence issues from the very same domain-specific cognitive universals that provide the historical backbone of systematic biology. Humans everywhere think about plants and animals in highly structured ways. People have similar folk-biological taxonomies composed of essence-based species-like groups and the ranking of species into lower- and higher-order groups. Such taxonomies are not as arbitrary in structure and content, (...) nor as variable across cultures, as the assembly of entities into cosmologies, materials or social groups. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

This revised edition includes a new Preface outlining developments in Relevance Theory since 1986, discussing the more serious criticisms of the theory, and ...