In his note 'Paul Russell on Hume's "Reconciling Project"' {Mind, 1984, pp. 587-8) Professor Flew makes two criticisms of my note 'On the Naturalism of Hume's "Reconciling Project"' {Mind, 1983, pp. 593-600). They are: (1) that 'nowhere does Russell take note of the fact that Hume left us two treatments "Of Liberty and Necessity", two treatments which are at least in emphases andtone of presentation very different'; and (2) that I must be 'prepared to offer and to defend some alternative (...) reading' of the first three paragraphs of the first Enquiry discussion 'Of Liberty and Necessity' where Hume suggests that 'the wholecontroversy has hitherto turned merely upon words' {EHU, p. 81—my emphasis: this and later page references are to the Selby-Bigge editions). As regards the first criticism, I refer the reader to my second footnote where I do in fact, quite explicitly, note that Hume left us two treatments 'Of Liberty and Necessity'. In this footnote I point out that my description of Hume's arguments as compattbtltst arguments 'accords somewhat more with the "reconciling" spirit of the Enquiry than with that of the Treatise where Hume tends to identify liberty with liberty of indifference' (p. 593). Obviously in any discussion note there is limited space, and therefore I could not discuss at length complexities which were not of immediate relevance to my alternative interpretation. However, contrary to what Flew claims, I do mention that there are two treatments and that they differ in emphases and tone. (shrink)

Epistemic two-dimensional semantics, advocated by Chalmers and Jackson, among others, aims to restore the link between necessity and a priority seemingly broken by Kripke, by showing how armchair access to semantic intensions provides a basis for knowledge of necessary a posteriori truths. The most compelling objections to E2D are that, for one or other reason, the requisite intensions are not accessible from the armchair. As we substantiate here, existing versions of E2D are indeed subject to such access-based objections. But, we (...) moreover argue, the difficulty lies not with E2D but with the typically presupposed conceiving-based epistemology of intensions. Freed from that epistemology, and given the right alternative—one where inference to the best explanation provides the operative guide to intensions—E2D can meet access-based objections, and fulfill its promise of restoring the desirable link between necessity and a priority. This result serves as a central application of Biggs and Wilson, according to which abduction is an a priori mode of inference. (shrink)

Several philosophers have suggested that certain aspects of people’s experience of agency partly explains why people tend to report that it seems to them, in perceptual experience, as though time robustly passes. In turn, it has been suggested that people come to believe that time robustly passes on the basis of its seeming to them in experience that it does. We argue that what require explaining is not just that people report that it seems to them as though time robustly (...) passes, and that they believe that it does, but rather, the substantial variation (a) in people’s reports regarding whether it seems as though time robustly passes, and (b) their beliefs about whether time robustly passes. We empirically investigate the agentive explanation of (a), according to which variation in people’s agentive experiences explains variation in people’s reports regarding whether it seems to them as though time robustly passes. We also empirically investigate the experiential seeming explanation of belief, according to which variation in people’s beliefs about whether time robustly passes is explained by variation in their reports regarding whether it seems in experience as though time robustly passes. We found empirical support for the agentive explanation, but not for the experiential seeming explanation of passage beliefs. We consider the implications of our results for three views about temporal experience and temporal beliefs: dynamism, passage illusionism and deflationism. (shrink)

We explore the role of episodic imagining in explaining why people both differentially report that it seems to them in experience as though time robustly passes, and why they differentially report that they believe that time does in fact robustly pass. We empirically investigate two hypotheses, the differential vividness hypothesis, and the mental time travel hypothesis. According to each of these, the degree to which people vividly episodically imagine past/future states of affairs influences their tendency to report that it seems (...) to them as though time robustly passes and to judge that time does robustly pass. According to the former, a greater degree of vividness will tend to increase the extent to which people make such reports, while according to the latter, it will tend to decrease the extent to which people make such reports. We found weak evidence in favour of the former hypothesis. We reflect on the implications of this finding for theorising about such reports. (shrink)

This paper aims to contribute a design-focused perspective on the ‘alternative paradigm research’ discussion. To clarify the aspect of ‘design-focus’ that we wish to refer to, we will use the term ‘areas of design practice’ to cover those activities that focus on the conception and production of artefacts, in contrast to the activities of theorizing and writing histories. The literature on academic research in areas of design practice encompasses a board range of subjects and terminology -- it refers to the (...) creative and performing arts, the arts, design, etc., however what we take to be common in the literature is an interest in research involving the creation of original artefacts. In this paper, we cluster together the currently academicized, previously vocational areas. -/- We claim that researchers in different disciplines operate in different research paradigms owing to different worldviews. A worldview is determined by a set of foundational beliefs that are taken on faith, and a research paradigm is defined by axioms and assumptions that are a consequence of that worldview. For example, the scientific view of the world is that it exists independently from the individual and the individual’s thoughts about it; and it is possible to find out objective facts about the world by following certain procedures. This worldview conditions a research paradigm with an ontology of a real external world; that methodologically the data that is collected in procedurally appropriate ways will yield objective facts about that world; and that epistemologically the researcher stands in a disengaged relation to the world that is being investigated. The procedures that are regarded as appropriate within a particular research paradigm form the research models that are acceptable in that paradigm, and these research models determine what one should do in order to extend knowledge in a particular subject. Of course, the scientific worldview is not the only one, and this paper will contrast it to the design worldview as indicating the emergence of a unique research paradigm. -/- The relationship between a community’s worldview and the academic models that it adopts may be functional or dysfunctional. We claim that the relationship in the areas of design practice is often dysfunctional. This is because the academic model has not developed authentically in relation to its fundamental beliefs, but has done so in response to external forces for academicization. When pushed into the academy, areas of design practice did not possess their own academic models that were effectively linked to its worldview. We claim that, as a result, these areas simply co-opted research models from other disciplines. -/- The paper proposes a rationalistic approach for investigating the relationship between worldview and research paradigm -- between fundamental beliefs, theoretical concepts and methodology in research models. The rationalistic approach enables a critique, which reveals that there are indeed problematic issues with adopting academic models from other research paradigms in an uncritical way, and concludes that areas of design practice should be investigated as an example of a distinct worldview. (shrink)

There are no established conventions for, and few examples of, indexing visual material on the basis of its form. Most image databases use keywords to describe the form or function, and access data by text-based retrieval of these keywords. An image-based approach would order the data by appearance, e.g. Shepherd (1971) and Dreyfuss (1972). A taxonomy must be created in order to apply this technique to a new data set. Previous applications have been aided by certain limiting factors on the (...) possible range of images indexed thus providing the key to a taxonomy, e.g. international pictorial signs in Dreyfuss. A fundamental principle which may be inferred from these studies is that the taxonomy needs to be related to the needs of the user, and not solely to abstract features of design. This is reflected in guidelines issued by the UK organisation The Society of Indexers. The studies also suggest the need for several approaches to classification within the same data set, e.g Dreyfuss, in which signs are located under more than one heading. (shrink)

This article is an account of an electronic discussion which took place between November 1995 and June 1996. A number of specialists in relevant research areas had been invited to take part in the discussion from the very beginning, and some were added later. Altogether 30 individuals subscribed to the list. The “target paper,” written by Allen Renear, was sent to the list on November 27, 1995. The target paper alone comprised 8,500 words. The ensuing discussion, to which 9 of (...) the members on the list made one or more individual contributions, comprises 30 entries of altogether 37,000 words. It is the function of this printed article to provide a brief summary and a key to the full electronic discussion which accompanies it. (shrink)

We perceive in many ways. But several dubious presuppositions about the senses mask this diversity of perception. Philosophers, scientists, and engineers alike too often presuppose that the senses (vision, audition, etc.) are independent sources of information, perception being a sum of these independent contributions. We too often presuppose that we can generalize from vision to other senses. We too often presuppose that vision itself is best understood as a passive receptacle for an image thrown by a lens. In this essay (...) we illustrate how reflection on results from the cognitive sciences undermine these (and many other) traditional presuppositions. Our illustration situates the remaining essays in the volume, Perception and its Modalities, which further extend the case against various traditional presuppositions, and offer alternatives ways to understand the senses and their role in perception. While many of the essays in this volume represent competing views and draw on different fields, from conceptual analysis to engineering, most contributors believe that to understand perception properly, we need to treat as foundational the idea that the senses work together. From that agreement, new paradigms for theorizing about perception begin to emerge. (shrink)

In “The Open Future” (2021) Patrick Todd argues that the future is open, and that as a consequence all future contingents are false (as opposed to the more common view that they are neither true nor false). Very roughly, this latter claim is motivated by the idea that (a) presentism is true, and so future (and indeed past) things do not exist and (b) if future things do not exist, then the only thing that could ground there being future tensed (...) facts, and hence make those future tensed claims true, is the present and the laws of nature. But (c) the present and the laws of nature cannot ground there being future tensed facts because they do not necessitate there being any such fact. Hence future tensed claims are all false. Todd then goes on to present a semantics for his version of the open future on which all future contingents are false. In what follows we take up two strands of Todd’s view. First, we begin, in Section 2, by outlining Todd’s argument that future contingents are all false. We suggest that the considerations that Todd adduces for this conclusion do not support this being so. Then in Section 3 we consider the semantics that Todd offers, and argue that it yields implausible consequences. (shrink)

Designer babies are often presented in the popular media as a kind of apocalyptical spectre of things to come in a brave new world where reproduction is the province of white coated scientists and potential parents in pursuit of trophy children. In this realm physical, intellectual, and social perfection is sought through the manipulation of genes and selection of favoured traits and attributes to the detriment of individuals who cannot compete and of society more generally through the loss of natural (...) selection. It is therefore a pleasure to discover a short readable book that sets out the discussion and its many nuances in concise and accurate terms that will be accessible to all and should help to dispel some of these science fiction myths through scholarly debate.This volume is part of a collection of books under the title Debating Matters that sprang out of a series of public debates organised by the Institute of Ideas. The conferences were intended to reinvigorate debate and the contestation of ideas and contemporary issues the Institute regards as “too frequently sidelined”. The arguments are presented by an authoritative who’s who of commentators who offer their own insightful readings of various aspects of the debate. Each essayist confirms the fact that the term “ designer babies ” is an inaccurate reflection of the current ability of science to actively fashion children with selected characteristics, and as a result …. (shrink)

This paper investigates the role of visual experience in Wittgenstein's work. The specific thesis is that visual experience provides not only diverse illustrative examples of what could be an explanation of meaning, but that it also provides a recurrent metaphor for the whole process of meaning and understanding. Wittgenstein uses a great number of visual examples in his texts. Their diversity may be accounted for by the great diversity of ways in which he attempts to describe the relationship between a (...) word and its meaning. The resultant variety of visual examples may be summarised by what I call the Visual Discontinuity Thesis. However, beneath this diversity there lies a thread of continuity. This is provided by the persistent use of visual experience in the description of the word-meaning relation. This use underlies the projection relationship of the Tractatus and the "seeing-as" relationship of the Investigations. This recurrent visual metaphor may be summarised by what I call the Visual Continuity Thesis. This paper presents the latter thesis in the context of a description of the former. (shrink)

Vision often dominates other perceptual modalities both at the level of experience and at the level of judgment. In the well-known McGurk effect, for example, one’s auditory experience is consistent with the visual stimuli but not the auditory stimuli, and naïve subjects’ judgments follow their experience. Structurally similar effects occur for other modalities (e.g. rubber hand illusions). Given the robustness of this visual dominance, one might not be surprised that visual imagery often dominates imagery in other modalities. One might be (...) surprised, however, that visual imagery often dominates perception in other modalities. This more controversial claim is motivated both by empirical data and by introspection. Some think of perception-perception visual dominance as epistemically good, holding that cases in which visual dominance misleads us (e.g. McGurk and rubber hand illusions) are cases in which the perceptual system resolves conflicts according to principles that are generally reliable. Here, we explore support for the more controversial claim that imagery-perception visual dominance is epistemically good. We suggest that, when the task is richly spatial, requiring for optimal performance the all-at-once identification of macro-spatial and allocentric properties (e.g. identifying the shape or location of a felt or heard object), the visual, whether perception or imagination, should dominate other modalities. Put another way, when identifying objects, one should go and look or, short of that, visually imagine candidate objects, and then follow the visual, even against conflicting perceptions from other modalities. For this broadly-typed category of of cognitive-perceptual task, vision does dominate and it should. (shrink)

These are my materials (a short precis, and replies to John MacFarlane, Mitchell Green, Ryan Wasserman, and Anthony Bigg and Kristie Miller) for a symposium on my book, _The Open Future: Why Future Contingents are All False_ (OUP, 2021) in *Analytic Philosophy*. [The contribution from MacFarlane is available on his website, those from Wasserman and Green are on their Academia profiles, and the contribution from Bigg and Miller is on Miller's PhilPapers profile.].

The fourteen papers in this collection offer a variety of original contributions to the epistemology of modality. In seeking to explain how we might account for our knowledge of possibility and necessity, they raise some novel questions, develop some unfamiliar theoretical perspectives, and make some intriguing proposals. Collectively, they advance our understanding of the field. In Part I of this Introduction, I give some general background about the contemporary literature in the area, by sketching a timeline of the main tendencies (...) of the past twenty-five years or so, up to the present debates. Next, I focus on four features that largely characterize the latest literature, and the papers in the present collection in particular: (i) an endorsement of the importance of essentialism; (ii) a shift to a “metaphysics-first” approach to modal epistemology; (iii) a focus on metaphysical modality as opposed to other kinds of modality; and (iv) a preference for non-uniform modal epistemology. In Part II, I present the individual papers in the volume. These are organized around the following four chapters, based on their topic: (A) Skepticism & Deflationism; (B) Essentialism; (C) Non-Essentialist Accounts; (D) Applications. -/- LIST OF CONTRIBUTORS: Francesco Berto; Stephen Biggs & Jessica Wilson; Justin Clark-Doane; Philip Goff; Bob Hale; Frank Jackson; Mark Jago; Boris Kment; Antonella Mallozzi; Graham Priest; Gabriel Rabin; Amie Thomasson; Anand Vaidya & Michael Wallner; Jennifer Wang. -/- The volume is dedicated to the memory of Bob Hale. -/- . (shrink)

More than thirty-five years after its first release in 1971, Don McLean’s “American Pie” still resonates deeply with music listeners and consumers of popular culture. In a 2001 public poll sponsored by the National Endowment for the Arts and the Recording Industry Association of America, McLean’s eight-and-a-half-minute masterpiece was ranked number 5 among the 365 “most memorable” songs of the twentieth century. In 2002, the song was voted into the Grammy Hall of Fame. In 1997, Garth brooks performed “American Pie” (...) at a concert in Central Park, and in 2000, pop icon Madonna performed her own version of “American Pie” on the soundtrack of her movie The Next Best Thing. In 1999, American Pie became the title of a popular – and irreverently comical – coming-of-age movie starring Jason Biggs (the movie American Pie was followed by American Pie 2 in 2001, American Wedding in 2003, and American Pie Present – Band Camp in 2005). Like the movie to which it lent its name, the song “American Pie” presents a coming-of-age narrative; and, also like the movie, the song appealed strongly and immediately to its contemporary audience. Three months after its release in November of 1971, the song reached the number one slot on the charts in January of 1972, and it remained in the Top 40 for a total of seventeen weeks (longer than any other single during the year of 1972). Unlike the movie, however, the song “American Pie” is highly nuanced and sophisticated, containing multiple allusions and layers of meaning which challenge and heighten our understanding of rock ’n’ roll music and the possibility of self-reflection and self-critique in popular culture. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...) enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)