The notion of information processing has dominated the study of the mind for over six decades. However, before the advent of cognitivism, one of the most prominent theoretical ideas was that of Habit. This is a concept with a rich and complex history, which is again starting to awaken interest, following recent embodied, enactive critiques of computationalist frameworks. We offer here a very brief history of the concept of habit in the form of a genealogical network-map. This serves to provide (...) an overview of the richness of this notion and as a guide for further re-appraisal. We identify 77 thinkers and their influences, and group them into seven schools of thought. Two major trends can be distinguished. One is the associationist trend, starting with the work of Locke and Hume, developed by Hartley, Bain, and Mill to be later absorbed into behaviorism through pioneering animal psychologists (Morgan and Thorndike). This tradition conceived of habits atomistically and as automatisms (a conception later debunked by cognitivism). Another historical trend we have called organicism inherits the legacy of Aristotle and develops along German idealism, French spiritualism, pragmatism, and phenomenology. It feeds into the work of continental psychologists in the early 20th century, influencing important figures such as Merleau-Ponty, Piaget, and Gibson. But it has not yet been taken up by mainstream cognitive neuroscience and psychology. Habits, in this tradition, are seen as ecological, self-organizing structures that relate to a web of predispositions and plastic dependencies both in the agent and in the environment. In addition, they are not conceptualized in opposition to rational, volitional processes, but as transversing a continuum from reflective to embodied intentionality. These are properties that make habit a particularly attractive idea for embodied, enactive perspectives, which can now re-evaluate it in light of dynamical systems theory and complexity research. (shrink)

One of the pressing issues in philosophy of technology is the role of human creativity in human-technology relations. We first observe that a techno-centric orientation of philosophy of technology leaves open the role and contribution of human creativity in technological evolution, while an anthropocentric orientation leaves open the role of the technical milieu in technological evolution. Subsequently, we develop a concept of creation as deviation and responsiveness in response to affordances in the environment, inspired by the affordance theory by James (...) Gibson. With this concept of creation as deviative responsiveness, we articulate the human contribution to human-technology creation, namely, our intentional deviation of the inhibiting forces of the currently dominant niche or meaningful world of human-technology relations, in order to become responsive to new affordances in human-technology creation that constitute a new niche or world of human-technology relations. (shrink)

The starting point of this article is the undeniable experience of conscious willing despite its rejection by scientific research. The article starts a phenomenology of willing at the level of the phenomenon of willing itself, without assuming its embeddedness in a faculty of the soul, consciousness and so forth. After the introduction, a brief history of the philosophy of willing is provided, from which the paradoxical conclusion is drawn that, according to phenomenologists like Heidegger and his followers, the dominance of (...) the will is the main characteristic of the current age, whereas scientists deny the existence of a conscious will at all. Then, four structural moments of the phenomenon of willing are explored in contrast to traditional characterizations in order to rehabilitate and appreciate the phenomenon of willing in contemporary philosophy: the interconnectedness of the one who wills and that which is willed, the transcendence and demand character of that which is willed, the self-involvement of the one who wills and the ampliative nature of the act of willing. To this end, not only sources from the phenomenological tradition but also the affordance theory of the ecological psychologist James Gibson are critically discussed. (shrink)

Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism.

What is the relation between works of fiction and the acquisition of knowledge?

It is often assumed that literary meaning is essentially linguistic in nature and that literary interpretation is therefore a purely linguistic affair. This essay identifies a variety of literary meaning that cannot be reduced to linguistic meaning. Meaning of this sort is generated not by a communicative act so much as through a creative one: the construction of a fictional world. The way in which a fictional world can bear meaning turns out to be strikingly unlike the way a sentence (...) can, and this, I argue, has important implications for the theory of interpretation. (shrink)

The chapter presents Anselm’s incompatibilist account of human freedom within the context of his theodicy and presents two arguments against his account. Both arguments aim to show there is a genuine conflict between his account of freedom and the role of God’s grace in making agents just. The first argument, the problem of harmonization, highlights the conflict within the soteriological context where an agent changes from being unjust to being just. The second argument, the problem of just creation, highlights the (...) conflict within the context of the creation of agents prior to the presence of evil. Holding fixed his incompatibilist account and the necessity of divine grace, the upshot of both arguments is that Anselm must endorse a version of Pelagianism. (shrink)

This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary imagination’s (...) complementary power of cultural articulation in this fictional activity. The suggestion is that we should conceive of the literary imagination as expressing its interests in culture not mimetically but by producing a certain kind of meaning. This meaning is irreducibly narratological, and understanding it helps us to see the role of narrative in bringing into harmony the literary imagination’s interests in both the imaginary and the real. (shrink)

Philosophers of literature do not take much of an interest in autobiography.1 In one sense this is not surprising. As a certain prejudice has it, autobiography is, along with biography, the preferred reading of people who do not really like to read. The very words can conjure up images of what one finds on bookshelves in Florida retirement communities and in underfunded public libraries, books with titles like Under the Rainbow: The Real Liza Minnelli or Me: Stories of My Life (...) (Katharine Hepburn).2 Hardly rousing material, at least from the philosophical point of view. But on a moment’s reflection, it becomes clear that the initial prejudice is unfounded. Never mind the fact that there are obviously .. (shrink)

A viable theory of literary humanism must do justice to the idea that literature offers cognitive rewards to the careful reader. There are, however, powerful arguments to the effect that literature is at best only capable of offering idle visions of a world already well known. In this essay I argue that there is a form of cognitive awareness left unmentioned in the traditional vocabulary of knowledge acquisition, a form of awareness literature is particularly capable of offering. Thus even if (...) it is the case that literature has nothing interesting to give us in the way of knowledge, the literary humanist can consistently maintain that literary experience is thoroughly cognitive. (shrink)

Augmented Reality (AR), driven by Artificial Intelligence (AI), is transforming how we interact with the world. Recent technologies, like AI-powered smart glasses, are increasingly blending the physical and digital realms. While AR presents exciting new possibilities, it also raises deeper philosophical questions about what we consider reality.

Some philosophers—for example, Husserl, Alva Noë and Susanna Siegel—have claimed that the contents of visual sensations standardly include references to the later visual episodes that one would have under certain conditions. The current paper claims that there are no good reasons for accepting that view. Instead, it is argued that the conscious phenomena which have been cited as manifesting the presence within visual contents of references to ways that things would look in the course of later visual sensations are better (...) explained in another manner: in terms of references within the contents of ordinary visual sensations to ways that things actually then look from various perspectives. (shrink)

There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...) broadly, how can there be works of art whose very success requires the experience of boredom? Our goal in this paper is threefold. After offering a brief survey of kinds of boring art, we: i) derive a set of questions that we argue constitutes the philosophical problem of boring art; ii) elaborate an empirically informed theory of boredom that furnishes the philosophical problem with a deeper sense of the affect at the heart of the phenomenon; and iii) conclude by offering and defending a solution to the problem that explains why and how artworks might wish to make the experience of boredom key to their aesthetic and artistic success. (shrink)

Different philosophers from ancient Greek philosophers to contemporary thinkers tried to present unique views on consciousness. But what consciousness actually is remains unknown. Scientists today study neural firing patterns, neurotransmitters, fMRI scans map neural constellations and brain circuits. Yet, the bridge between neurons and the fragrance of rain or the taste of chocolate remains elusive. How does a network of cells conjure the magic of qualia? This makes the hard problem of consciousness. In this situation, emergent illusionism proposes a new (...) paradigm for the hard problem of Consciousness. (shrink)

Philosophers ask just whose expression, if anyone’s, we hear in lyric poetry. Walton provides a novel possibility: it’s the reader who “uses” the poem (just as a speech giver uses a speech) who makes the language expressive. But worries arise once we consider poems in particular social or political settings, those which require a strong self-other distinction, or those with expressions that should not be disassociated from the subjects whose experience they draw from. One way to meet this challenge is (...) to consider the poem expressive of a plural subject, which frees us from looking for a particular individual whose voice we hear in the work, whether she be fictional or actual. Some lyrics give voice to a group whose experience is attended to in the work. This may be done through a posited fictional speaker, but the ontology of the speaker is shown to be less important. Attending to a group whose concerns are voiced allows us to explain how poems can manage to address our-worldly concerns even when lacking actual persons whose expressions we encounter in the poems. (shrink)

This paper raises a slightly uncomfortable question: are some delusional subjects responsible for their delusions? This question is uncomfortable because we typically think that the answer is pretty clearly just ‘no’. However, we also accept that self-deception is paradigmatically intentional behavior for which the self-deceiver is prima facie blameworthy. Thus, if there is overlap between self-deception and delusion, this will put pressure on our initial answer. This paper argues that there is indeed such overlap by offering a novel philosophical account (...) of self-deception. The account offered is independently plausible and avoids the main problems that plague other views. It also yields the result that some delusional subjects are self-deceived. The conclusion is not, however, that those subjects are blameworthy. Rather, a distinction is made between blameworthiness and ‘attributability’. States or actions can be significantly attributable to a subject—in the sense that they are expressions of their wills—without it being the case that the subject is blameworthy, if the subject has an appropriate excuse. Understanding delusions within this framework of responsibility and excuses not only illuminates the ways in which the processes of delusional belief formation and maintenance are continuous with ‘ordinary’ processes of belief formation and maintenance, it also provides a way of understanding the innocence of the delusional subject that does not involve the denial of agency. (shrink)

Kripkean examples of necessary a posteriori truths clearly provide a challenge to attempts to connect facts about possibility to facts about what people can conceive. The paper argues for a general principle connecting imaginability under certain special circumstances to possibility; it also discusses some of the issues raised by the resulting position.

Why do we tend to ascribe possibility to what we can imagine? One strategy for answering that question involves the thought that, just as sensory episodes often involve its seeming to us as though the world is certain ways, so imaginings involve its seeming to us that what we have imagined is possible. This chapter argues that while some imaginings do feature appearances of possibility, very many others do not; and it explores the broader relevance of its conclusions for modal (...) epistemology. (shrink)

This is the first book-length attempt to find the answer, by one author, since Sartre in his 1948 book with the same title.

Philosophy of Education in South Africa during the latter half of the 20th century was characterised by three ideological strands. The first was known as ‘Fundamental Pedagogics’, the second ‘Liberalism’, and the third ‘Liberation Socialism’ (i.e., Marxism/Freire). When apartheid formally ended in 1994 these strands lost their impetus and faded from educational debates, arguably because of the disappearance of apartheid itself, as the locus relative to which these ideological strands positioned themselves. This paper characterises these three positions and some of (...) their major proponents and ideas, and then present an overview of where philosophy of education in South Africa is now, nearly 30 years after apartheid. I suggest that since 1994 the strong, competing philosophical and ideological commitments that informed philosophy of education during apartheid have significantly dissipated, and have not been meaningfully replaced. Instead, education policy and curriculum are now arguably underpinned by neo-liberal concerns, and the results have been, and continue to be, an unmitigated disaster for schooling in South Africa. Part of the reason for this is because philosophy of education is much diminished, and no longer directly meaningfully contributes to, and informs, educational discourse, policy, teacher training and curriculum in South African schooling. (shrink)

Visualizings, the simplest imaginings which employ visual imagery, have certain characteristic features; they are perspectival, for instance. Also, it seems that some but not all of our visualizings are imaginings of seeings. But it has been forcefully argued, for example by M.G.F. Martin and Christopher Peacocke, that all visualizings are imaginings of visual sensations. I block these arguments by providing an account of visualizings which allows for their perspectival nature and other features they typically have, but which also explains how (...) we can visualize things without thereby imagining visual sensations. (shrink)

Interpreters of Hume on causation consider that an advantage of the ‘quasi-realist’ reading is that it does not commit him to scepticism or to an error theory about causal reasoning. It is unique to quasi-realism that it maintains this positive epistemic result together with a rejection of metaphysical realism about causation: the quasi-realist supplies an appropriate semantic theory in order to justify the practice of talking ‘as if’ there were causal powers in the world. In this paper, I problematise the (...) quasi-realist reading of Hume on causation by showing how quasi-realism does not speak to inductive scepticism. I also offer evidence that Hume takes inductive scepticism to result from his theory of causation, and that his scepticism is tied to his rejection of metaphysical causal realism. (shrink)

We often ascribe possibility to the scenes that are displayed by mental or nonmental sensory images. The paper presents a novel argument for thinking that we are prima facie justified in ascribing metaphysical possibility to what is displayed by suitable visual images, and it argues that many of our imagery‐based ascriptions of metaphysical possibility are therefore prima facie justified. Some potential objections to the arguments are discussed, and some potential extensions of them, to cover nonvisual forms of imagery and nonmetaphysical (...) forms of possibility, are endorsed. (shrink)

Aesthetic hedonism is the view that to be aesthetically good is to please. For most aesthetic hedonists, aesthetic normativity is hedonic normativity. This paper argues that Kant’s third Critique contains resources for a nonhedonic account of aesthetic normativity as sourced in autonomy as self-legislation. A case is made that the account is also Kant’s because it ties his aesthetics into a key theme of his larger philosophy.

There are numerous contexts in which philosophers and others use model-theoretic methods in assessing the validity of ordinary arguments; consider, for example, the use of models built upon 'possible worlds' in examinations of modal arguments. But the relevant uses of model-theoretic techniques may seem to assume controversial semantic or metaphysical accounts of ordinary concepts. So, numerous philosophers have suggested that standard uses of model-theoretic methods in assessing the validity of modal arguments commit one to accepting that modal claims are to (...) be analysed in terms of possible worlds. The paper provides a very general account of how uses of model-theoretic methods in demonstrating facts about validity and invalidity may in fact often be uncoupled from controversial semantic or metaphysical theses, applying the resulting techniques to some modal cases in particular. (shrink)

The paper examines the relationships between the contents of imaginative episodes and the mental images that often play a central role within them. It considers, for example, whether the presence of mental imagery is required for a mental episode to count as an imagining.

(Open Access article, freely available to download from publisher's site.) Our visual experiences of objects as located in external space, and as having definite three-dimensional shapes, are closely linked to our implicit expectations about what things will look like from alternative viewpoints. What sorts of contents do these expectations involve? One standard answer is that they relate to what things will look like to us upon changing our positions. And what sorts of mental representations do the expectations call upon? A (...) standard answer is that they involve our powers of visual imagery; this answer requires us to allow for the possibility of unconscious visual imagery, however. The current paper presents an alternative model of the contents of our implicit visual expectations, one that regards them as wholly nonreflexive. It also argues that, once we ascribe the relevant contents to the expectations, there is no longer any reason for holding that they involve our powers of visual imagery. (shrink)

The addition of "actually" operators to modal languages allows us to capture important inferential behaviours which cannot be adequately captured in logics formulated in simpler languages. Previous work on modal logics containing "actually" operators has concentrated entirely upon extensions of KT5 and has employed a particular modeltheoretic treatment of them. This paper proves completeness and decidability results for a range of normal and nonnormal but quasi-normal propositional modal logics containing "actually" operators, the weakest of which are conservative extensions of K, (...) using a novel generalisation of the standard semantics. (shrink)

This chapter begins by sketching an account of morally responsible agency and the general conditions under which it may fail. We discuss how far individuals with psychiatric diagnoses may be exempt from morally responsible agency in the way that infants are, with examples drawn from a sample of diagnoses intended to make dierent issues salient. We further discuss a recent proposal that clinicians may hold patients responsible without blaming them for their acts. We also consider cognitively impaired subjects in the (...) light of related issues in moral and political theory, asking whether they have been unjustly excluded from liberal conceptions of political community due to their presumed lack of agency. (shrink)