Results for 'Damien Delforge'

13 found
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  1.  7
    Causal Analysis of Hydrological Systems.Damien Delforge - 2020 - Dissertation, Université Catholique de Louvain
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  2.  16
    Appearance, Perception, and Non-Rational Belief: Republic 602c-603a.Damien Storey - 2014 - Oxford Studies in Ancient Philosophy 47:81-118.
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  3. Exploring the Informational Sources of Metaperception: The Case of Change Blindness Blindness.Anna Loussouarn, Damien Gabriel & Joëlle Proust - 2011 - Consciousness and Cognition 20 (4):1489-1501.
    Perceivers generally show a poor ability to detect changes, a condition referred to as “Change Blindness” . They are, in addition, “blind to their own blindness”. A common explanation of this “Change Blindness Blindness” is that it derives from an inadequate, “photographical” folk-theory about perception. This explanation, however, does not account for intra-individual variations of CBB across trials. Our study aims to explore an alternative theory, according to which participants base their self-evaluations on two activity-dependent cues, namely search time and (...)
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  4. Is Direct Reference Theory Incompatible with Physicalism?Mahrad Almotahari & Damien Rochford - 2011 - Journal of Philosophy 108 (5):255-268.
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  5.  27
    Sex, Wealth, and Courage: Kinds of Goods and the Power of Appearance in Plato's Protagoras.Damien Storey - 2018 - Ancient Philosophy 38 (2):241-263.
    I offer a reading of the two conceptions of the good found in Plato’s Protagoras: the popular conception—‘the many’s’ conception—and Socrates’ conception. I pay particular attention to the three kinds of goods Socrates introduces: (a) bodily pleasures like food, drink, and sex; (b) instrumental goods like wealth, health, or power; and (c) virtuous actions like courageously going to war. My reading revises existing views about these goods in two ways. First, I argue that the many are only ‘hedonists’ in a (...)
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  6.  41
    The Translation of Republic 606a3–B5 and Plato's Partite Psychology.Damien Storey - 2019 - Classical Philology 114 (1):136-141.
    In this paper I discuss the translation of a line in Plato's description of the ‘greatest accusation’ against imitative poetry, Republic 606a3–b5. This line is pivotal in Plato's account of how poetry corrupts its audience and is one of the Republic's most complex and interesting applications of his partite psychology, but it is misconstrued in most recent translations, including the most widely used. I argue that an examination of the text and reflections on Platonic psychology settle the translation decisively.
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  7.  61
    What is Eikasia?Damien Storey - 2020 - Oxford Studies in Ancient Philosophy 58:19-57.
    This paper defends a reading of eikasia—the lowest kind of cognition in the Divided Line—as a kind empirical cognition that Plato appeals to when explaining, among other things, the origin of ethical error. The paper has two central claims. First, eikasia with respect to, for example, goodness or justice is not different in kind to eikasia with respect to purely sensory images like shadows and reflections: the only difference is that in the first case the sensory images include representations of (...)
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  8.  77
    Does Encouraging a Belief in Determinism Increase Cheating? Reconsidering the Value of Believing in Free Will.Thomas Nadelhoffer, Jason Shepard, Damien L. Crone, Jim A. C. Everett, Brian D. Earp & Neil Levy - 2020 - Cognition 203:104342.
    A key source of support for the view that challenging people’s beliefs about free will may undermine moral behavior is two classic studies by Vohs and Schooler (2008). These authors reported that exposure to certain prompts suggesting that free will is an illusion increased cheating behavior. In the present paper, we report several attempts to replicate this influential and widely cited work. Over a series of five studies (sample sizes of N = 162, N = 283, N = 268, N (...)
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  9. In Monstrous Shallows: Pinpointing Where the Real Art of Jeff Koons Lies.Jakob Zaaiman - 2016 - Alldaynight.Info.
    Art is about the exploration of the strange and disturbing; it is not about classical fine crafting. Artists use artworks to exteriorise their inner landscapes, thereby allowing others to experience their take on life, at least vicariously. It is this exteriorisation which is ‘art’, not the aesthetic features of the individual artworks themselves, which is properly the domain of crafting and design. Aesthetics cannot explain the work of many major modern contemporary artists, because it fails to locate the underlying unifying (...)
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  10. Buddhist Meta-Ethics.Bronwyn Finnigan - 2010-11 - Journal of the International Association of Buddhist Studies 33 (1-2):267-297.
    In this paper I argue for the importance of pursuing Buddhist Meta-Ethics. Most contemporary studies of the nature of Buddhist Ethics proceed in isolation from the highly sophisticated epistemological theories developed within the Buddhist tradition. The aim of this paper is to demonstrate that an intimate relationship holds between ethics and epistemology in Buddhism. To show this, I focus on Damien Keown's influential virtue ethical theorisation of Buddhist Ethics and demonstrate the conflicts that arise when it is brought into (...)
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  11. The Cultivation of Virtue in Buddhist Ethics.Charles K. Fink - 2013 - Journal of Buddhist Ethics 20:667-701.
    One question pursued in Buddhist studies concerns the classification of Buddhist ethics. Damien Keown has argued that Aristotelian virtue ethics provides a useful framework for understanding Buddhist ethics, but recently other scholars have argued that character consequentialism is more suitable for this task. Although there are similarities between the two accounts, there are also important differences. In this paper, I follow Keown in defending the aretaic interpretative model, although I do not press the analogy with Aristotelian ethics. Rather, I (...)
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  12. How to Understand Modern Contemporary Art, Enjoy It, and Not Be Fooled.Jakob Zaaiman - 2016 - Alldaynight. Info.
    Modern contemporary art remains a mystery because most people – including art critics and even artists themselves – are unable to see beyond the imprisoning confines of classical fine art. Everything is judged in terms of beauty and technical skill, when it should be viewed from a quite different perspective, namely that of the imaginative world that the modern artwork is a part of. Successful and authentic modern art is about creating worlds of the imagination - like a film, or (...)
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  13.  54
    The Underlying Term Is Democracy: An Interview With Julian Stallabrass.Vid Simoniti - 2010 - Postgraduate Journal of Aesthetics 7 (3):1-12.
    In Art Incorporated, you seek to debunk the myth of the artworld as autonomous of the market forces of global capitalism. Instead, you argue, works of art have become yet another commodity. However, one could say that works of art have always been commodities as well as objects of aesthetic appreciation. What makes the problem pertinent now, in the age of artists like Takashi Murakami, Jeff Koons and Damien Hirst?
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