It is widely accepted that there is a visual field, but the analogous notion of an auditory field is rejected by many philosophers on the grounds that the metaphysics or phenomenology of audition lack the necessary spatial or phenomenological structure. In this paper, I argue that many of the common objections to the existence of an auditory field are misguided and that, contrary to a tradition of philosophical scepticism about the spatiality of auditory experience, it is as richly spatial as (...) visual experience—and in some ways even more so. By carefully considering the spatiality and boundedness of audition, along with how sounds or their sources are experienced as occurring within the surrounding acoustic environment, we can gain a better understanding of (i) our auditory experience of space and (ii) the conditions for the existence of spatial sensory fields in general in a way that does not privilege vision over the other senses. (shrink)

Many philosophers have appealed to the PSR in arguments for a being that exists a se, a being whose explanation is in itself. But what does it mean, exactly, for something to have its explanation ‘in itself’? Contemporary philosophers have said next to nothing about this, relying instead on phrases plucked from the accounts of various historical figures. In this article, I analyse five such accounts – those of Anselm, Aquinas, Descartes, Spinoza, and Leibniz – and argue that none are (...) satisfactory. Should we abandon or restrict the PSR, then? I think that would be hasty, for many reasons. I therefore consider the prospects of explaining everything, including God, given the constraints of certain features of good explanations, and conclude with several observations about future approaches. (shrink)

Academic institutions migrated to modular teaching-learning amid the COVID-19 pandemic. To ensure the quality of the pedagogical innovations employed, the study determined the students’ evaluation of the faculty prepared instructional modules for the courses they enrolled in during the first and second semesters of Academic Year 2020-2021. Employing a descriptive-correlational research design, the study was participated by 644 students from three colleges who were then available during the data gathering. Data gathered through online surveys were then analyzed using descriptive statistics (...) and Spearman's rank correlation coefficient utilizing jamovi software. Results revealed that the faculty-prepared instructional modules were acceptable and satisfactory to the students. Besides, the students' evaluation of the instructional modules was positively related to their level of satisfaction. Still, the students recommended that a review of the modules be done before sending the modules; a more extended time allotment is considered, and sufficient concrete examples are given in the modules. With this, the faculty concerned are encouraged to review the phases involved in the design, development, and distribution of the instructional modules to make them highly acceptable and very satisfactory to the students while maintaining the quality of both the content and aesthetics of the learning materials. Considering the study’s limitations, further endeavors may be carried out to validate this pedagogical innovation. (shrink)

We show that early vision can use monocular cues to rapidly complete partially-occluded objects. Visual search for easily detected fragments becomes difficult when the completed shape is similar to others in the display; conversely, search for fragments that are difficult to detect becomes easy when the completed shape is distinctive. Results indicate that completion occurs via the occlusion-triggered removal of occlusion edges and linking of associated regions. We fail to find evidence for a visible filling-in of contours or surfaces, but (...) do find evidence for a "functional" filling-in that prevents the constituent fragments from being rapidly accessed. As such, it is only the completed structures—and not the fragments themselves—that serve as the basis for rapid recognition. (shrink)

How, if at all, consciousness can be part of the physical universe remains a baffling problem. This article outlines a new, developing philosophical theory of how it could do so, and offers a preliminary mathematical formulation of a physical grounding for key aspects of the theory. Because the philosophical side has radical elements, so does the physical-theory side. The philosophical side is radical, first, in proposing that the productivity or dynamism in the universe that many believe to be responsible for (...) its systematic regularities is actually itself a physical constituent of the universe, along with more familiar entities. Indeed, it proposes that instances of dynamism can themselves take part in physical interactions with other entities, this interaction then being “meta-dynamism” (a type of meta-causation). Secondly, the theory is radical, and unique, in arguing that consciousness is necessarily partly constituted of meta-dynamic auto-sensitivity, in other words it must react via meta-dynamism to its own dynamism, and also in conjecturing that some specific form of this sensitivity is sufficient for and indeed constitutive of consciousness. The article proposes a way for physical laws to be modified to accommodate meta-dynamism, via the radical step of including elements that explicitly refer to dynamism itself. Additionally, laws become, explicitly, temporally non-local in referring directly to quantity values holding at times prior to a given instant of application of the law. The approach therefore implicitly brings in considerations about what information determines states. Because of the temporal non-locality, and also because of the deep connections between dynamism and time-flow, the approach also implicitly connects to the topic of entropy insofar as this is related to time. (shrink)

Our visual experience of the world is one of diverse objects and events, each with particular colors, shapes, and motions. This experience is so coherent, so immediate, and so effortless that it seems to result from a single system that lets us experience everything in our field of view. But however appealing, this belief is mistaken: there are severe limits on what can be visually experienced. -/- For example, in a display for air-traffic control it is important to track all (...) moving items. For a single item, this can be done without problem. Three or four can also be tracked, although some degree of effort may be needed. As the number is increased further, accurate tracking becomes more and more difficult—and eventually, impossible. Performance is evidently affected by a factor within the observer which enables certain kinds of perception to occur, but is limited in some way. This factor is generally referred to as attention. -/- At various times, attention has been associated with clarity of perception, intensity of perception, consciousness, selection, or the allocation of a limited “resource” enabling various operations (see Hatfield, 1998). During the past several decades, considerable progress has been achieved by focusing on the idea of selection (Broadbent, 1982). In particular, attention can be productively viewed as contingently selective processing. This can be embodied in various ways by various processes—there need not be a single quantity identified with all forms of attention, or a single site where it operates (Allport, 1993; Tsotsos, 2011). Although “paying attention” is often considered to be a unitary operation, it may simply refer to the control of one or more selective processes, ideally in a co-ordinated way. While this view has some cost in terms of conceptual simplicity, it can help make sense of a large set of phenomena. -/- This article surveys several of the major issues in our understanding of attention and how it relates to perception. It focuses on vision, since many—if not all—considerations are similar for all sensory modalities, and the level of understanding achieved in this domain is currently the most advanced. (shrink)

Having a confirmation bias sometimes leads us to hold inaccurate beliefs. So, the puzzle goes: why do we have it? According to the influential argumentative theory of reasoning, confirmation bias emerges because the primary function of reason is not to form accurate beliefs, but to convince others that we’re right. A crucial prediction of the theory, then, is that confirmation bias should be found only in the reasoning domain. In this article, we argue that there is evidence that confirmation bias (...) does exist outside the reasoning domain. This undermines the main evidential basis for the argumentative theory of reasoning. In presenting the relevant evidence, we explore why having such confirmation bias may not be maladaptive. (shrink)

Earthbodies describes how our bodies are open circuits to a sensual magic and planetary care that when closed off leads to disastrous detours, such as illness, ...

Robert Brandom’s normative-pragmatic theory is intended to represent the minimal set of practical abilities whose exhibition qualifies creatures as speaking a language. His model of a minimally discursive practice (MDP) is one in which participants, devoid of logical vocabulary, are only capable of making assertions and drawing inferences. This paper argues that Brandom’s purely assertional practices are not MDPs and that speech acts of asking questions (queries) must be included in any practice that counts as an MDP. The upshot of (...) the argument is support for the claim that the normative pragmatic analysis of assertions requires a corresponding analysis of queries and vice versa. (shrink)

Behavior oftentimes allows for many possible interpretations in terms of mental states, such as goals, beliefs, desires, and intentions. Reasoning about the relation between behavior and mental states is therefore considered to be an effortful process. We argue that people use simple strategies to deal with high cognitive demands of mental state inference. To test this hypothesis, we developed a computational cognitive model, which was able to simulate previous empirical findings: In two-player games, people apply simple strategies at first. They (...) only start revising their strategies when these do not pay off. The model could simulate these findings by recursively attributing its own problem solving skills to the other player, thus increasing the complexity of its own inferences. The model was validated by means of a comparison with findings from a developmental study in which the children demonstrated similar strategic developments. (shrink)

The standard cognitive theory of art claims that art can be insightful while maintaining that imagining is motivationally inert [Walton 1990] even when some epistemic advantage is claimed for it [Currie 1995]. However, if we assume art as art can be insightful, we also assume that the imagining it occasions has a lasting impact on belief. In this chapter, I argue that imagining of the kind occasioned by art can be held non-occurrently [Schellenberg 2013] without delusion and can motivate behaviour (...) [Gendler 2000, 2003, 2006a/b; Langland-Hassan 2016]. As such, certain features of imagination can be appreciated in a new light. (shrink)

Remhof contends that Nietzsche is a metaphysician. According to his Meta-Metaphysical Argument, Nietzsche’s texts satisfy the criteria for an adequate conception of metaphysics. According to his Constructivist Argument, Nietzsche adopts a metaphysical position on which concepts’ application conditions constitute the identity conditions of their objects. This article critically appraises these arguments. I maintain that the criteria advanced in the Meta-Metaphysical Argument are collectively insufficient for delineating metaphysics as a distinct field of inquiry and that the Constructivist Argument attributes a position (...) to Nietzsche that remains vulnerable to his evaluative and psychological indictments of two-world metaphysics. I conclude by discussing how these objections might help non-metaphysical readers of Nietzsche resist Remhof’s interpretation. (shrink)

I argue that Social Trinitarians can and should conceive of God as a group person. They can by drawing on recent theories of group agency realism that show how groups can be not just agents but persons distinct from their members – albeit, I argue, persons of a different kind. They should because the resultant novel view of the Trinity – that God is three ‘intrinsicist’ persons in one ‘functional’ person – is theologically sound, effectively counters the most trenchant criticisms (...) of Social Trinitarianism, and enjoys independent theological support from the biblical notion of ‘corporate personality’. (shrink)

After reconstructing three arguments for Nietzsche’s descriptive analysis of the self as complex, this article clarifies some of greatness’s psychological conditions. It then offers three arguments for why we should not focus on these internal conditions when seeking to verify or to achieve greatness. First, Nietzsche’s descriptive analysis of the self renders introspection too coarse-grained and error-prone to verify the subtle type of unity required for greatness. Second, Nietzsche associates introspective appraisal of one’s psyche with a moral project that weakens (...) and represses the drives, such that inquiry into whether greatness’s internal conditions are satisfied typically speaks against their realization. Finally, the actions characteristic of Nietzsche’s great individuals prohibit introspective preoccupation with oneself. These arguments suggest that we should attend to outwardly directed accomplishments, rather than psychology, when appraising the greatness of others and seeking to become great ourselves. (shrink)

Beauty is evil, a surreptitious diversion of earthly delights planted by the devil, according to the third century theologian-philosopher Tertullian. Beauty is a manifestation of the divine on earth, according to another third century philosopher, Plotinus. Could these two really be talking about the same thing? That beauty evokes an experience of pleasure is probably the only point on which all participants in the continuing debate on beauty agree. But what kinds of pleasure one considers relevant to an experience of (...) beauty, is the crux of the problem of beauty. In ancient, medieval and eighteenth century philosophy, the problem of beauty was framed by the larger concern of what constituted a good life. The question regarding the nature of beauty was answered with a view to its role in achieving the good life for those who cultivated its apprehension. In the twentieth century, philosophers framed the problem of beauty as a problem for conceptual analysis. The questions asked were: Is beauty subjective or objective? Are there properties in the object that count towards beauty in all cases; that are sufficient or necessary for an object to be judged beautiful? What kind of pleasure is the pleasure we experience of beauty? I will examine how these questions can be seen to have been answered by earlier philosophical traditions and then I will use these questions as a guide to developing an explanatory theory of beauty based on contemporary theories of perception. (shrink)

Recent scholarship has drawn attention to John Rawls’s concern with stability—a concern that, as Rawls himself notes, motivated Part III of A Theory of Justice and some of the more important changes of his political turn. For Rawls, the possibility of achieving ‘stability for the right reasons’ depends on citizens possessing sufficient moral motivation. I argue, however, that the moral psychology Rawls develops to show how such motivation would be cultivated and sustained does not cohere with his specific descriptions of (...) ‘pluralist ’ doctrines. Considering Rawls’s claims that ‘most’ citizens—both in contemporary liberal democracies and in the well-ordered society—possess such doctrines, this incompatibility threatens to undermine his stability arguments. Despite the enormous importance of pluralist doctrines and the potential difficulties they pose for Rawls’s project, remarkably little attention has been paid to them. By critically examining these difficulties, the article begins to address this oversight. (shrink)

It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters’ studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely (...) solely on their “inner” powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use existing artworks, memory aids, and music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research. (shrink)

A significant portion of the secondary literature on Martin Heidegger’s Being and Time has focused on interpreting his formal conceptions of death and anxiety. Unlike these previous works, this essay will serve to fill a gap in the Heideggerian portrayal of death. Although he argues that Dasein is anxious about death at a fundamental level and that it proximally and for the most part covers up such anxiety, Heidegger does not provide ontic evidence in support of his claim, instead opting (...) to uncharacteristically take it as something self-evident. I attempt to supplement Heidegger’s framework by introducing Stephen Cave’s immortality narratives and the emerging field of Terror Management Theory as the aforementioned ontic evidence that rounds out Heidegger’s notion of death, before ultimately transitioning from Heidegger’s work into the larger philosophical discourse on death and demonstrating the potential joy that can manifest when one gains a lucid understanding of the ownness of their death and the narratives to which it gives rise. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...) more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...) about our relation to the world rather than anything about the world per se. Nonetheless there is an objective sense of the sublime in that the narratives involved are culturally endorsed rather than invented by an individual. This means that objects can be judged worthy or not of evoking experiences of the sublime. In other words, it is not an idiosyncratic matter. Immanuel Kant’s formulation of this involved explaining how such an experience is possible in terms of his system of the mind. Jane Forsey notes that Kant takes the features of the sublime as given and extrapolates from them certain features of the mind as if any concept of the sublime must implicate the mental architecture of his account (2007). Further to this she argues that in fact the concept of the sublime does implicate a particular system of the mind but neither Kant nor anyone else can successfully formulate it because the concept itself frames certain contradictions. According to Forsey, two consequences follow. First she argues that Kant’s system of the mind does not support the features of the sublime; and secondly that no system could as the very concept is incoherent. If Forsey can show that Kant was mistaken in presenting his account as coherent given his commitments, this would be of interest in its own right. However, her stronger claim is that we cannot separate any concept of the sublime out from Kant’s theoretical underpinnings. That the way the features of the mind are meant to operate in experiences of the sublime are contradictory simply points to the fatal flaws in the whole concept. Her conclusion is that there is no coherent account of the sublime available to us. I will argue that Forsey bases her reasoning on the assumption that a foundational empiricist or direct perception holds; and she interprets Kant’s notions of imagination, understanding and reason as though they are grounded in just such an account of perception. This is revealed in her interpretation of Kant’s phrase “beyond cognition”. Once this foundationalism is replaced with an account of perception more aligned with current research on perception, both philosophical and empirical, then an account of the sublime is available. Further to this however, I argue that what constitutes the narrative of the sublime is historically contingent. Before setting out my arguments, I consider Forsey’s argument in more detail. (shrink)

For scatterplots with gaussian distributions of dots, the perception of Pearson correlation r can be described by two simple laws: a linear one for discrimination, and a logarithmic one for perceived magnitude (Rensink & Baldridge, 2010). The underlying perceptual mechanisms, however, remain poorly understood. To cast light on these, four different distributions of datapoints were examined. The first had 100 points with equal variance in both dimensions. Consistent with earlier results, just noticeable difference (JND) was a linear function of the (...) distance away from r = 1, and the magnitude of perceived correlation a logarithmic function of this quantity. In addition, these laws were linked, with the intercept of the JND line being the inverse of the bias in perceived magnitude. Three other conditions were also examined: a dot cloud with 25 points, a horizontal compression of the cloud, and a cloud with a uniform distribution of dots. Performance was found to be similar in all conditions. The generality and form of these laws suggest that what underlies correlation perception is not a geometric structure such as the shape of the dot cloud, but the shape of the probability distribution of the dots, likely inferred via a form of ensemble coding. It is suggested that this reflects the ability of observers to perceive the information entropy in an image, with this quantity used as a proxy for Pearson correlation. (shrink)

There are extensive discussions of the 5D AdS metric that arises naturally from a metric that accounts for the A-series, the B-series, and x^a; black holes, including their information, entropy, temperature, energy, and energy density; the Big Bang; the finitude of singularities here; inflation; AdS/CFT and dS; symmetry groups of this theory of gravity not including and including those of the standard model, with evaluations of how integrated and how plausible they are; how the theory of quantum gravity here gives (...) general relativity in one limit and quantum mechanics in another limit; and much more. -/- Of particular interest is the physics based argument for the continuation of awareness after death, which starts on about page 196 and spans several pages. (shrink)

A *very* rough draft of a paper on Anselm's "ontological argument" in which I argue that the argument in the Proslogion rests on a robust notion of having "that then which nothing greater can be thought" in one's mind.

The first purpose of this series of articles is to introduce case studies on how current AI models can be used in the development of a possible theory of quantum gravity, their limitations, and the role the researcher has in steering the development in the right direction, even highlighting the errors, weaknesses and strengths of the whole process. The second is to introduce the new Presentist Fragmentalist ontology as a framework and use it for developing theories of quantum gravity and (...) speculate on achieving a TOE. We emphasize it is necessary for the researcher to check everything in these articles for themselves. While there are many good ideas in this series of papers, the AI is known to make even arithmetic and algebraic mistakes. To select just five apparently good ideas, there is a causal interaction tensor Cαβγδ(F1, F2) that encodes the causal relationship and the strength of the (possibly non-local) interaction between two fragments of reality (formed by each quantum system). There is a quantitative prediction for a testable table-top experiment. There is an explanation of how spacetime emerges from the fragments and their interactions. There is an explicit account of the double-slit experiment. And there is an explanation how this theory accommodates dark matter and dark energy simultaneously. We explore ideas, equations they lead to, concrete calculations, and give corrections along the way. While these are generally morally right within this framework they must be checked by the researcher. Given this caveat, we believe we have made significant progress with the PF interpretation in developing a theory of quantum gravity and pointing out a possible path to a TOE. (shrink)

The idea that there are five senses dates back to Aristotle, who was one of the first philosophers to examine them systematically. Though it has become conventional wisdom, many scientists and philosophers would argue that this idea is outdated and inaccurate. Indeed, they have given many different answers to this question, ranging from just three (the number of different kinds of physical energy we can detect) to 33 or more senses. Perhaps surprisingly, the issue remains controversial, partly because it is (...) not clear exactly what should count as a ‘sense’. Should proprioception, balance and kinaesthesis, amongst others, be considered additional senses? And if so, how do we figure out how many senses we really have? -/- (Published in Turkish under the title ‘Çok Duyumlu Algi’). (shrink)

The question I wish to explore is this: Does idealism conflict with common sense? Unfortunately, the answer I give may seem like a rather banal one: It depends. What do we mean by ‘idealism’ and ‘common sense?’ I distinguish three main varieties of idealism: absolute idealism, Berkeleyan idealism, and dualistic idealism. After clarifying what is meant by common sense, I consider whether our three idealisms run afoul of it. The first does, but the latter two don’t. I conclude that while (...) Moore’s famous common sense critique is sound against external world skepticism, against Berkeleyan idealism and dualist idealism it is unavailing. (shrink)

As observers, we generally have a strong impression of seeing everything in front of us at any moment. But compelling as it is, this impression is false – there are severe limits to what we can consciously experience in everyday life. Much of the evidence for this claim has come from two phenomena: change blindness (CB) and inattentional blindness (IB). -/- CB refers to the failure of an observer to visually experience changes that are easily seen once noticed. This can (...) happen even if the changes are large, constantly repeat, and the observer has been informed that they will occur. A related phenomenon is IB – the failure to visually experience an object or event when attention is directed elsewhere. For example, observers may fail to notice an unexpected object that enters their visual field, even if this object is large, appears for several seconds, and has important consequences for the selection of action. -/- Both phenomena involve a striking failure to report an object or event that is easily seen once noticed. As such, both are highly counterintuitive, not only in the subjective sense that observers have difficulty believing they could fail so badly at seeing but also in the objective sense that these findings challenge many existing ideas about how we see. But as counterintuitive as these phenomena are, progress has been made in understanding them. Indeed, doing so has allowed us to better understand the limitations of human perception in everyday life and to gain new insights into how our visual systems create the picture of the world that we experience each moment our eyes are open. (shrink)

Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine‐grained for discursive language. To accommodate such claims one can adopt either a convention‐based account or a natural‐kind account. A natural‐kind theory can explain the first but requires some special scaffolding in order to support the (...) second, while a convention‐based account accommodates the second but is incompatible with the first. Theodor W. Adorno attempts to incorporate both claims within his aesthetic theory, but arguably in his aesthetic theory each is cancelled out by the other. Art’s independence of entrenched conceptual frameworks needs to be made compatible with its communicative role. Jürgen Habermas, in contrast, provides a solution by way of his theory of language. I draw upon the art practice of the contemporary Icelandic‐Danish artist Olafur Eliasson in order to demonstrate this. (shrink)

As social and interdependent beings, we have responsibilities to each other. One of them is to recognize each other appropriately. When we fail to meet this responsibility, we often stigmatize. In this paper, I argue that the COVID-19-related stigmatization is a variation of the lack of recognition understood as an orientation to our evaluative features. Various stereotypical behaviors regarding COVID-19 become stigmatized practices because of labeling, stereotyping, separation, status loss and discrimination, and power. When people stigmatize COVID-19 victims, they orient (...) themselves to their evaluative quality of being vulnerable to the SARS-CoV-2 virus by internalizing the victims as dangerous, understanding them as separable, and being motivated to act with them differently. All this causes the COVID-19 victims to lose status and suffer discrimination for which they do not experience participatory parity in different facets of their lives, rendering the COVID-19-related stigmatization an appalling example of misrecognition. (shrink)

Visual perception is widely taken to present properties such as redness, roundness, and so on. This in turn might be thought to give rise to accuracy conditions for experience, and so content, regardless of which metaphysical view of perception one endorses. An influential version of this argument—Susanna Siegel’s ’Argument from Appearing’—aims to establish the existence of content as common ground between representational and relational views of perception. This goes against proponents of ‘austere’ relationalism who deny that content plays a substantive (...) role in philosophical explanations of conscious perceptual experience. Though Siegel’s argument purports to be neutral with respect to the metaphysics of perception, it relies upon an equivocation between the presentation of property-types and property-instances. Consequently, the argument begs the question against the austere relational view, and so fails to establish the desired conclusion. So while relationalists can and should allow that experiences have accuracy conditions, it does not follow from this that they have contents of any philosophically interesting or significant kind. (shrink)

This paper weaves together a number of separate strands each relating to an aspect of Wittgenstein’s Philosophical Investigations. The first strand introduces his radical and incoherent idea of a private object. Wittgenstein in § 258 and related passages is not investigating a perfectly ordinary notion of first person privacy; but his critics have treated his question, whether a private language is possible, solely in terms of their quite separate question of how our ordinary sensation terms can be understood, in a (...) philosophical context, to acquire meaning. Yet it is no part of his intention to demonstrate logically that ordinary sensations are not intrinsically meaningful. This is a tempting yet misleading picture, the picture also expressed through the idea of Augustine’s child who is conceptually articulateprior to learning how to talk. This picture lies behind the born Crusoe, an idea at the centre of the dichotomy between language as essentially shared and essentially shareable, a dichotomy considered here to result from a misconception of two quite separate but related aspects of Wittgenstein’s treatment offollowing a rule. The notion of a misleading picture, in both its pre-theoretical and philosophical aspects, also plays a crucial role in a treatment of Saul Kripke’s well-known “Postscript: Wittgenstein and Other Minds.”. (shrink)

Each of our sensory modalities—vision, touch, taste, etc.—works on a slightly different timescale, with differing temporal resolutions and processing lag. This raises the question of how, or indeed whether, these sensory streams are co-ordinated or ‘bound’ into a coherent multisensory experience of the perceptual ‘now’. In this paper I evaluate one account of how temporal binding is achieved: the temporal windows hypothesis, concluding that, in its simplest form, this hypothesis is inadequate to capture a variety of multisensory phenomena. Rather, the (...) evidence suggests the existence of a more complex temporal structure in which multiple overlapping windows support distinct functional mechanisms. To aid in the precise formulation of such views, I propose a taxonomy of temporal window types and their characteristics that in turn suggests promising avenues for future empirical and philosophical research. I conclude by examining some philosophical implications of multi-window models for the metaphysics of perception and perceptual experience more generally. (shrink)

Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...) artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction. (shrink)

Aesthetics is not an area to which the Stoics are normally understood to have contributed. I adopt a broad description of the purview of Aesthetics according to which Aesthetics pertains to the study of those preferences and values that ground what is considered worthy of attention. According to this approach, we find that the Stoics exhibit an Aesthetic that reveals a direct line of development between Plato, the Stoics, Thomas Aquinas and the eighteenth century, specifically Kant’s aesthetics. I will reveal (...) an interpretation of the aesthetic of the Stoics which has more explanatory power for the history of aesthetic theory than a history of aesthetic theory which leaves out the Stoics. (shrink)

This article discusses several key issues concerning the study of attention and its relation to visual perception, with an emphasis on behavioral and experiential aspects. It begins with an overview of several classical works carried out in the latter half of the 20th century, such as the development of early filter and spotlight models of attention. This is followed by a survey of subsequent research that extended or modified these results in significant ways. It covers current work on various forms (...) of induced blindness and on the capabilities of nonattentional processes. It also includes proposals about how a "just-in-time" allocation of attention can create the impression that we see our surroundings in coherent detail everywhere, as well as how the failure of such allocation can result in various perceptual deficits. The final section examines issues that have received little consideration to date, but may be important for new lines of research in the near future. These include the prospects for a better characterization of attention, the possibility of more systematic explanations, factors that may significantly modulate attentional operation, and the possibility of several kinds of visual attention and visual experience. (shrink)

Occasionally, in the introductory philosophy courses I teach, a student will give an interesting argument for non-belief in God. Though I have never seen this argument in print, it seems familiar. Basically, the argument goes like this. Religious belief is largely determined by geography – where you are born and raised largely determines your religious beliefs. But believing something just because of where you are born and raised is not a reliable indication of whether that belief turns out to be (...) true. So, in some sense, you are not justified in your religious beliefs. I will attempt a more rigorous reconstruction of this argument and offer an objection to it. (shrink)

<The definitive version is available at www.blackwell-synergy.com > -- In this paper I carve out a space between the concept of "the object" and the seemingly endless ways in which "the object" can be represented pictorially. I will call the aspect of the pictorial representation which is made possible by this space, the pictorial representation's "style". I will explore this space by drawing upon theories of pictorial representation, leaving out, for the sake of my purposes here, a consideration of the (...) artist's intention. That an attribution of "style" can be comprehensive while leaving out a consideration of artists' intentions, I will argue by adopting the conceptual framework of Paul Thom's theory of interpretation. Before embarking on my project, I begin with a brief overview of the rather slippery notion of "style". (shrink)

The aim of this paper is to draw the attention of those conducting research on imagery to the different kinds of visual information deployed by expert drawers compared to non-expert drawers. To demonstrate this difference I draw upon the cognitive science literature on vision and imagery to distinguish between three different ways that visual phenomena can be represented in memory: structural descriptions, denotative descriptions, and configural descriptions. Research suggests that perception and imagery deploy the same mental processes and that the (...) drawing of one's imagery would require the simultaneous deployment of these very processes. I reason that drawing a picture of one's imagery is not possible. I hypothesize that when required to draw a picture from memory, both expert and non-expert drawers access their denotative description of the object rather than their imagery. I then suggest how my hypothesis could be tested and if accurate, how this finding would impact upon the design and interpretation of experiments on imagery when drawing is involved. I also suggest why the constraints that perception places upon the simultaneous deployment of imagery appear not to cause the same constraints in autistic savant drawers and visual agnosia patients. (shrink)

I identify two mutually exclusive notions of formalism in Kant’s Critique of Aesthetic Judgement: a thin concept of aesthetic formalism and a thick concept of aesthetic formalism. Arguably there is textual support for both concepts in Kant’s third critique. I offer interpretations of three key elements in the Critique of Aesthetic Judgement which support a thick formalism. The three key elements are: Harmony of the Faculties, Aesthetic Ideas and Sensus Communis. I interpret these concepts in relation to the conditions for (...) theoretical Reason, the conditions for moral motivation and the conditions for intersubjectivity, respectively. I conclude that there is no support for a thin concept of aesthetic formalism when the key elements of Kant’s Critique of Aesthetic Judgement are understood in the context of his broader critical aims. (shrink)

This paper gives a radical answer to why there is something rather than nothing based on the Calculus of Qualia and its non-referential terms. The answer turns out to be: because what exists exists necessarily because of its nature. To sum up and oversimplify the extensive argument in two sentences, skipping many steps: 1. By the question “why is there something rather than nothing” we actually mean to be asking “why is there something rather than the weakest assumption?” 2. The (...) non-referential term █ (which does not even refer to itself) in the Calculus of Qualia possibly exists, and, as it has no counterfactuals, that implies its necessary actuality. The upshot is that the existence of the non-referential term █ is a weaker assumption (i.e. assumes less) than the assumption that there could have been nothing. The extensive argument in the paper gives the first compelling secular answer to the ultimate question. (shrink)

General Introduction: In [1] a Calculus of Qualia (CQ) was proposed. The key idea is that, for example, blackness is radically different than █. The former term, “blackness” refers to or is about a quale, whereas the latter term, “█” instantiates a quale in the reader’s mind and is non-referential; it does not even refer to itself. The meaning and behavior of these terms is radically different. All of philosophy, from Plato through Descartes through Chalmers, including hieroglyphics and emojis, used (...) referential terms up until CQ. This paper in this series of papers includes a relatively short but comprehensive discussion with the AI Claude 3.5 Sonnet on how the CQ impacts various theories of consciousness, including Materialism, Dualism, Idealism, and 14 others. (shrink)

In this paper I suggest ways in which vision theory and psychology of perception may illuminate our understanding of beauty. I identify beauty as a phenomenon which is (i) ineffable, (ii) subjectively universal (intersubjective), and (iii) manifested in objects as formal structure. I present a model of perception by which I can identify a representation whose underlying principles would explain these features of beauty. The fact that these principles underlie the representation rather than constitute the content of representation, provides an (...) explanation for the ineffability and subjective universality of the perception of beauty in the form of objects. In part one, I set out two models of perception conducive to this approach. In part two, I suggest how such theories can offer a way of explaining and understanding the experience of beauty. (shrink)

Cyborgs are ongoing becomings of a doubly “in-between” temporality of humans and machines. Materially made from components of both sorts of beings, cyborgs gain increasing function through an interweaving in which each alters the other, from the level of “neural plasticity” to software updates to emotional breakthroughs of which both are a part. One sort of temporal in-between is of the progressive unfolding of a deepening becoming as “not-one-not-two” and the other is a “doubling back” of time into itself in (...) which moments that were once disparate are conjoined or enjambed. Tracing the experience of Michael Chorost during a four year period of coming to terms with his cochlear implant, related in Rebuilt: How Becoming Part Computer Made Me More Human, the essay pinpoints shifts in awareness, perceptual belief, and being-with others that unfold within the in-between of person and machine. (shrink)

Respect for victims requires that we have social systems for punishing and condemning (reproving) serious crimes. But, the conditions of social marginalization and political subordination of the communities from which an overwhelming number of prisoners in the United States come place serious barriers in the face of effective reprobation. Mass incarceration makes this problem worse by disrupting and disrespecting entire communities. While humanities education in the prisons is far from a total solution, it is one way to make reprobation meaningful, (...) so long as the prison classroom is a place where the educators’ values are also put at risk. (shrink)

Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a means to the Good. The ascent theory of the Symposium has suggested to some commentators that Plato envisaged two kinds of beauty, the sensuous and the intellectual, and that to reach the Good we must transcend our sensuous desires and cultivate an appreciation of intellectual beauty. However, in the Laws Plato presents us with a third notion of beauty, which is neither (...) sensuous nor intellectual. To experience beauty we need to cultivate our pleasure in harmonious forms. This is where we find a theory of beauty that resonates in Kant’s aesthetic theory. According to the latter, the feeling for beauty is a feeling for harmony that takes us beyond the confines of a world marked out by self-interest. I conclude that Plato’s aesthetic theory anticipates the role that aesthetic judgment would play in Immanuel Kant’s system of the mind. (shrink)

General Introduction: In [1] a Calculus of Qualia (CQ) was proposed. The key idea is that, for example, blackness is radically different than █. The former term, “blackness” refers to or is about a quale, whereas the latter term, “█” instantiates a quale in the reader’s mind and is non-referential; it does not even refer to itself. The meaning and behavior of these terms is radically different. All of philosophy, from Plato through Descartes through Chalmers, including hieroglyphics and emojis, used (...) referential terms up until CQ. This paper in this series of papers addresses the question of why is there something rather than nothing, at length, and gives a radical new answer. It has to do with the fact in CQ that, while blackness is contingently possible, █ is necessarily actual, as it was in this sentence. (shrink)

If we conceive of ourselves as animals, it might be accurate to call us visual animals. The visual cortex is much larger in us relative to the size of our brains than in other animals, and large relative to the parts of the cortex responsible for the transmission of signals emanating from the other perceptual transducers. Our ability to recall visual images, recombine them in imagination and enter imaginatively into narratives is linked to this evolved piece of brain architecture. However, (...) what this means within the context of human culture is not so clear. A large visual cortex might not necessarily translate into a heightened susceptibility for fine visual distinctions over auditory or kinetic distinctions, at least not in all cultural contexts. (shrink)

"This self-consistent evolution of the fragments, their causal relationships, and their quantum properties is at the heart of the FCQG-SM framework, providing a unified description of quantum mechanics, general relativity, and the Standard Model.".

Most scholars have thought that in the _Republic_ democracy is supposed to be worse than timarchy or oligarchy, but lately certain commentators have denied that it is. Is it, then? We argue that pursuing this question leads to a dead end: it simply is not clear how bad democracy is supposed to be in the _Republic_. To make our case, we first marshal the strongest available evidence that democracy is supposedly better than timarchy and oligarchy. Next we lay out the (...) strongest available evidence that democracy is supposedly worse. And then we explain why there is an impasse. (shrink)

Presentist Fragmentalism is a novel interpretation of quantum mechanics. This paper develops the resulting theory of Quantum Gravity.