How does consciousness vary across the animal kingdom? Are some animals ‘more conscious’ than others? This article presents a multidimensional framework for understanding interspecies variation in states of consciousness. The framework distinguishes five key dimensions of variation: perceptual richness, evaluative richness, integration at a time, integration across time, and self-consciousness. For each dimension, existing experiments that bear on it are reviewed and future experiments are suggested. By assessing a given species against each dimension, we can construct a consciousness profile for (...) that species. On this framework, there is no single scale along which species can be ranked as more or less conscious. Rather, each species has its own distinctive consciousness profile. (shrink)

This study examines the conflation of terms such as “knowledge” and “understanding” in peer-reviewed literature, and tests the hypothesis that little current research clearly distinguishes between importantly distinct epistemic states. Two sets of data are presented from papers published in the journal Public Understanding of Science. In the first set, the digital text analysis tool, Voyant, is used to analyze all papers published in 2014 for the use of epistemic success terms. In the second set of data, all papers published (...) in Public Understanding of Science from 2010–2015 are systematically analyzed to identify instances in which epistemic states are empirically measured. The results indicate that epistemic success terms are inconsistently defined, and that measurement of understanding, in particular, is rarely achieved in public understanding of science studies. We suggest that more diligent attention to measuring understanding, as opposed to mere knowledge, will increase efficacy of scientific outreach and communication efforts. (shrink)

Význam Thomase Kuhna z hlediska jeho vlivu na další vývoj představ o povaze vědy a konkrétně na vznik tzv. sociologie vědeckého poznání bývá dnes běžně spojován s jeho Strukturou vědeckých revolucí, zatímco jeho starším historickým pracím je v tomto ohledu jen zřídkakdy věnována pozornost. Příspěvek analyzuje právě tyto práce a pokouší se charakterizovat základní metodologické rysy Kuhnova přístupu k dějinám vědy, který je v nich uplatňován. Prostřednictvím jejich porovnání s metodologickými východisky rané sociologie vědeckého poznání se snaží zjistit, nakolik lze (...) již Kuhnovy historické práce považovat za významné ze sociologické perspektivy. Jelikož tyto práce pocházejí z doby, kdy byla historiografie vědy pod výrazným vlivem Alexandra Koyrého, příspěvek zkoumá také metodologická východiska jeho prací, aby bylo možno zjistit, do jaké míry se Kuhnův přístup vymykal standardní poválečné historiogra) i vědy navazující na Koyrého tradici. (shrink)

Zájem současné sociologie a dalších společenských věd o výzkumy spokojenosti a štěstí zatemňuje skutečnost, že původně právě sociologie chtěla „štěstí" poskytovat a nahrazovat tak náboženské přístupy ke světu. Tento implicitně nábo- ženský charakter je patrný i v rané české sociologii v dílech prvních propagátorů sociologie, jako byl především Emanuel Makovička, a později u některých následovníků a epigonů T. G. Masaryka, v meziválečném období zejména u Ladislava Kunteho, R. I. Malého, Alexandra Sommera-Batěka, Jindřicha Fleischnera a Jana Duška. Z hlediska vývoje (...) české sociologie šlo o zcela okrajové postavy, ačkoli mnohé z nich vynikly v jiných oblastech, jako celek jsou nicméně vyjádřením jednoho z aspektů dobových teoretických úvah o společnosti, jejím uspořádání a vývoji, na který by nemělo být zapomínáno. Zatímco T. G. Masaryka a pozdější akademické sociology „omezoval" vědecký charakter jejich práce, a i pokud směřovali k sociálnímu reformismu, oddělovali jej od teoretické sociologie, „sociologie vedoucí ke štěstí" nalezla plné uplatnění ve vizích a ambiciózních projek- tech těchto amatérských takésociologů - třebaže skončily faktickými nezdary nebo ani nedošly praktického naplnění, ostatně stejně jako v případě jejich pravzoru, Comtova pozitivistického apoštolátu. (shrink)

This eleventh volume of Collected Papers includes 90 papers comprising 988 pages on Physics, Artificial Intelligence, Health Issues, Decision Making, Economics, Statistics, written between 2001-2022 by the author alone or in collaboration with the following 84 co-authors (alphabetically ordered) from 19 countries: Abhijit Saha, Abu Sufian, Jack Allen, Shahbaz Ali, Ali Safaa Sadiq, Aliya Fahmi, Atiqa Fakhar, Atiqa Firdous, Sukanto Bhattacharya, Robert N. Boyd, Victor Chang, Victor Christianto, V. Christy, Dao The Son, Debjit Dutta, Azeddine Elhassouny, Fazal Ghani, Fazli Amin, (...) Anirudha Ghosha, Nasruddin Hassan, Hoang Viet Long, Jhulaneswar Baidya, Jin Kim, Jun Ye, Darjan Karabašević, Vasilios N. Katsikis, Ieva Meidutė-Kavaliauskienė, F. Kaymarm, Nour Eldeen M. Khalifa, Madad Khan, Qaisar Khan, M. Khoshnevisan, Kifayat Ullah,, Volodymyr Krasnoholovets, Mukesh Kumar, Le Hoang Son, Luong Thi Hong Lan, Tahir Mahmood, Mahmoud Ismail, Mohamed Abdel-Basset, Siti Nurul Fitriah Mohamad, Mohamed Loey, Mai Mohamed, K. Mohana, Kalyan Mondal, Muhammad Gulfam, Muhammad Khalid Mahmood, Muhammad Jamil, Muhammad Yaqub Khan, Muhammad Riaz, Nguyen Dinh Hoa, Cu Nguyen Giap, Nguyen Tho Thong, Peide Liu, Pham Huy Thong, Gabrijela Popović‬‬‬‬‬‬‬‬‬‬, Surapati Pramanik, Dmitri Rabounski, Roslan Hasni, Rumi Roy, Tapan Kumar Roy, Said Broumi, Saleem Abdullah, Muzafer Saračević, Ganeshsree Selvachandran, Shariful Alam, Shyamal Dalapati, Housila P. Singh, R. Singh, Rajesh Singh, Predrag S. Stanimirović, Kasan Susilo, Dragiša Stanujkić, Alexandra Şandru, Ovidiu Ilie Şandru, Zenonas Turskis, Yunita Umniyati, Alptekin Ulutaș, Maikel Yelandi Leyva Vázquez, Binyamin Yusoff, Edmundas Kazimieras Zavadskas, Zhao Loon Wang.‬‬‬‬. (shrink)

The aim of this paper is to propose a systematic classification of emotions which can also characterize their nature. The first challenge we address is the submission of clear criteria for a theory of emotions that determine which mental phenomena are emotions and which are not. We suggest that emotions as a subclass of mental states are determined by their functional roles. The second and main challenge is the presentation of a classification and theory of emotions that can account for (...) all existing varieties. We argue that we must classify emotions according to four developmental stages: 1. pre-emotions as unfocussed expressive emotion states, 2. basic emotions, 3. primary cognitive emotions, and 4. secondary cognitive emotions. We suggest four types of basic emotions (fear, anger, joy and sadness) which are systematically differentiated into a diversity of more complex emotions during emotional development. The classification distinguishes between basic and non-basic emotions and our multi-factorial account considers cognitive, experiential, physiological and behavioral parameters as relevant for constituting an emotion. However, each emotion type is constituted by a typical pattern according to which some features may be more significant than others. Emotions differ strongly where these patterns of features are concerned, while their essential functional roles are the same. We argue that emotions form a unified ontological category that is coherent and can be well defined by their characteristic functional roles. Our account of emotions is supported by data from developmental psychology, neurobiology, evolutionary biology and sociology. (shrink)

What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...) defends the account against four objections. Imagining and remembering seem to differ in whether they are active or passive, in the forms of singular content they involve, in their relations to observation and in their relations to belief. I argue that these differences can be accommodated, and some even explained, once we flesh out what else is involved in episodic memory, in addition to imagining the past. (shrink)

Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's (...) semantics for basic depictive content, I argue that the relevant systematicity is absent from the pictorial realm. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...) pessimism has certain advantages over the first. I offer two candidates for the non-epistemic norm that, on this view, stands in the way of our taking aesthetic testimony. And I argue that this form of pessimism meets a challenge to pessimism in general – that of explaining why, if testimony cannot be a legitimate source of aesthetic belief, we can nonetheless rightly rely on the aesthetic recommendations of others. (shrink)

What are the legitimate sources of aesthetic belief? Which methods for forming aesthetic belief are acceptable? Although the question is rarely framed explicitly, it is a familiar idea that there is something distinctive about aesthetic matters in this respect. Crudely, the thought is that the legitimate routes to belief are rather more limited in the aesthetic case than elsewhere. If so, this might tell us something about the sorts of facts that aesthetic beliefs describe, about the nature of our aesthetic (...) judgements, or about the responses that ground them. Getting the epistemology right here may help with the metaphysics, the semantics or the philosophical psychology. Investigating the legitimate sources of aesthetic belief may thus teach us something important about the aesthetic realm. (shrink)

A standard view in philosophy is that knowledge entails justification. Yet recent research suggests otherwise. We argue that this admirable and striking research suffers from an important limitation: participants were asked about knowledge but not justification. Thus it is possible that people attributed knowledge partly because they thought the belief was justified. Perhaps though, if given the opportunity, people would deny justification while still attributing knowledge. It is also possible that earlier findings were due to perspective taking. This paper reports (...) further research that directly addresses these questions. Our findings support the hypothesis that knowledge entails justification on the ordinary view. (shrink)

This paper offers a defense of ‘publishing without belief’ (PWB) – the view that authors are not required to believe what they publish. I address objections to the view ranging from outright denial and advocacy of a belief norm for publication, to a modified version that allows for some cases of PWB but not others. I reject these modifications. In doing so, I offer both an alternative story about the motivations for PWB and a diagnosis of the disagreement over its (...) permissibility. The original defense focused on consequentialist reasons for allowing PWB, offering mostly defensive arguments against potential criticisms. But I argue that once we shift our focus to the reasons why authors might be prone to PWB, we see a difference in two types of motivation: whereas I imagine PWB as arising from underconfident agents, critics point to cagey or nefarious authorial practices, or authors’ failure to clarify their own degrees of belief. Underlying the debate over norms of philosophical publishing, we find two different conceptions of philosophy itself. (shrink)

What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper question: (...) what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)

Episodic memory is sometimes described as mental time travel. This suggests three ideas: that episodic memory offers us access to the past that is quasi-experiential, that it is a source of knowledge of the past, and that it is, at root, passive. I offer an account of episodic memory that rejects all three ideas. The account claims that remembering is a matter of representing the past to oneself, in a way suitably responsive to how one experienced the remembered episode to (...) be. I argue that episodic memory is active, in the way this view suggests. I clarify the idea that it is, as the view also implies, not a source of knowledge but an expression of knowledge the subject already has. And I suggest the view need not limit memories to states that are in any way experience-like. This position offers a way to articulate the relations between episodic memory and related phenomena: factual memory, generic memory, remembering-how and anticipation. And it allows us to explain how we know which aspects of our episodic memory states to take seriously and which (such as the shift to an observer perspective on the remembered events) to treat as merely incidental. (shrink)

It is uncontroversial that something goes wrong with the blaming practices of hypocrites. However, it is more difficult to pinpoint exactly what is objectionable about their blaming practices. I contend that, just as epistemologists have recently done with blame, we can constructively treat hypocrisy as admitting of an epistemic species. This paper has two objectives: first, to identify the epistemic fault in epistemically hypocritical blame, and second, to explain why epistemically hypocritical blamers lose their standing to epistemically blame. I tackle (...) the first problem by appealing to an epistemic norm of consistency. I address the second by arguing that the epistemically hypocritical blamer commits to an opting-out of the set of shared epistemic standards that importantly underlies our standing to epistemically blame. I argue further that being epistemically hypocritical undermines a blamer’s standing even to judge epistemically blameworthy. (shrink)

We propose and investigate an Analogy Principle in the context of Unary Inductive Logic based on a notion of support by structural similarity which is often employed to motivate scientific conjectures.

An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how more precisely (...) does it operate? I show how to use the notion of experienced resemblance in outline shape to analyse depiction in such a way as to answer this question, and to explain the six key features above. (shrink)

Psychoanalysis provides the best explanation of a range of empirical phenomena; epistemic criics do not take this fully into account.

We cannot imagine two straight lines intersecting at two points even though they may do so. In this case our abilities to imagine depend upon our abilities to visualise.

Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so very much (...) better off? The film uses the failures of Leonard’s system to raise doubts about the effectiveness of our own psychological capacities for grasping the past. However, memory does more than allow us to retain information. As Richard Wollheim showed, it also enables the past to control our present, by perpetuating, while modifying, its affective hold over us. This is something wholly denied Leonard. By implicitly contrasting his position with ours in this respect, the film also explores this second role that memory plays in our lives. (shrink)

Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...) great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)

This paper argues that recent work in the 'free energy' program in neuroscience enables us better to understand both consciousness and the Freudian unconscious, including the role of the superego and the id. This work also accords with research in developmental psychology (particularly attachment theory) and with evolutionary considerations bearing on emotional conflict. This argument is carried forward in various ways in the work that follows, including 'Understanding and Healing', 'The Significance of Consilience', 'Psychoanalysis, Philosophical Issues', and 'Kantian Neuroscience and (...) Radical Interpretation', and the discussion of conscious extends that of both 'The Problem of Consciousness and the Innerness of the Mind' and 'Psychoanalysis, Metaphor, and the Concept of Mind'. (shrink)

This paper summarises the main claims I have made in a series of publications on depiction. Having described six features of depiction that any account should explain, I sketch an account that does this. The account understands depiction in terms of the experience to which it gives rise, and construes that experience as one of resemblance. The property in respect of which resemblance is experienced was identified by Thomas Reid, in his account of ‘visible figure’. I defend the account against (...) certain criticisms, and compare it to some of its main rivals, in particular the views offered by Goodman, Wollheim and Dominic Lopes. (shrink)

Some philosophers take Perky's experiments to show that perceiving can be mistaken for visualizing and so that the two sometimes match in phenomenology. On Segal’s alternative interpretation Perky’s subjects did not consciously perceive the stimuli at all. I argue that even setting this alternative aside, Perky's results do not prove what the philosophers think. She showed her subjects, not the objects they were asked to visualise, but pictures of them. What they mistook for visualizing was not perceptual consciousness of stimuli, (...) but pictorial consciousness. Once clear about the nature of the latter, we can see that Perky's results reveal nothing very surprising. (shrink)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can that (...) seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

Perceptual filling-in for vision is the insertion of visual properties (e.g., color, contour, luminance, or motion) into one’s visual field, when those properties have no corresponding retinal input. This paper introduces and provides preliminary empirical support for filled/non-filled pairs, pairs of images that appear identical, yet differ by amount of filling-in. It is argued that such image pairs are important to the experimental testing of theories of consciousness. We review recent experimental research and conclude that filling-in involves brain activity with (...) relatively high integrated information (Phi) compared to veridical visual perceptions. We then present filled/non-filled pairs as an empirical challenge to the integrated information theory of consciousness, which predicts that phenomenologically identical experiences depend on brain processes with identical Phi. (shrink)

Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...) this question. The notable exception is M.G.F.Martin’s account of pictures in terms of an ‘image’, a pure visibile that presents the represented object and its features without exemplifying them. In order to interpret Martin’s view so as to bring out its plausibility, I relate it to the somewhat similar position advocated by Lambert Wiesing’s account of pictures and our experience of them. That done, I ask whether a position drawing on both these positions can justify drawing a fundamental distinction between the ways in which pictures and sculptures present what they represent. (shrink)

James Hopkins; IX*—Wittgenstein and Physicalism, Proceedings of the Aristotelian Society, Volume 75, Issue 1, 1 June 1975, Pages 121–146, https://doi.org/10.109.

This (1982) essay sets out the claim that psychoanalysis is a cogent extension of the intuitive common sense psychology by which we naturally understand human action. In this psychology explanation proceeds by relating actions to the logically and causally cohering desires and beliefs of agents. As Freud showed, this kind of explanation is systematically deepened and extended by the explanation of dreams, the symptoms of mental disorder, and other related phenomena via the Freudian concept of wish fulfilment, which was later (...) extended to the more inclusive post-Freudian concept of phantasy. In this extension everyday actions, such as Freud's writing up his patient Irma's case history on the day before his dream of Irma's injection, are seen to be rooted in the same unconscious motives as are represented as fulfilled in dreams and symptoms -- e.g., in this case, by unconscious stirrings of deep guilt on the topic of injection, of which Freud was unaware until he analysed the dream. As this illustrates, the understanding of wishfulfilments and other formations of phantasy enables us fill out our account of agents and their actions by adding a stock of previously unacknowledged desires and modes of expression of desire. These are seen to cohere with, and also to deepen, our previous understanding: after understanding Freud's dream, we also have a deeper and firmer (and so more cogent) understanding of his behaviour on the previous day. In this way Freud effected an extension of our everyday mode of understanding that was cogent, cumulative, and radical, as illustrated further by examination of Freud's case history of the patient described as the Rat Man. (shrink)

Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those experiences (...) reflect differences in the objects’ themselves. A range of objections to this position is considered, but all are found wanting. (shrink)

In order to understand both consciousness and the Freudian unconscious we need to understand the notion of innerness that we apply to the mind. We can partly do so via the use of the theory of conceptual metaphor, and this casts light on a number of related topics.

‘Painting’ names both a practice and its products. Both practice and product can, but need not, be art. When painting is art, in what does its artistic interest lie? This is the question an aesthetics of painting seeks to answer. While that answer might be sought in features found in other arts, here we investigate whether painting is of distinctive interest, containing phenomena of artistic value not to be found in most, or perhaps any, other art forms.

What is the relation between affective states, such as emotions and pleasure, and imagining? Do the latter cause the former, just as perceptual states do? Or are the former merely imagined, along with suitable objects? I consider this issue against the backdrop of Sartre’s theory of imagination, and drawing on his highly illuminating discussion of it. I suggest that, while it is commonly assumed that imaginative states cause affective responses much as do perceptions, the alternatives merit more careful consideration than (...) they are usually given. (shrink)

Freud's account of dreams has a cogent interpretive basis.

I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...) artistically interesting communication of thought. The central resources of representation are content, vehicle properties, and the interplay between these two. Whereas painting and other representational arts are able to exploit all three to communicate thought, authentic photography can exploit interplay only to a very limited degree. However, the exploitation of interplay is the culmination of communicative representational art: the natural endpoint in its development. (shrink)

In The Imaginary Sartre offers a systematic, insightful and heterodox account of imagining in many forms. Beginning with four ‘characteristics’ he takes to capture the phenomenology of imagining, he draws on considerations both philosophical and psychological to describe the deeper nature of the state that has those features. The result is a view that remains the most potent challenge to the Humean orthodoxy that to this day dominates both philosophical and psychological thinking on the topic.

This paper considers clinical psychoanalysis together with developmental psychology (particularly attachment theory), evolution, and neuroscience in the context a Bayesian account of confirmation and disconfrimation. -/- In it I argue that these converging sources of support indicate that the combination of relatively low predictive power and broad explanatory scope that characterise the theories of both Freud and Darwin suggest that Freud's theory, like Darwin's, may strike deeply into natural phenomena. -/- The same argument, however, suggests that conclusive confirmation for Freudian (...) hypotheses, as in the case of Darwin's, will come from outside the original domain of explanation sketched out by Freud. As in Darwin's case conclusive confirmation came from understanding the physical mechanisms or reproduction, in Freud's case it will come from understanding the neural mechanisms that realise the phenomena described in psychoanalysis. (shrink)

Davidson's account of interpretation is closely related to that offered by Wittgenstein in his remarks on following a rule.

This paper argues that psychoanalysis enables us to see mental disorder as rooted in emotional conflicts, particularly concerning aggression, to which our species has a natural liability. These can be traced in development, and seem rooted in both parent-offspring conflict and in-group cooperation for out-group conflict. In light of this we may hope that work in psychoanalysis and neuroscience will converge in indicating the most likely paths to a better neurobiological understanding of mental disorder.

Faced with a national tragedy, citizens respond in different ways. Some will initiate debate about the possible connections between this tragedy and broader moral and political issues. But others often complain that this is too early, that it is inappropriate to debate such larger issues while ‘the bodies are still warm’. This paper critically examines the grounds for such a complaint. We consider different interpretations of the complaint—cynical, epistemic and ethical—and argue that it can be resisted on all of these (...) readings. Debate shortly after a national disaster is therefore permissible. We then set out a political argument in favour of early debate based on the value of broad political participation in liberal democracies and sketch a stronger argument, based on the duty to support just institutions, that would support a political duty to engage in debate shortly after tragedies have occurred. (shrink)

The relationship between art and time is one of pre-figuration–transfiguration, a continuous exchange between the art of the present and that of the past and it is in this sense that we can understand how the works of art are have almost their entire life before them. It is in this sense also that the real meaning of metamorphosis should be understood: The works of art are not permanent acquisitions. They offer themselves the ways through which they appear in another (...) light, gathering up at the same time a series of antecedent expressions in an eternity ever to be recreated. Hence, art’s time is neither a-historical nor exclusively history embedded (in history’s empirical sense). Art’s time is trans-historical: artworks, initiating themselves the process of their metamorphosis, ‘transcend’ time being into time and, thus, they ‘traverse’ history. (shrink)

Deception, like coercion, can invalidate the moral force of consent. In the sexual domain, when someone is deceived about some feature of their partner, knowledge of which would be dispositive of their decision to have sex – a dealbreaker – the moral validity of their consent is undermined. I argue that in order to determine whether someone has discharged their duties of disclosure in the sexual domain, we should ask whether, upon receiving a token of consent to sex, they have (...) a justified belief that their partner would consent to the sexual encounter given all the features that it has. I argue that whether an agent has a justified belief in this proposition is a function of the agent’s body of evidence and which alternatives uneliminated. (shrink)

Both Wittgenstein's account of following a rule and his private language argument turn on the notion of interpretation.

According to a consensus view in philosophy, “deciding” and “intending” are synonymous expressions. Researchers have recently challenged this view with the discovery of a counterexample in which ordinary speakers attribute deciding without intending. The aim of this paper is to investigate the strengths and limits of this discovery. The result of this investigation revealed that the evidence challenging the consensus view is strong. We replicate the initial finding against consensus and extend it by utilizing several new measures, materials, and procedures. (...) Together this evidence strongly suggests that “deciding” is not synonymous with “intending” in ordinary language and that the consensus view should be rejected. (shrink)

One striking observation in the history of rational choice models is that those models have not only been used in economics but spread widely across the social and behavioral sciences. How do such model transfers proceed? By closely studying the early efforts to transfer such models by William Riker – a major protagonist in pushing the adoption of game theoretic models in political science – this article examines the transfer process as one of ‘translation’ by which abstract and mathematical rational (...) choice models were constructed and modified such that they applied to a specific target system in a new domain. In this paper, we argue that to overcome a set of challenges that hampered the straightforward transfer of game theoretic models into political science, Riker complemented theoretical and conceptual modifications of von Neumann and Morgenstern’s game schemes with the use of narratives to turn them into applicable and testable models. As such, those narratives played a crucial role in enabling their transfer and ultimately facilitated the applicability of game theoretic models in political science. (shrink)

The outcome of criticism is a perception. Does this mean that criticism cannot count as a rational process? For it to do so, it seems it would have to be possible for there to be an argument for a perception. Yet perceptions do not seem to be the right sort of item to serve as the conclusions of arguments. Is this appearance borne out? I examine why perceptions might not be able to play that role, and explore what would have (...) to be true of critical discourse for those obstacles to be circumvented. (shrink)

Our commonsense understanding of meaning and motive is realized via the semantic encoding of causal role. Appreciating this together with other features of semantic theories enables us to see that methodological critiques of psychoanalysis, such as those by Popper and Grunbaum, systematically fail to take account of empirical data, and if taken seriously would render commonsense understanding of mind and language void. This is particularly problematic if we consider much of what we regard ourselves as knowing is registered in language, (...) or understood through our use of it, since this includes science itself. (shrink)