This paper investigates Descartes’s understanding of the imago Dei, that it is above all in virtue of the will that we bear the image and likeness of God. I challenge the key assumption of arguments that hold that Descartes’s comparison between the human will and the divine will is problematic—that in his conception of the imago Dei Descartes is alluding to Scholastic conceptions of analogy available to him at the time, which would place particular constraints on the legitimacy of the (...) comparison. I argue instead that Descartes is evoking a different tradition regarding the nature of image and imitation, stemming from Augustine and Aquinas, and thus, that those constraints do not apply. I then argue that Descartes thinks the likeness between the human will and God’s will is that both are infinite in “extent.” This means that human will can “extend itself” not only to things that can be the object of some other will, but to things that can be the object of God’s will. This is notable because Descartes famously thinks that absolutely anything can be the object of God’s will. I explain why this interpretation is not implausible, contrary to first appearances. (shrink)

In IVP50S, Spinoza claims that “one who is moved to aid others neither by reason nor by pity is rightly called inhuman. For (by IIIP27) he seems to be unlike a man” (IVP50S). At first blush, the claim seems implausible, as it relies on the dubious assumption that beings will necessarily imitate the affects of conspecifics. In the first two sections of this paper, I explain why Spinoza accepts this thesis and show how this claim can be made compatible with (...) his account of representation. In the third and final section I offer an auxiliary defense of the thesis, showing that, according to Spinoza, to be human is to sociable, and sociability depends on the imitation of the affects. (shrink)

Political theorists remain divided on the question of Plato's utopianism. Some associate his dialogues with an uncompromising vision of the human good, one that Plato is thought to build into blueprints that he would have humanity implement as far as possible. Others read Plato as a brilliant critic of utopian thinking and insist that his blueprints are not to be understood as normative paradigms at all, but rather as self-destructive parodies. This article develops a third approach to Plato's utopianism by (...) turning to the treatment of 'imitation' (mimesis) in the Laws. I argue that the Laws requires a distinction between three ways in which an imitation might resemble its 'model' (paradeigma). Attending to this distinction adds credence to the view that, for Plato, the good in speech must be 'revised' in order to find satisfactory expression in human deeds. (shrink)

Despite renewed interest in the positive role exemplars can play in moral education, exemplar-based education has been criticized as illiberal and indoctrinating. In this chapter, we investigate these worries and show how a specific, twofold approach to exemplar narratives can help avoid them. According to opponents, exemplar education can involve indoctrination and impose specific moral values, since pupils are expected to act in ways that resemble exemplars. Even if pupils are encouraged to pick their own exemplars, this arguably still promotes (...) moral deference instead of independent moral reasoning and critical thinking. We argue that a nuanced distinction between ‘imitation’ and ‘emulation’ helps avoid such worries. Rather than seeking to simply imitate their exemplars, pupils should be encouraged to take a more nuanced approach to emulation in which they engage with their exemplars, think about how they can promote the values, and embody the ideals and virtues that they identify and admire in them. This approach is supported by recent insights about which exemplars are more motivating and which risk backfiring due to ‘do-gooder derogation’. It also leads to practical pointers for those who want to work with exemplars in character education without being charged of indoctrination. (shrink)

Recent research on infant and animal imitation and on mirror neuron systems has
brought imitation back in focus in psychology and cognitive science. This topic has
always been important for philosophical hermeneutics as well, focusing on theory and
method of understanding. Unfortunately, relations between the scientific and the
hermeneutic approaches to imitation and understanding have scarcely been investigated,
to the loss of both disciplines. In contrast to the cognitive scientific emphasis on
sharing and convergence of representations, the hermeneutic analysis emphasizes the
indeterminacy and openness (...) of action understanding due to preunderstanding, action
configuration, and the processual nature of understanding. This article discusses empirical
evidence in support of these aspects and concludes that hermeneutics can
contribute to the scientific investigation of imitation and understanding. Since, conversely,
some grounding—and constraining—aspects of hermeneutics may be derived
from cognitive science, both should be integrated in a multilevel explanation of
imitation and understanding. This holds also for explanations that are largely based on
mirror neuron systems, since these appear to be sensitive to developmental and
experiential factors, too. (shrink)

This issue of the Kybernetes journal is concerned with the philosophical question- Can a Machine Think? Famously, in his 1950 paper `Computing Machinery andIntelligence' [9], the British mathematician Alan Turing suggested replacing this question - which he found \too meaningless to deserve discussion" - with a simple -behavioural - test based on an imagined `Victorianesque' pastime he entitled the`imitation game'. In this special issue of Kybernetes a selection of authors with a special interest in Turing's work (including those who (...) participated in the 2008 AISB Turing Symposium) have been invited to explore and clarify issues arising from Turing's 1950 paper on the Imitation Game; now more widely known as the Turing test. (shrink)

While more species are being identified as cultural on a regular basis, stark differences between human and animal cultures remain. Humans are more richly cultural, with group-specific practices and social norms guiding almost every element of our lives. Furthermore, human culture is seen as cumulative, cooperative, and normative, in contrast to animal cultures. One hypothesis to explain these differences is grounded in the observation that human children across cultures appear to spontaneously over-imitate silly or causally irrelevant behaviors that they observe. (...) The few studies on over-imitation in other species are largely taken as evidence that spontaneous over-imitation is not present in other species. This leads to the over-imitation hypothesis – that the differences between human culture and animal cultures can be traced to the human unique tendency to over-imitate. In this paper, we analyze the current state of the literature on animal over-imitation and challenge the adequacy of the over-imitation hypothesis for the differences between humans and animal cultures. To make this argument, we first argue that the function of human over-imitation is norm-learning and that over-imitation, like skill-learning, should be subject to selective social learning effects. Then we review the empirical evidence against animal over-imitation and argue that these studies do not take into account the relevant variables given the normative and selective nature of over-imitation. We then analyze positive empirical evidence of over-imitation in great apes and canids from the experimental literature and conclude that the current body of evidence suggests that some canids and primates may have the capacity for over-imitation. This paper offers a methodological suggestion for how to study animal over-imitation, and a theoretical suggestion that over-imitation might be much more widely found among species. The larger implication for claims about human uniqueness suggests that if we do find widespread evidence of over-imitation across species, many of the current theories of human uniqueness that focus on human hyper-cooperation or social norms may have only identified a difference of degree, not of kind, between humans and other animals. (shrink)

Humans are uncontroversially better than other species at learning from their peers. A key example of this is imitation, the ability to reproduce both the means and ends of others’ behaviours. Imitation is critical to the acquisition of a number of uniquely human cultural and cognitive traits. However, while authors largely agree on the importance of imitation, they disagree about the origins of imitation in humans. Some argue that imitation is an adaptation, connected to the (...) ‘Mirror Neuron System’ that evolved to facilitate action understanding and the learning of social behaviours. Others argue that imitation is a cultural practice learned in childhood, and that there is no evidence that it evolved genetically. We offer a third alternative that is consistent with both data that the human brain is optimised for imitation, and consistent with its being substantially learned. We hypothesise that at some point in human history humans underwent natural selection for two imitation-relevant abilities – specifically, (i) the tendency to be more attentive to our peers, and (ii) fine motor skill in the manual and oro-facial domains. These changes enabled us to excel at both learning to imitate, and learning by imitating. (shrink)

An Evaluation of the 2008 Loebner Contest.

Observational learning can enhance the acquisition and performance quality of complex motor skills. While an extensive body of research has focused on the benefits of synchronous (i.e., concurrent physical practice) and non-synchronous (i.e., delayed physical practice) observational learning strategies, the question remains as to whether these approaches differentially influence performance outcomes. Accordingly, we investigate the differential outcomes of synchronous and non-synchronous observational training contexts using a novel dance sequence. Using multidimensional cross-recurrence quantification analysis, movement time-series were recorded for novice dancers (...) who either synchronised with (n = 22) or observed and then imitated (n = 20) an expert dancer. Participants performed a 16-count choreographed dance sequence for 20 trials assisted by the expert, followed by one final, unassisted performance trial. Although end-state performance did not significantly differ between synchronous and non-synchronous learners, a significant decline in performance quality from imitation to independent replication was shown for synchronous learners. A non-significant positive trend in performance accuracy was shown for non-synchronous learners. For all participants, better imitative performance across training trials led to better end-state performance, but only for the accuracy (and not timing) of movement reproduction. Collectively, the results suggest that synchronous learners came to rely on a realtime mapping process between visual input from the expert and their own visual and proprioceptive intrinsic feedback, to the detriment of learning. Thus, the act of synchronising alone does not ensure an appropriate training context for advanced sequence learning. (shrink)

A crucial question for artificial cognition systems is what meaning is and how it arises. In pursuit of that question, this paper extends earlier work in which we show that emergence of simple signaling in biologically inspired models using arrays of locally interactive agents. Communities of "communicators" develop in an environment of wandering food sources and predators using any of a variety of mechanisms: imitation of successful neighbors, localized genetic algorithms and partial neural net training on successful neighbors. Here (...) we focus on environmental variability, comparing results for environments with (a) constant resources, (b) random resources, and (c) cycles of "boom and bust." In both simple and complex models across all three mechanisms of strategy change, the emergence of communication is strongly favored by cycles of "boom and bust." These results are particularly intriguing given the importance of environmental variability in fields as diverse as psychology, ecology and cultural anthropology. (shrink)

Scholars interested in the characterology presupposed by constitutional government have occasionally turned to Plato’s Laws, one of the earliest and most penetrating treatments of the subject. Even so, interpreters have neglected a vital tension that the Laws presents as coeval with lawfulness itself. Through a close reading of the dialogue’s opening passages, I argue that the rule of law for Plato is implicated in a certain paradox: it both prohibits and requires the imitation of god. Law cannot safely originate (...) with human beings; yet human beings must involve themselves nonetheless in laying law down. Trustworthy lawgivers must revere the gods while at the same time emulating them, must somehow make law themselves while regarding that very task as beyond their ken. Although the political psychology of lawfulness would therefore seem incoherent, I conclude by surveying reasons for thinking this inference unwarranted. (shrink)

The advent of logical positivism contributed to the sharp definitional demarcation between what we consider mythical (mythos) and what we take to be a true account (logos). This essay attempts to go back to one of the sources of such a supposed distinction. By analyzing the Gorgias, I will show that even Plato did not make such a distinction. In fact, Plato even constructed a theory of justice that made use of myth as its medium. The Platonic Myth in the (...) Gorgias was used as true logos in order to justify Socrates’ use of the myth as the paradigm of a life that is philosophical in contrast to that of his accusers who espoused mere sophistry. By using the concept of historia in relation with the concept of mythos, Plato regarded the futuristic afterlife in the myth as a sufficient condition to live a just life. This sufficient condition exemplified by the Myth in the Gorgias is a measuring rod by which we can compare our present system of justice. (shrink)

The thesis analyses the relation between Rousseau’s musical writings and elements of his moral, social and linguistic philosophy. In particular, I am concerned to demonstrate: (i.) how the core of Rousseau’s theory of musical imitation is grounded in the same analysis of the nature of man which governs his moral and social philosophy; (ii.) how this grounding does not extend to the stylistic prescriptions the justification of which Rousseau intended his musical writings to offer. The central argument draws on (...) Rousseau’s analysis of the origin of man as distinctively human. This origin extends to the awareness of moral and aesthetic value, and to communication in speech and song. Rousseau’s moral analyses of social and political life usually take the form of relating contemporary practice to the original structure in which man’s awareness of his own good is commensurate with that of the good of others. The analysis of music follows a similar model: music is to be considered good in so far as it replicates, or faithfully reflects, the original model of communication. The value of music is thereby understood to extend to moral as well as aesthetic goodness. Given the subtlety of Rousseau’s understanding of the ‘origin’, I argue that this analysis of music’s aesthetic value is powerful and far‐ reaching in its relevance for contemporary musical aesthetics. However, I also argue that while the analysis in general is good in this way, it does not entail the specific kind of musical‐stylistic preferences which Rousseau sought to use it to advance. (shrink)

This contribution proposes how beholders may internally process unfinished works of art. It does so by considering five of Michelangelo Buonarroti’s interrupted sculptures and pointing out their empathic and imaginative potential. The beholder focused on the surface, I propose, is inclined to mentally simulate the artist’s gesture that drafted the sculptures through the visible graphic signs of the chisels. This inner simulation takes place within the activation of various brain networks, located in the brain’s motor system. Renaissance authors associated the (...) observation of the unfinished to learning and, as this article shows, this assumption seems to find confirmation in recent neuroscientific studies on mirror neurons and imitation learning. In this way, the empathic engagement established between the beholder and the work of art observed – as well as the role played by embodied simulation and imagination in this kind of visual perception – clarifies how the incompleteness can also have that pedagogical function recognised by Giorgio Vasari and Benvenuto Cellini. (shrink)

ABSTRACT This essay deals with the relation between representation, imitation, and the affects in Don Quixote. In so doing, it focuses on Cervantes’s Platonist poetics and his own views of imitation and the books of knighthood. Although most readers, translators, and critics have until now deemed Cervantes’s use of the word “republic” in Don Quixote unimportant, the word “república” or republic is in fact the entry point to Cervantes’ Platonist critique of the novels of knighthood, and his notions (...) of writing, imitation, and the emotions. (shrink)

AI, in the form of artificial carers, provides a possible solution to the problem of a growing elderly population Yet, concerns remain that artificial carers ( such as care-or chat-bots) could not emphathize with patients to the extent that humans can. Utilising the concept of empathy perception,we propose a Turing-type test that could check whether artificial carers could do many of the menial tasks human carers currently undertake, and in the process, free up more time for doctors to offer empathy. (...) -/- . (shrink)

I have two objectives in this article. The first is methodological: I elaborate a minimal phenomenological method and attempt to show its importance in studies of infant behavior. The second objective is substantive: Applying the minimal phenomenological approach, combined with Meltzoff’s “like-me” developmental framework, I propose the hypothesis that infants learn the pointing gesture at least in part through imitation. I explain how developments in sensorimotor ability (posture, arm and hand control and coordination, and locomotion) in the first year (...) of life prepare the infant for acquiring the pointing gesture. The former may directly enable the latter by allowing the infant to experience its own body as being “like those” of others, thus allowing it to imitatively appropriate a broader range of adult behavior. My proposal emphasizes the embodiment of mind in the development of cognition, contrary to latent dualistic tendencies in some developmental literature. (shrink)

An evaluation of the 2008 Loebner contest.

In the twenty-fourth aporia of Theophrastus' Metaphysics, there appears an important, if ‘bafflingly elliptical’, ascription to Plato and the ‘Pythagoreans’ of a theory of reduction to the first principles via ‘imitation’. Very little attention has been paid to the idea of Platonic and ‘Pythagorean’ reduction through the operation of ‘imitation’ as presented by Theophrastus in his Metaphysics. This article interrogates the concepts of ‘reduction’ and ‘imitation’ as described in the extant fragments of Theophrastus’ writings – with special (...) attention to his Metaphysics – in an attempt to make sense of how, precisely, Theophrastus characterizes the metaphysical systems of Plato and the ‘Pythagoreans’. A fuller examination of Aporia 24 produces important new understandings of the nature of the Early Academy in the mid fourth century B.C.E. Specifically, by ascribing the concept of reduction via ‘imitation’ to Plato and the ‘Pythagoreans’, Theophrastus is actually describing theories about the structure of the universe held by an important Platonist competitor and the contemporary head of the Academy in Athens, Xenocrates of Chalcedon (396/5–314/13 B.C.E.), who (a) took it upon himself to establish a Platonic doctrine that could be associated with his master’s writings and (b) coordinated that doctrine with the philosophical precepts of the Pythagoreans. As a consequence, we are prompted to question Aristotle’s famous ascription of a theory of ‘imitation’ to the metaphysics of the genuine contemporary or recently deceased Pythagoreans (such as Philolaus of Croton or Archytas of Tarentum) and consider how Xenocrates’ writings on Plato and the ‘Pythagoreans’ might be informing both Theophrastus’ and Aristotle’s descriptions of the Platonic and Pythagorean philosophical system(s). (shrink)

According to some critics, the putative superficiality of Winckelmann's appropriation of the Greek legacy is just one instance of the emptiness that characterizes the appropriation of the Greeks by the Germans in general. Thus Eliza Maria Butler has spoken of the 'tyranny of Greece over Germany': 'If the Greeks are tyrants, the Germans are predestined slaves ... The Germans have imitated the Greeks more slavishly; they have been obsessed by them more utterly, and they have assimilated them less than any (...) other race.” Not coincidentally, the putative freedom or unfreedom of one's appropriation of the Greek ideal is one of the basic problems at issue in this chapter. In the following pages, I argue that Winckelmann not only understood this basic problem but also touched on its actual solution, albeit in an inadequate, aesthetic manner. I go on to suggest that Hegel articulated this solution in an adequate and properly philosophical manner. (shrink)

It is tempting to always try to distinguish convincing from poor literary imitation by micro-analysis. The analysis observes various patterns of word and punctuation use in the original and compares those with the imitation. I argue that no such sophistication is needed when faced with Max Beerbohm’s imitation of Joseph Conrad.

This paper is devoted to some generalizations of explanatory potential of connectionist approaches to theoretical problems of the philosophy of mind. Are considered both strong, and weaknesses of neural network models. Connectionism has close methodological ties with modern neurosciences and neurophilosophy. And this fact strengthens its positions, in terms of empirical naturalistic approaches. However, at the same time this direction inherits weaknesses of computational approach, and in this case all system of anticomputational critical arguments becomes applicable to the connectionst models (...) of mind. The last developments in the field of deep learning gave rich empirical material for cognitive sciences. Multilayered networks, mathematical models of associative dynamics of learning, self-organizing neuronets and all that allow to explain the principles of human conceptual organizing and after this to emulate these processes in computer systems. At all engineering achievements of this technology there is a traditional criticism from representatives of cognitive psychology who cannot accept a thesis about learning ability of a neuronet on the basis of redistribution of scales. Process of learning of natural intelligence, according to cognitive models, happens due to attraction of knowledge broadcast in a symbolical form (mental representations, concepts) at the expense of the systems of output knowledge expressed in the propositional contents. Some philosophical aspects of «neural metaphor» in modern cognitive sciences create the problem field which demands comprehensive understanding, the first step towards which is taken in this work. (shrink)

For Plato mimesis is the appearance of the external image of things. In his view, the reality was not to be found in the world of objects but in the realm of ideas. Therefore, Plato sees the arts as an occupation that is inferior to science and philosophy, but that is also a potential source of corruption. His concept of imitation, although it evolved over time, led him to take an increasingly dogmatic and intolerant position regarding artistic creation. His (...) notion that poetry is morally dangerous establishes the foundations for a didactic critique, which tends to flourish in societies undergoing political crises. Plato wrote his works during an age of instability and decline; an age when the role of Athens as the leading power in the Mediterranean was beginning to be questioned. Through an analysis of Ion and Books II, III, and X of The Republic, this essay explores the epistemological and moral —rather than aesthetic— nature of Plato’s judgment on the value of Poetry and the Arts. (shrink)

Atheists sometimes use Bertrand Russell's teapot argument, and its variants with other objects in place of the teapot, to argue for the rationality of atheism. In this paper I show that this use of the teapot argument and its variants is unacceptably circular. The circularity arises because there is indirect evidence against the objects invoked in the arguments.

Philosophy is inserted as a pedagogical novelty, a sort of renewal of the preparation of young people for adult life. However, what begins as an educational reform ends up representing a genuine intellectual approach: the formulation of scientific knowledge emerges from it. Philosophy goes beyond the originally narrow boundaries of paideia, understood as education of the young, to become a way of life also for adults. However, this does not prevent Greek and Roman philosophy can be understood as a community (...) of life, if not always between “teachers and disciples”, at least between “lovers of knowledge”, philosophers, who are also among themselves lovers, i.e. “friends”. For these reasons, these pages begin with a brief consideration of the Greek paideia, from traditional religion to philosophy. Second, the paper exposes the important imitative character of Greek education inherited by philosophy. Third, the article pays attention to a privileged context for the development of imitation, the philosophical friendship, the discipleship among philosophers itself. In friendship we will find a context that overcomes some of the limitations posed by education founded on imitation. (shrink)

[The Mechanics of Sorcery in the Context of Deceptive-Imitative Poetry] When we inquire as to how people could have a perverted preference for ignorance over knowledge, Plato’s statement that people are deprived of true opinions only against their will provides us with an essential clue for starting out: Depriving a person of something against their will is only possible by theft, by spells of sorcery, or by force. Victims of sorcery alter their opinions under the spell of pleasure or are (...) terrified by fear. However, the “sorcery” mentioned here is not a mysterious effect, but rather the deterioration of the harmony established between the three aspects of the soul in favor of appetite. The measure and harmony in the cosmos apply to the fundamental principles of the human soul, and rhythm is engraved on the soul as the protector of measure and harmony. Rhythmic speech is the reflection of “divine language” in the human world; the poet of the ancient period was the interpreter of the “sacred language” through which the divine word appeared. When the poet and the poetry both degenerate, the poet is reduced to nothing more than a common diviner or sorcerer. Since he knows nothing but how to imitate, he embellishes his work with colors from ancient arts. He speaks his words in rhythm, measure, and harmony in order to deceive reason, which is the aspect of our soul that is most prone to measurement and calculation. This is how the poet paralyzes it. Therefore, imitative poetry vitiates our soul “without even our souls hearing it”. (shrink)

Turing’s much debated test has turned 70 and is still fairly controversial. His 1950 paper is seen as a complex and multilayered text, and key questions about it remain largely unanswered. Why did Turing select learning from experience as the best approach to achieve machine intelligence? Why did he spend several years working with chess playing as a task to illustrate and test for machine intelligence only to trade it out for conversational question-answering in 1950? Why did Turing refer to (...) gender imitation in a test for machine intelligence? In this article, I shall address these questions by unveiling social, historical and epistemological roots of the so-called Turing test. I will draw attention to a historical fact that has been only scarcely observed in the secondary literature thus far, namely that Turing’s 1950 test emerged out of a controversy over the cognitive capabilities of digital computers, most notably out of debates with physicist and computer pioneer Douglas Hartree, chemist and philosopher Michael Polanyi, and neurosurgeon Geoffrey Jefferson. Seen in its historical context, Turing’s 1950 paper can be understood as essentially a reply to a series of challenges posed to him by these thinkers arguing against his view that machines can think. Turing did propose gender learning and imitation as one of his various imitation tests for machine intelligence, and I argue here that this was done in response to Jefferson's suggestion that gendered behavior is causally related to the physiology of sex hormones. (shrink)

In his 1950 paper “Computing Machinery and Intelligence,” Alan Turing proposed that we can determine whether a machine thinks by considering whether it can win at a simple imitation game. A neutral questioner communicates with two different systems – one a machine and a human being – without knowing which is which. If after some reasonable amount of time the machine is able to fool the questioner into identifying it as the human, the machine wins the game, and we (...) should conclude that it thinks. This imitation game, now known as the Turing Test, has been much discussed by philosophers of mind, and for more than half a century now there has been considerable debate about whether it is an adequate test for thinking. But what has not been much discussed are the sexed presuppositions underlying the test. Too often forgotten in the philosophical discussion is the fact that Turing’s imitation game is modeled on an imitation game in which a neutral questioner communicates with two different humans – one a man and one a woman – without knowing which is which. In this original imitation game, the man wins the game if he is able to fool the questioner into identifying him as the woman. In this paper, I explore the implications of this set-up. As I argue, the fact that the Turing test was modeled on a man/woman imitation game seems to have led us astray in various ways in our attempt to conduct an effective investigation and assessment of computer intelligence. (shrink)

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition (...) of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer. (shrink)

Central to the discourse on the intentional structure of consciousness encompasses further forms of experience, for instance, the notion of one’s direct experience of others. In essence, one’s experience of others is materialized through intersubjective engagement which is fundamental in comprehending the relation of the Self and Other. Intersubjective engagement between the two cognizing subjects is evidently interactive negotiation of understanding, thus necessarily meditational. This paper will substantiate the meditational or reflective nature of intersubjective engagement with the phenomenology of self-projection, (...) giving emphasis on the experience of the Self in relation to Others. The activity of self- projection onto others which is argued to take place through introspection, incorporates modes such as representation, simulation, imitation, empathic interaction and self-attribution. Furthermore, this paper will conclude intersubjectivity as an advent of joint construction of meaning and representation between the two cognizing subjects, thus, the collaborative endeavor of shared construction of meaning and representation is attained throughout the process. (shrink)

I begin by reviewing recent research by Merleau-Ponty scholars opposing aspects of the critique of Merleau-Ponty made by Meltzoff and colleagues based on their studies of neonate imitation. I conclude the need for reopening the case for infant self-other indistinction, starting with a re-examination of Merleau-Ponty’s notion of indistinction in the Sorbonne lectures, and attending especially to the role of affect and to the non-exclusivity of self-other distinction and indistinction. In undertaking that study, I discover the importance of understanding (...) self-other distinction and indistinction in terms of their affective significance. For Merleau-Ponty, self-other indistinction is a virtual or imaginary participation in others’ orientations that he defines as an affective phenomenon. Further, Merleau-Ponty’s account of the advent of the body proper—the aspect of the body image that circumscribes the body as a distinct and private space—theorizes it as an affective innovation. Rather than being a fact of which we at first are ignorant and gradually grow to recognize, distinction from others in the sense that is important to Merleau-Ponty is a situation that must be cultivated and maintained through the negotiation of affective intimacy. Understanding indistinction and distinction in terms of the affective forces that sustain them explains how it is possible for them to coexist. (shrink)

Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair is once (...) removed from reality and since a painter’s chair is imitation of a carpenter’s chair, it is twice removed from reality. Thus, the artist deals in illusion. Plato thus rejected imitative art on the foundation that it is a copy or imitation of the unreal. We may ask; if the Carpenter makes a chair, what does he imitate? And if he imitates reality, can we call him an artist of a kind? This article therefore argues following Plato’s analogy that carpentry is an art of a kind and a carpenter is capable of knowing reality as against the notion that only philosophers are suitable for such a task. (shrink)

In Metaphysics Λ.6-7 Aristotle argues that an unmoved substance causes the outermost sphere to rotate. His argument has puzzled and divided commentators from ancient Greece to the present. I offer a novel defense of Aristotle's argument by highlighting the logic of classification that Aristotle deploys. The core of Aristotle's argument is the identification of the unmoved substance on the 'table of opposites' as simple and purely actual. With this identification in place, Aristotle argues that the outermost sphere activates its capacity (...) to relocate its body by rotating because this is how it can be a simple and actual substance. But unlike traditional attempts to rehabilitate Aristotle's argument, I argue that the sphere does not rotate in order to imitate the Prime Mover. Rather, the sphere rotates because that is good for it to do, and the Prime Mover is a metaphysically necessary source of simple and actual substantial being, which the sphere acts for the sake of. (shrink)

Knowledge is correct and reliable when its foundation is correct, but humans never have the correct beliefs and methodology. Thus, knowledge is unreliable and the foundation of knowledge needs to be reconstructed. A pure rationalist only believes in logic. Thus, all matter and experience must be propositions derived from logic. The logically necessary consequence of this belief is truth; logically possible consequences are phenomena, and logically impossible consequence are fallacies and evils. This paper introduces belief and its logical consequences, such (...) as discovering first knowledge, both logically and illogically, establishing logical methodology, deducing truths purely through logic, and discovering unprovable truths by imitating the Universe. Logic and illogic are undeniable beliefs, and the reality of the Universe is the ultimate cause of everything. (shrink)

Triangles and trigonometry are always difficult topics for both mathematics students and teachers. Hence, students' performance in solving mathematical word problems in these topics is not only a reflection of their learning outcomes but also an indication of teaching effectiveness. This case study drew from two examples of solving word problems involving triangles by pre-service mathematics teachers in a foundation mathematics course delivered by the author. The focus of this case study was on reasoning implications of students' performances on the (...) effective training of pre-service mathematics teachers, from which a three-step interactive explicit teaching-learning approach, comprising teacher-led precise and inspiring teaching (or explicit teaching), student-driven engaged learning (or imitative learning), and student-led and teacher-guided problem-solving for real-world problems or projects (or active application), was summarized. Explicit teaching establishes a solid foundation for students to further their understanding of new mathematical concepts and to conceptualize the technical processes associated with these new concepts. Imitative learning helps students build technical abilities and enhance technical efficacy by engaging in learning activities. Once these first two steps have been completed, students should have a decent understanding of new mathematical concepts and technical efficacy to analyze, formulate, and finally solve real-world applications with assistance from teachers whenever required. Specially crafted professional development should also be considered for some in-service mathematics teachers to adopt this three-step interactive teaching-learning process. (shrink)

The article deals with some ideas by Turing concerning the background and the birth of the well-known Turing Test, showing the evolution of the main question proposed by Turing on thinking machine. The notions he used, especially that one of imitation, are not so much exactly defined and shaped, but for this very reason they have had a deep impact in artificial intelligence and cognitive science research from an epistemological point of view. Then, it is suggested that the fundamental (...) concept involved in Turing’s imitation game, conceived as a test for detecting the presence of intelligence in an artificial entity, is the concept of interaction, that Turing adopts in a wider, more intuitive and more fruitful sense than the one that is proper to the current research in interactive computing. (shrink)

[Plato’s “Impossible” Aesthetics and Art] Although it seems impossible to derive an aesthetic theory from Plato’s thought in the sense defined by Baumgarten, it is possible to come closer to the language and the sense of the ancients, who were well aware of the division of cognition into aisthêta and noêta, if we follow Kant’s first advice, accepting this term again and preserving it for that doctrine, which is true science. Therefore, the way to see whether Plato’s views amount to (...) a theory of aesthetics is to investigate the relationship between the things that can be felt and the things that can be perceived in his thought. Although he says in advance that one cannot gain knowledge from sensible things, the experience of beauty and its effect have a central role in Plato. In fact, when we continue our investigation through the experience of beauty in Plato’s thought, we see that the activity of philosophia is an aesthetics per se in the context of both the “highest art” and the love of beauty; philosophos, according to Plato, is the same as philokalos. -/- Contrary to the baseless interpretations of the mainstream commentators on mimêsis, a creative activity that is not subject to mimêsis is not possible according to Plato’s thought; not only human creative activity, but primarily the Divine act of creation itself in the context of the birth of the world, is a mimetic activity. The important thing for Plato is the model upon which the creative activity is based: when an artist, who takes the self as a model, creates works by holding on to the truth, he will create the true virtue in himself, and in doing so, his creations on the outside become monuments of virtue. This activity is, in fact, synonymous with his self-knowledge and self-transformation processes. The sense of beauty experienced from such an act of creation brings out the best qualities in the audience’s soul while pointing to a path that will lead them to true nobility, rather than paralyzing their reasoning and judging abilities by imitating what are themselves imitations of virtue produced by deceptively imitative art. Monuments of virtue that are perfect examples of the beautiful itself turn the soul of the audience towards the beautiful itself and encourage them to take action to get closer to it. -/- In Plato’s thought, true art is a call for liberation that shows the prisoners their chains, declaring that the ‘understanding’ of the world they have is merely a conception compelled by this imprisonment, just a presumption. It proclaims that they can never truly observe the truth until they free themselves from these bonds; tempting their souls, it calls them to escape to the Beautiful. (shrink)

Mimesis can refer to imitation, emulation, representation, or reenactment - and it is a concept that links together many aspects of ancient Greek Culture. The Western Greek bell-krater on the cover, for example, is painted with a scene from a phlyax play with performers imitating mythical characters drawn from poetry, which also represent collective cultural beliefs and practices. One figure is shown playing a flute, the music from which might imitate nature, or represent deeper truths of the cosmos based (...) upon Pythagorean views (which were widespread in Western Greece at the time). The idea that mimesis should be restricted to ideals was made famous by Plato (whose connections to Pythagoreanism and Siracusa are well-known), and famously challenged by his student Aristotle (not to mention by the mimetic character of Plato’s own poetry). This volume gathers essays not only on the philosophical debate about mimesis, but also on its use in architecture, drama, poetry, history, music, ritual, and visual art. The emphasis is on examples from Hellenic cities in Southern Italy and Sicily, but the insights apply far beyond – even to modern times. Contributors include: Thomas Noble Howe, Francisco J. Gonzalez, Gene Fendt, Guilherme Domingues da Motta, Jeremy DeLong, Carolina Araújo, Marie-Élise Zovko, Lidia Palumbo, Sean Driscoll, Konstantinos Gkaleas, Anna Motta, Jure Zovko, Alexander H. Zistakis, Christos C. Evangeliou, Dorota Tymura, Iris Sulimani, Elliott Domagola, Jonah Radding, Giulia Corrente, Laura Tisi, Ewa Osek, Argyri G. Karanasiou, Rocío Manuela Cuadra Rubio, Jorge Tomás García, Aura Piccioni, and José Miguel Puebla Morón. (shrink)

What makes fast, cumulative cultural evolution work? Where did it come from? Why is it the sole preserve of humans? We set out a self-assembly hypothesis: cultural evolution evolved culturally. We present an evolutionary account that shows this hypothesis to be coherent, plausible, and worthy of further investigation. It has the following steps: (0) in common with other animals, early hominins had significant capacity for social learning; (1) knowledge and skills learned by offspring from their parents began to spread because (...) bearers had more offspring, a process we call CS1 (or Cultural Selection 1); (2) CS1 shaped attentional learning biases; (3) these attentional biases were augmented by explicit learning biases (judgements about what should be copied from whom). Explicit learning biases enabled (4) the high-fidelity, exclusive copying required for fast cultural accumulation of knowledge and skills by a process we call CS2 (or Cultural Selection 2), and (5) the emergence of cognitive processes such as imitation, mindreading and metacognition – ‘cognitive gadgets’ specialised for cultural learning. This self-assembly hypothesis is consistent with archaeological evidence that the stone tools used by early hominins were not dependent on fast, cumulative cultural evolution, and suggests new priorities for research on ‘animal culture’. (shrink)

The feeling of clarity can be dangerously seductive. It is the feeling associated with understanding things. And we use that feeling, in the rough-and-tumble of daily life, as a signal that we have investigated a matter sufficiently. The sense of clarity functions as a thought-terminating heuristic. In that case, our use of clarity creates significant cognitive vulnerability, which hostile forces can try to exploit. If an epistemic manipulator can imbue a belief system with an exaggerated sense of clarity, then they (...) can induce us to terminate our inquiries too early — before we spot the flaws in the system. How might the sense of clarity be faked? Let’s first consider the object of imitation: genuine understanding. Genuine understanding grants cognitive facility. When we understand something, we categorize its aspects more easily; we see more connections between its disparate elements; we can generate new explanations; and we can communicate our understanding. In order to encourage us to accept a system of thought, then, an epistemic manipulator will want the system to provide its users with an exaggerated sensation of cognitive facility. The system should provide its users with the feeling that they can easily and powerfully create categorizations, generate explanations, and communicate their understanding. And manipulators have a significant advantage in imbuing their systems with a pleasurable sense of clarity, since they are freed from the burdens of accuracy and reliability. I offer two case studies of seductively clear systems: conspiracy theories; and the standardized, quantified value systems of bureaucracies. (shrink)

I present a vision of a university in which each of the departments is based on having solved a paradox (especially for those who think that philosophers on here lack vision, in a grand sense!). I do so imitating a notable modernist writer, apologies for any political incorrectness.

The aim of this paper is to discuss the theory of exemplary causality of Peter Auriol (1280-1322). Until at least the late 13th century, medieval authors claim that the world is orderly and intelligible because God created it according to the models existing eternally in his mind (i.e. divine ideas). Auriol challenges the view of his predecessors and contemporaries. He argues that assuming divine ideas amounts to assuming multiplicity in God and therefore questioning the principle of his absolute simplicity. To (...) avoid this problem, he develops a system that enables him to account for God’s knowledge of creatures (both as individuals and as species) and hence to preserve the theological principle of providence, but at the same time allows him to reject divine ideas as intermediaries for creation. In Auriol’s theory of exemplary causality, divine essence is the only object of God’s knowledge and thus the only exemplar for creation. God’s cognitive act is directed exclusively towards his own essence. However, he knows creatures through multiple connotations, i.e. the multiple ways divine essence is connotated when God knows himself. But these connotations play no role in creation, because imitability is only proper to divine essence. To explain how an object can be the only exemplar for the creation of many different creatures, Auriol has to rethink the concept of imitability and develop a new model of exemplary causality enabling him to account for the relationship between God and his creatures. The traditional model was that of analogy: a cause produces an effect which is partly similar and partly different from it. Auriol relies on the concept of equivocity. He argues that it is unnecessary to assume a particular similarity between a cause and its effect. Quite the contrary: for an object to be the exemplar of multiple different things, it is necessary that it should not be similar to any of them. The concept of aequivocatio allows Auriol to reject the traditional model of creation. Aequivocatio does not entail a resemblance between idea and ideatum. There is no contradiction, then, in claiming that a single object (divine essence) is in an equivocal way (aequivoce) the exemplary cause of multiple different objects. This is Auriol’s new theory of divine exemplarism: the theory of similitudo aequivoca. (shrink)

This paper takes issue with the exemplarist strategy of fostering virtue development with the specific goal of improving its applicability in the context of education. I argue that, for what matters educationally, we have good reasons to endorse a liberal account of moral exemplarity. Specifically, I challenge two key assumptions of Linda Zagzebski’s Exemplarist Moral Theory (2017), namely that moral exemplars are exceptionally virtuous agents and that imitating their behavior is the main strategy for acquiring the virtues. I will introduce (...) and discuss the notions of enkratic exemplars and injustice illuminators and show that we have good reasons to consider them moral exemplars although they fail to satisfy (either of) the key assumptions. (shrink)

In an effort to produce new and more sustainable technologies, designers have turned to nature in search of inspiration and innovation. Biomimetic design (from the Greek bios, life, mimesis, imitation) is the conscious imitation of biological models to solve today's technical and ecological challenges. Nowadays numerous different approaches exist that take inspiration from nature as a model for design, such as biomimicry, biomimetics, bionics, permaculture, ecological engineering, etc. This variety of practices comes in turn with a wide range (...) of different promises, including sustainability, increased resilience, multi-functionality, and a lower degree of risk. How are we to make sense of this heterogeneous amalgam of existing practices and technologies, and of the numerous promises attached to them? We suggest that a typology of biomimetic approaches would provide a useful hermeneutic framework to understand the different tensions that pull this variegated landscape in different directions. This is achieved through a critical analysis of the literature in different fields of biomimetic design and the philosophy of biomimicry, in order to derive conceptual and normative assumptions concerning the meaning and value of the imitation of nature. These two dimensions are then intersected to derive an analytical grid composed of six different biomimetic types, which enable the classification of existing and possible biomimetic approaches, practices, and technologies according to their specific conceptual assumptions and guiding norms. (shrink)

A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or making music together. This article argues that (...) we should understand aesthetic value in a way that centers these social forms of aesthetic engagement. To this end, the article argues that there is a social practice of aesthetic valuing, characterized as a participatory practice governed by the value of aesthetic community, which engages us in the social development of our capacities for discretionary valuing and volitional openness. Current theories of aesthetic value have trouble capturing the character of the practice of aesthetic valuing, and this motivates a novel communitarian theory of aesthetic value: aesthetic value is what is worthy of engagement in the social practice of aesthetic valuing. (shrink)

This article will rework the classical question ‘Can a machine think?’ into a more specific problem: ‘Can a machine think anything new?’ It will consider traditional computational tasks such as prediction and decision-making, so as to investigate whether the instrumentality of these operations can be understood in terms of the creation of novel thought. By addressing philosophical and technoscientific attempts to mechanise thought on the one hand, and the philosophical and cultural critique of these attempts on the other, I will (...) argue that computation’s epistemic productions should be assessed vis-à-vis the logico-mathematical specificity of formal axiomatic systems. Such an assessment requires us to conceive automated modes of thought in such a way as to supersede the hope that machines might replicate human cognitive faculties, and to thereby acknowledge a form of onto-epistemological autonomy in automated ‘thinking’ processes. This involves moving beyond the view that machines might merely simulate humans. Machine thought should be seen as dramatically alien to human thought, and to the dimension of lived experience upon which the latter is predicated. Having stepped outside the simulative paradigm, the question ‘Can a machine think anything new?’ can then be reformulated. One should ask whether novel behaviour in computing might come not from the breaking of mechanical rules, but from following them: from doing what computers do already, and not what we might think they should be doing if we wanted them to imitate us. (shrink)