Recently a number of authors have responded to the knowl-edge argument by suggesting that Mary could learn about new physi-cal facts upon release (Flanagan, 1992; Mandik, 2001; Stoljar, 2001; Van Gulick, 1985). A key step in achieving this is a demonstration that there are facts that can be known via colour experience that cannot be learnt scientifically. In this paper I develop an account of scientific and visual knowledge on which there is a difference between the knowledge provided by science (...) and that provided by vision. (shrink)

Emotion theory is beset by category disputes. Examining the nature and function of scientific classification can make some of these more tractable. The aim of classification is to group particulars into <<natural>> classes - classes whose members share a rich cluster of properties in addition to those used to place them in the class. Classification is inextricably linked to theories of the causal processes that explain why certain particulars resemble one another and so are usefully regarded as <<of the same (...) kind>>. The need to base categories on underlying causal processes explains why mere careful definition (including operational definition) need not produce categories that are productive objects of scientific study. Because different causal processes produce different patterns of similarity there is unlikely to be a single classification that is optimal for addressing all scientific questions. Cultural categories should not be contrasted to natural categories, but should be treated as natural classes generated by underlying social processes. Our capacity to introduce epistemically optimal categories is often restricted because categories play a role in social and political, as well as epistemic, projects. This account of classification has many implications for emotion theory. (shrink)

Many scholars view artworks as the products of cultural history and arbitrary institutional conventions. Others construe art as the result of psychological mechanisms internal to the organism. These historical and psychological approaches are often viewed as foes rather than friends. Is it possible to combine these two approaches in a unified analysis of the perception and consciousness of artworks? I defend a positive answer to this question and propose a psycho-historical theory, which argues that artworks are historical and material artefacts (...) designed to prompt mental activities and elicit the conscious experience of aesthetic worlds. My argument suggests that the material components of artworks--termed their `material substrata'--are crucial mediators between historical contexts and the mental activities elicited by the perception of artworks. (shrink)

ONE way t0 defend narrow content is to produce a sentence 0f the form ‘S believes that P’, and show that this sentence is true 0f S if and 0nly if it is true 0f any duplicate from the skin in, any doppclgangcr, of S. N0toriously, this is hard to d0. Twin Earth examples are pervasivc.1 Another way to defend narrow content; is t0 show that Only 2. narrow notion can play thc causal explanatory r01c we require 0f contcnt in (...) 2. properly scicntiicm psychology 0r cognitive science. Notoriously, this is hard t0 d0. The considerations—mcthod010gicaI solipsism, the principle 0f autonomy, 0r what:cvcr—invokcd to show that a broad notion 0f content cannot.. (shrink)

The first part of this paper explores the general issues in using Artificial Life techniques to program actual mobile robots. In particular it explores the difficulties inherent in transferring programs evolved in a simulated environment to run on an actual robot. It examines the dual evolution of organism morphology and nervous systems in biology. It proposes techniques to capture some of the search space pruning that dual evolution offers in the domain of robot programming. It explores the relationship between robot (...) morphology and program structure, and techniques for capturing regularities across this mapping. (shrink)