Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the image back into the imagination’. The (...) weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination. (shrink)

Perception is typically distinguished from cognition. For example, seeing is importantly different from believing. And while what one sees clearly influences what one thinks, it is debatable whether what one believes and otherwise thinks can influence, in some direct and non-trivial way, what one sees. The latter possible relation is the cognitive penetration of perception. Cognitive penetration, if it occurs, has implications for philosophy of science, epistemology, philosophy of mind, and cognitive science. This paper offers an analysis of the phenomenon, (...) its theoretical consequences, and a variety of experimental results and possible interpretations of them. The paper concludes by proposing some constraints for analyses and definitions of cognitive penetrability. (shrink)

This chapter has four parts. I distinguishes some types of perceptual skills and highlights their importance in everyday perception. II identifies a well-studied class of perceptual skills: cases of perceptual expertise. III discusses a less studied possible instance of perceptual skill: picture perception. Finally, IV outlines some important mechanisms underlying perceptual skills, with special emphasis on attention and mental imagery.

This paper considers an orectic penetration hypothesis which says that desires and desire-like states may influence perceptual experience in a non-externally mediated way. This hypothesis is clarified with a definition, which serves further to distinguish the interesting target phenomenon from trivial and non-genuine instances of desire-influenced perception. Orectic penetration is an interesting possible case of the cognitive penetrability of perceptual experience. The orectic penetration hypothesis is thus incompatible with the more common thesis that perception is cognitively impenetrable. It is of (...) importance to issues in the philosophy of mind and cognitive science, epistemology, and general philosophy of science. The plausibility of orectic perception can be motivated by some classic experimental studies, and some new experimental research inspired by those same studies. The general suggestion is that orectic penetration thus defined, and evidenced by the relevant studies, cannot be deflected by the standard strategies of the cognitive impenetrability theorist. (shrink)

There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition has it (...) that knowledge about art changes how one aesthetically evaluates artworks. A profound explanation of this intuitive fact is that perceptual experiences vary with artistic expertise. Cognitive penetration provides an explanatory mechanism for this latter effect. What one knows or otherwise thinks about art may affect, in one of two ways sketched below, how one perceives art. Differences in aesthetic evaluation may follow, either because high-level aesthetic properties can be perceptually represented or because they causally depend on low-level perceptible properties. All of this lends credence to the hypothesis that the expert better judges art because she better perceives art. And she better perceives art because she better knows art. (shrink)

A number of philosophers argue that because of its history of systematic disagreement, philosophy has made little to no epistemic progress – especially in comparison to the hard sciences. One argument for this conclusion contends that the best explanation for systematic disagreement in philosophy is that at least some, potentially all, philosophers are unreliable. Since we do not know who is reliable, we have reason to conclude that we ourselves are probably unreliable. Evidence of one’s potential unreliability in a domain (...) purportedly defeats any first-order support one has for any judgments in that domain. This paper defends philosophy. First, accepting that science is rightfully treated as the benchmark of epistemic progress, I contend that a proper conception of epistemic progress highlights that philosophy and science are relevantly similar in terms of such progress. Secondly, even granting that systematic disagreement is a mark of unreliability and that it does characterize philosophy, this paper further argues that evidence of unreliability is insufficient for meta-level, domain-wide, defeat of philosophical judgments more generally. (shrink)

This paper offers a critical survey and analysis of empirical studies on creativity, with emphasis on how imagination plays a role in the creative process. It takes as a foil the romantic view that, given features like novelty, incubation, and insight, we should be skeptical about the prospects for naturalistic explanation of creativity. It rebuts this skepticism by first distinguishing stages or operations in the creative process. It then works through various behavioral and neural studies, and corresponding philosophical theorizing, that (...) concern the preparation, generation, insight, and evaluation stages of creative processes. The result is not a complete explanation of creativity, but it identifies an explanatory path towards such an explanation, including the features of creativity that motivate that skepticism. (shrink)

One sceptical rejoinder to those who claim that sensory perception is cognitively penetrable is to appeal to the involvement of attention. So, while a phenomenon might initially look like one where, say, a perceiver’s beliefs are influencing her visual experience, another interpretation is that because the perceiver believes and desires as she does, she consequently shifts her spatial attention so as to change what she senses visually. But, the sceptic will urge, this is an entirely familiar phenomenon, and it hardly (...) involves some special or theoretically important cognitive effect on sensory perception. Even supposing that the sceptic is correct about cases that are accurately described in this way, the rejoinder oversimplifies the possible roles that attention may play in mediating cognition and perception. This paper aims to identify these different roles, and by emphasis on empirical research on feature-based and object-based attention. What emerges is a plausible and well- evidenced mental schema that describes attention -mediated cognitive penetration. At the very least, the burden of proof is shifted to the sceptic, as he then must show that there are no mental phenomena involving attention in the more nuanced ways described here. One additional benefit of this analysis is that it illuminates various features of attention and its relation to both cognition and phenomenal consciousness. Therefore the analysis should be of interest to a broad range of theorists of the mind, and not just those invested in the cognitive penetration debate. (shrink)

Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. I offer (...) a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)

Amongst philosophers and cognitive scientists, modularity remains a popular choice for an architecture of the human mind, primarily because of the supposed explanatory value of this approach. Modular architectures can vary both with respect to the strength of the notion of modularity and the scope of the modularity of mind. We propose a dilemma for modular architectures, no matter how these architectures vary along these two dimensions. First, if a modular architecture commits to the informational encapsulation of modules, as it (...) is the case for modularity theories of perception, then modules are on this account impenetrable. However, we argue that there are genuine cases of the cognitive penetrability of perception and that these cases challenge any strong, encapsulated modular architecture of perception. Second, many recent massive modularity theories weaken the strength of the notion of module, while broadening the scope of modularity. These theories do not require any robust informational encapsulation, and thus avoid the incompatibility with cognitive penetrability. However, the weakened commitment to informational encapsulation greatly weakens the explanatory force of the theory and, ultimately, is conceptually at odds with the core of modularity. (shrink)

Vision often dominates other perceptual modalities both at the level of experience and at the level of judgment. In the well-known McGurk effect, for example, one’s auditory experience is consistent with the visual stimuli but not the auditory stimuli, and naïve subjects’ judgments follow their experience. Structurally similar effects occur for other modalities (e.g. rubber hand illusions). Given the robustness of this visual dominance, one might not be surprised that visual imagery often dominates imagery in other modalities. One might be (...) surprised, however, that visual imagery often dominates perception in other modalities. This more controversial claim is motivated both by empirical data and by introspection. Some think of perception-perception visual dominance as epistemically good, holding that cases in which visual dominance misleads us (e.g. McGurk and rubber hand illusions) are cases in which the perceptual system resolves conflicts according to principles that are generally reliable. Here, we explore support for the more controversial claim that imagery-perception visual dominance is epistemically good. We suggest that, when the task is richly spatial, requiring for optimal performance the all-at-once identification of macro-spatial and allocentric properties (e.g. identifying the shape or location of a felt or heard object), the visual, whether perception or imagination, should dominate other modalities. Put another way, when identifying objects, one should go and look or, short of that, visually imagine candidate objects, and then follow the visual, even against conflicting perceptions from other modalities. For this broadly-typed category of of cognitive-perceptual task, vision does dominate and it should. (shrink)

Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not have been tokened before the time (...) it is in fact tokened, relative to the agent in question. Thoughts that meet these three conditions—agency, psychological novelty, and modal—are what may be called cognitive breakthroughs. Even if such breakthroughs are not necessary to or definitive of richer creativity, they are indeed central to much of creativity. The minimal analysis provides a more workable explanandum for theories of creativity of varied motivation and method. (shrink)

Philosophers of mind and cognitive scientists have recently taken renewed interest in cognitive penetration, in particular, in the cognitive penetration of perceptual experience. The question is whether cognitive states like belief influence perceptual experience in some important way. Since the possible phenomenon is an empirical one, the strategy for analysis has, predictably, proceeded as follows: define the phenomenon and then, definition in hand, interpret various psychological data. However, different theorists offer different and apparently inconsistent definitions. And so in addition to (...) the usual problems (e.g., definitions being challenged by counterexample), an important result is that different theorists apply their definitions and accordingly get conflicting answers to the question “Is this a genuine case of cognitive penetration?”. This hurdle to philosophical and scientific progress can be remedied, I argue, by returning attention to the alleged consequences of the possible phenomenon. There are three: theory-ladenness of perception in contexts of scientific theory choice, a threat to the general epistemic role of perception, and implications for mental architecture. Any attempt to characterize or define, and then empirically test for, cognitive penetration should be constrained by these consequences. This is a method for interpreting and acquiring experimental data in a way that is agreeable to both sides of the cognitive penetration debate. Put crudely, the question shifts to “Is this a cognitive-perceptual relation that results in (or constitutes) one or more of the relevant consequences?” In answering this question, relative to various data, it may turn out that there is no single unified phenomenon of cognitive penetration. But this should be no matter, since it is the consequences that are of central importance to philosophers and scientists alike. (shrink)

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between imagination (...) and creativity. (shrink)

A fiction may prescribe imagining that a pig can talk or tell the future. A fiction may prescribe imagining that torturing innocent persons is a good thing. We generally comply with imaginative prescriptions like the former, but not always with prescriptions like the latter: we imagine non-evaluative fictions without difficulty but sometimes resist imagining value-rich fictions. Thus arises the puzzle of imaginative resistance. Most analyses of the phenomenon focus on the content of the relevant imaginings. The present analysis focuses instead (...) on the character of certain kinds of imaginings, arguing that we resist in such cases given the rich evaluative character of the imaginings prescribed, and the agent-dependent constraints on imagining in such ways. (shrink)

[File is the introduction to the monograph] -/- Abstract to monograph -/- How and whether thinking affects perceiving is a deeply important question. Of course it is of scientific interest: to understand the human mind is to understand how we best distinguish its processes, how those processes interact, and what this implies for how and what we may know about the world. And so in the philosopher’s terms, this book is one on both mental architecture and the epistemology of perception. (...) But there is a more human interest. How we make contact with the world, and with one another, is of the most basic of importance. We can make both sensory contact and cognitive contact with the world. The first is traditionally supposed to be determined by the biological nature of our sensory systems, while the second is at least partly determined by us, what we have learned, our experiences, and so on. The most basic claim of the book is that this is mistaken and importantly so. Our sensory contact with the world can also change and in a way that is importantly affected by the cognitive contact that we have, or have had, with the world. Thinking does not just affect perceiving, thinking improves perceiving. If this is true, it changes not only how we should theorize the mind, it changes how we should understand, as individuals, our place in and contact with the world. (shrink)

Many traditional theories of creativity put heavy emphasis on an incubation stage in creative cognitive processes. The basic phenomenon is a familiar one: we are working on a task or problem, we leave it aside for some period of time, and when we return attention to the task we have some new insight that services completion of the task. This feature, combined with other ostensibly mysterious features of creativity, has discouraged naturalists from theorizing creativity. This avoidance is misguided: we can (...) maintain unconscious incubated cognition as (sometimes) part of the creative process and we can explain it in scientifically responsible ways. This paper, focusing on the effects of attention on the functional networking of the brain, attempts just such an explanation. It also serves to assuage the naturalist's scepticism about other features of creative cognition. The broad upshot, one would hope, is that philosophers of mind and cognitive scientists return some attention to the long neglected topic of creativity. (shrink)

Expertise is a cognitive achievement that clearly involves experience and learning, and often requires explicit, time-consuming training specific to the relevant domain. It is also intuitive that this kind of achievement is, in a rich sense, genuinely perceptual. Many experts—be they radiologists, bird watchers, or fingerprint examiners—are better perceivers in the domain(s) of their expertise. The goal of this paper is to motivate three related claims, by substantial appeal to recent empirical research on perceptual expertise: Perceptual expertise is genuinely perceptual (...) and genuinely cognitive, and this phenomenon reveals how we can become epistemically better perceivers. These claims are defended against sceptical opponents that deny significant top-down or cognitive effects on perception, and opponents who maintain that any such effects on perception are epistemically pernicious. (shrink)

We offer a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. We then survey some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural (as opposed to magical, occult, or supernatural) and is therefore amenable to scientific inquiry. This work is divided into two categories. The broader category is empirical philosophy, which draws on empirical research while (...) addressing questions that have traditionally been regarded as philosophical. The second category is experimental philosophy, a special branch of empirical philosophy in which experiments are designed (by philosophers) with the explicit purpose of addressing philosophical questions. All of this highlights the relative theoretical neglect of creativity, while at the same time suggesting ample opportunity for experimentally minded philosophers to break new ground. (shrink)

This paper attempts to answer two questions: What is epistemic agency? And what are the motivations for having this concept? In response to the first question, it is argued that epistemic agency is the agency one has over one’s belief-forming practices, or doxastic dispositions, which can directly affect the way one forms a belief and indirectly affect the beliefs one forms. In response to the second question, it is suggested that the above conception of epistemic agency is either implicitly endorsed (...) by those theorists sympathetic to epistemic normativity or, at minimum, this conception can make sense of the legitimacy of the normative notions applicable to how and what one should believe. It is further contended that belief formation in some respects is a skill that can be intentionally developed and refined. Accepting this contention and the existence of certain epistemic norms provide inconclusive yet good reasons to endorse this concept. Recent challenges to this concept by Hillary Kornblith and Kristoffer Ahlstrom-Vij are also considered. (shrink)

There are few notions in philosophy seen more clearly, and in parallel so laden with confusion, than that of space and time. The subjective nature of analyses is most likely to blame. As it stands, a universal agreement has not yet been reached. My position is simply that the mind, when passive, has no qualms with space and time itself, nor is it concerned with its principles. It is only when our passions are ignited, and our judgment is utilized, i.e. (...) when we begin to actively think about space and time, that the notion becomes confounded. Any further digression into semantics of the issue by trying to give a ‘say all end all’ explanation will always lead to a dead end. Both space and time are ideas of an infinite nature and can never be visited manifestly since the mind itself is undeniably finite. (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

We discuss the no-go theorem of Frauchiger and Renner based on an "extended Wigner's friend" thought experiment which is supposed to show that any single-world interpretation of quantum mechanics leads to inconsistent predictions if it is applicable on all scales. We show that no such inconsistency occurs if one considers a complete description of the physical situation. We then discuss implications of the thought experiment that have not been clearly addressed in the original paper, including a tension between relativity and (...) nonlocal effects predicted by quantum mechanics. Our discussion applies in particular to Bohmian mechanics. (shrink)

Giambattista Vico says that the “key” to his Scienza nuova is his discovery of “imaginative universals.” These are the poetic archetypes that serve to orient human thought and action in the earliest ages of nations. Jove, Hercules, Achilles, and Ulysses are the examples that Vico uses most often. In this paper, I wish to consider an imaginative universal that does not fit the pattern of the others: Torquato Tasso’s Godfrey, whom Vico calls the “true captain of war.” This is one (...) of the rare instances when Vico turns to the work of a near-contemporary poet rather than an ancient. Why does Vico invoke Godfrey amongst his universals? I propose three different approaches to interrogating this figure. First, I examine Tasso in reference to Vico’s other sublime poets, Homer and Dante. Second, I examine the character of Godfrey in contrast to the other captains of war Vico might have chosen, Agamemnon and Cesare Borgia. Finally, I consider the structure of the Vichian ricorso in general and where the Gerusalemme liberate fits into Vico’s doctrine of three ages. (shrink)

This is a comprehensive bibliography of all works on Giambattista Vico available in English. It includes not only monographs and articles, but also a substantial list of scholarly works that mention Vico, as well as a section of literary works mentioning Vico. It has been made available gratis by New Vico Studies and Philosophy Documentation Center.

In this chapter, we will investigate the ramifications of moral knowledge for naturalism (roughly, the view that all that exists is the natural world). Specifically, we will draw attention to a certain problem we face if the world is purely naturalistic. We will then show how theism provides resources for solving this problem. We’ll argue that the fact that we have lots of moral knowledge fi ts better with theism than with naturalism. Specifically, we’ll present reasons to think that (1) (...) naturalists who think we have lots of moral knowledge will have trouble rationally maintaining both their naturalism and their belief that we have such knowledge and (2) theism better explains the fact that we have lots of moral knowledge than naturalism does. (shrink)

This article offers a reply to commentaries from Amy Kind, Casey O’Callaghan, and Wayne Wu. It features a defense and further analysis of perceptual malleability, as defended in Thinking and Perceiving. In turn, it considers the consequences of malleability for attention and the cognitive penetrability of perception, imagination and perceptual skills, and perceptual content and objectivity.

In todays advanced society, there is rising concern for data privacy and the diminution thereof on the internet. I argue from the position that for one to enjoy privacy, one must be able to effectively exercise autonomous action. I offer in this paper a survey of the many ways in which persons autonomy is severely limited due to a variety of privacy invasions that come not only through the use of modern technological apparatuses, but as well simply by existing in (...) an advanced technological society. I conclude that regarding the majority of persons whose privacy is violated, such a violations are actually initiated and upheld by the users of modern technology themselves, and that ultimately, most disruptions of privacy that occur are self-levied. (shrink)

Moral debunking arguments are meant to show that, by realist lights, moral beliefs are not explained by moral facts, which in turn is meant to show that they lack some significant counterfactual connection to the moral facts (e.g., safety, sensitivity, reliability). The dominant, “minimalist” response to the arguments—sometimes defended under the heading of “third-factors” or “pre-established harmonies”—involves affirming that moral beliefs enjoy the relevant counterfactual connection while granting that these beliefs are not explained by the moral facts. We show that (...) the minimalist gambit rests on a controversial thesis about epistemic priority: that explanatory concessions derive their epistemic import from what they reveal about counterfactual connections. We then challenge this epistemic priority thesis, which undermines the minimalist response to debunking arguments (in ethics and elsewhere). (shrink)

The article sets out a primitive ontology of the natural world in terms of primitive stuff—that is, stuff that has as such no physical properties at all—but that is not a bare substratum either, being individuated by metrical relations. We focus on quantum physics and employ identity-based Bohmian mechanics to illustrate this view, but point out that it applies all over physics. Properties then enter into the picture exclusively through the role that they play for the dynamics of the primitive (...) stuff. We show that such properties can be local, as well as holistic, and discuss two metaphysical options to conceive them, namely, Humeanism and modal realism in the guise of dispositionalism. 1 Introduction2 Primitive Ontology: Primitive Stuff3 The Physics of Matter as Primitive Stuff4 The Humean Best System Analysis of the Dynamical Variables5 Modal Realism about the Dynamical Variables6 Conclusion. (shrink)

One distinct interest in self-knowledge concerns whether one can know about one’s own mental states and processes, how much, and by what methods. One broad distinction is between accounts that centrally claim that we look inward for self-knowledge (introspective methods) and those that claim that we look outward for self-knowledge (transparency methods). It is here argued that neither method is sufficient, and that we see this as soon as we move beyond questions about knowledge of one’s beliefs, focusing instead on (...) how one distinguishes, for oneself, one’s veridical visual memories from mere (non-veridical) visual images. Given robust psychological and phenomenal similarities between episodic memories and mere imagery, the following is a genuine question that one might pose to oneself: “Do I actually remember that happening, or am I just imagining it?” After critical analysis of the transparency method (advocated by Byrne 2010, following Evans 1982) to this latter epistemological question, a brief sketch is offered of a more holistic and inferential method for acquisition of broader self-knowledge (broadly following the interpretive-sensory access account of Carruthers 2011). In a slogan, knowing more of the mind requires using more of the mind. (shrink)

This paper develops a new argument from consciousness to theism: the argument from psychophysical harmony. Roughly, psychophysical harmony consists in the fact that phenomenal states are correlated with physical states and with one another in strikingly fortunate ways. For example, phenomenal states are correlated with behavior and functioning that is justified or rationalized by those very phenomenal states, and phenomenal states are correlated with verbal reports and judgments that are made true by those very phenomenal states. We argue that psychophysical (...) harmony is strong evidence for theism (or, at least, strong evidence against atheism in its standard naturalistic form). (shrink)

Both patched versions of the Bostrom/Kulczycki simulation argument contain serious objective errors, discovered while attempting to formalize them in predicate logic. The English glosses of both versions involve badly misleading meanings of vague magnitude terms, which their impressiveness benefits from. We fix the errors, prove optimal versions of the arguments, and argue that both are much less impressive than they originally appeared. Finally, we provide a guide for readers to evaluate the simulation argument for themselves, using well-justified settings of the (...) argument parameters that have simple, accurate statements in English, which are easier to understand and critique than the statements in the original paper. (shrink)

What does it mean for an object to persist through time? Consider the statement, ‘My car is filthy, I need to wash it.’ Consider the response, ‘How did it get that way?’ The answer is that dirt, dust and other particles have collected on the car’s surface thus making it filthy. Its properties have changed. At one point in the car’s career, none of that dirt and grime existed on its surface and the car was said to be clean. The (...) fact is that for a car to get dirty, the extension of time is necessary. The standard view of identity is that each thing is entirely itself at any given time. So how can an object remain identical with itself over time, if it changes its properties? In many ways I have different properties now than those I had last week. But if I am different, how then can I be the same? The objective of this article is to answer the question of what it means to say that we and other things persist through time. First I’ll lay out two popular philosophical views of persistence through time, then I will present possible problems with both views. After that, I will outline another possible answer that lies outside of these views. Finally, I will providemy own answer. (shrink)

In the comprehension of many 19th century European philosophers, there seems ever present in much of the work, a shared notion of struggle. This notion seems mainly to arise within the confines of human consciousness. The notion of struggle is in fact pervasive in contemporary thought as well, and could simply be inherent to human nature. However, I will maintain specific focus on the notion of struggle as brought to light by a sampling of works by three relevant 19th century (...) philosophers, namely Fichte, Hegel, and Kierkegaard. I look into some of the foundational claims made by these thinkers to see what can be discovered about their reasoning and what sense can be made of this seemingly unavoidable aspect of the human condition. The goal is to see what relations can be made among their ideas and where conflict and contradiction may arise. Once these elucidations have been made, I argue for my own stance on the notion of struggle both within the confines of human consciousness and on the outset to explain my arguments in terms of human behavior. I argue that there is one thinker amongst the three covered that offers a methodology of practical application in a person’s life in terms of human nature as opposed to the formulations made by the remaining two who I consider only to offer general descriptions of human consciousness. (shrink)

Sometimes, learning about the origins of a belief can make it irrational to continue to hold that belief—a phenomenon we call ‘genealogical defeat’. According to explanationist accounts, genealogical defeat occurs when one learns that there is no appropriate explanatory connection between one’s belief and the truth. Flatfooted versions of explanationism have been widely and rightly rejected on the grounds that they would disallow beliefs about the future and other inductively-formed beliefs. After motivating the need for some explanationist account, we raise (...) some problems for recent versions of explanationism. Learning from their failures, we then produce and defend a more resilient explanationism. (shrink)

In this paper Michael Vazquez and Dustin Webster consider the practice of deliberating about ethical case studies as a means to contribute to the professional development of educators. An ongoing debate is whether or not the study of ethical theory should be included in this practice. Vazquez and Webster argue that a popular strategy, known as the Phronetic Approach, is vulnerable to what they call “epistemic blinders” that arise in the absence of the scaffolding provided by theory. They then (...) sketch an alternative approach to case-based reasoning inspired by Barbara Herman's notion of middle theory. The middle theory approach naturally suggests a balanced method for using case studies in teacher professional development: expose educators to some theory, but only to the degree and at the level appropriate for the specific audience and in light of how frequent interactions with that audience will be. (shrink)

The advent and widespread adoption of modern technology has impacted our society in a significant and ubiquitous manner. I argue that our dependence on modern technology, specifically, has prompted a loss of human autonomy that corresponds directly to its advancement. I argue that this anti-reciprocal phenomenon is self-instituted. In this sense, autonomy is not lost like ones wallet or car keys, but rather handed over to modern technology in exchange for the streamlined processes and conveniences it promises. -/- I arrive (...) at this conclusion through exploring the research and findings of other thinkers situated in the field of philosophy of technology and the analyses made by other contemporary authors. I also provide my own analysis incorporating relevant phenomena that serve to validate and solidify my arguments. -/- For as much talk of technology that comes part and parcel with a work of this nature, I suggest something quite divergent from its leading critics. It is true that modern technology impacts nearly every aspect of our lives today, and in many ways, its influence defines the very way we have evolved as a society. In its use, there can be seen a wide spectrum of advocacy from philia to phobia and everything between. Yet, I recognize that the one common factor in the invention, adoption, advancement, and widespread utilization of modern technology is a human inventor, adopter, advancer, and end user. It is my contention that the blame can rest not in a thing for the phenomenon of human dependence and loss of autonomy. To truly understand the way modern technology affects us, we must look upon ourselves. (shrink)

You see a cherry and you experience it as red. A textbook explanation for why you have this sort of experience is going to cite such things as the cherry’s chemical surface properties and the distinctive mixture wavelengths of light it is disposed to reflect. What does not show up in this explanation is the redness of the cherry. Many allege that the availability of color-free explanations of color experience somehow calls into question our beliefs about the colors of objects (...) around us. We explore how such explanations are supposed to undermine color beliefs, and in particular whether evolutionary considerations have any special role to play. (shrink)

Metaphysics is, historically as well as systematically, mostly taken to be the inquiry into reality, insofar it is considered to be: (1) the totality of everything there is; (2) of everything that exists; or (3) what is fundamental. This paper sets out to analyze the relation between all three metaphysical core notions and sketch the landscape of metaphysical theories that emerges from it. Taking The Fundamental, The Existent, and Totality to be the domains corresponding to each metaphysical object of inquiry, (...) it is argued that they stand in the settheoretical relations of: The Fundamental ⊆ The Existent ⊆ Totality. This general structure allows for a plurality of more detailed structures when we differentiate between the ones that treat at least two notions as extensionally equal and those that take them to be proper subsets. Furthermore, reductive and inflationary strategies between equating two of the notions will be differentiated, allowing for a detailed sketch of the landscape of metaphysical theories and their views on the nature of reality. In closing, it is argued that the metaphysical structure allowing for most differentiation in metaphysical status is to be preferred as it allows to adequately capture metaphysical disputes, constituting evidence for the importance of each metaphysical notion and a short plea against their conflation. (shrink)

This paper concerns how extant theorists of predictive coding conceptualize and explain possible instances of cognitive penetration. §I offers brief clarification of the predictive coding framework and relevant mechanisms, and a brief characterization of cognitive penetration and some challenges that come with defining it. §II develops more precise ways that the predictive coding framework can explain, and of course thereby allow for, genuine top-down causal effects on perceptual experience, of the kind discussed in the context of cognitive penetration. §III develops (...) these insights further with an eye towards tracking one extant criterion for cognitive penetration, namely, that the relevant cognitive effects on perception must be sufficiently direct. Throughout these discussions, we extend the analyses of the predictive coding models, as we know them. So one open question that surfaces is how much of the extended analyses are genuinely just part of the predictive coding models, or something that must be added to them in order to generate these additional explanatory benefits. In §IV, we analyze and criticize a claim made by some theorists of predictive coding, namely, that (interesting) instances of cognitive penetration tend to occur in perceptual circumstances involving substantial noise or uncertainty. It is here that our analysis is most critical. We argue that, when applied, the claim fails to explain (or perhaps even be consistent with) a large range of important and uncontroversially interesting possible cases of cognitive penetration. We conclude with a general speculation about how the recent work on the predictive mind may influence the current dialectic concerning top-down effects on perception. (shrink)

This paper will attempt a methodological configuration to link the natural sciences (evolutionary theory & neurology) to literature (lullabies and poetry, specifically). It uses findings in neuroscience and animal neurology as well as the theories of evolution by natural selection in to examine patterns in lullabies, and then connect these to poetry. As one will never find a ‘metaphor gene’, nor do genes even code for behaviors –coding instead for traits- is it possible to even locate overlaps between the disciplines (...) of natural science and literature? Doing so requires a mixed methods approach. This article seeks to build on the existing philosophical and theoretical ground of current natural science in order to establish a dialogue with current cultural and literary theories. (shrink)

This paper will examine poetry and rhythm in relation to biological and evolutionary models in order to develop a hypothetical methodology by which certain aspects of literature may be examined through an evolutionary lens. It is by no means an attempt at a finalizing or totalizing way of examining literature, but as such attempts have largely been ignored or assaulted, there is a rather large niche to fill. Hence this article will attempt to redefine literature as a ‘Third Level Darwin (...) Machine’ and parallel the science/culture/Theory debate with that in physics/string theory and then it will connect poetry to Boyd’s idea of ‘rhythm and attention’ along with 'motor resonance', mirror neurons and music theory. It will then look at the influence of Emily Dickinson’s rhythmic and metaphoric compression on the poetry of Hart Crane as a mimetic function following Boyd’s notion of attention, pattern and play as functions of a Third Level Darwinian Machine which will be the operative foundation for a naturalized (but not totalized) account of poetic effect and its relation to the human species’ evolved history. (shrink)

Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological implication: (...) when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced. (shrink)