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)

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)

Martin E. Rosenberg -/- The Gift of Silence: Towards an Anthropology of Jazz Improvisation as Neuro-Resistance. -/- ABSTRACT: -/- This essay addresses how the complex processes that occur during jazz improvisation enact behaviors that resemble the logic of gift exchange first described by Marcel Mauss. It is possible to bring to bear structural, sociological, political economical, deconstructive or even ethical approaches to what constitutes gift exchange during the performance of jazz. Yet, I would like to shift from focusing this analysis (...) of jazz improvisation with reference to the language of music as symbolic action (which all of these approaches require), to grounding improvisation in embodied and distributed cognition, the performance of which begins with a ritual gift of silence. By silence, I refer to the embodied, yet shared pure duration as felt synchrony within an individual performer, that extends to the members of an ensemble. Thus, I refer to both aesthetic and micro-political implications of embodied, yet also distributed musical cognition in real time. -/- For jazz musicians, embodied silence becomes the initial condition for processes of cognitive bifurcation. For it is bifurcation that attracts us to jazz in the first place. Here I expand my previous work establishing similarities in the behavior of bifurcating systems in physical and cognitive sciences to the unfolding of ambiguity in real time during improvisation with respect to polyphony, polytonality and polyrhythms in the history of jazz from Charlie Parker to Ornette Coleman. We can therefore re-conceptualize jazz improvisation as a subversive antidote for processes of determination identified in a sub-discipline of cultural studies called “cognitive capitalism.” By examining silence from this anthropological perspective, we can conceive of jazz performance as a ritualized resistance to top-down cognitive control immanent with social and digital networks. The ritual enactment that is jazz improvisation points towards an aesthetics of bifurcation that is simultaneously a micro-politics of neuro-resistance. In other words, I argue that freedom of thought requires freedom from thought as an initial condition. -/- Yet, I emphasize the empirical rather than mystical grounds to this gift of silence. The valorization of silence by jazz musicians is not simply etiquette, an ethics of reciprocity for performers exchanging “riffs,” but an initial condition that jazz performers (and, I would argue, listeners) experience in their bodies, thus linking embodied cognition to a collective field of cultural production that emerges from each embodied individual, and yet also pervades the ensemble in ways reminiscent of feedback loops in complex systems. The recent and remarkable research on music and the brain has demonstrated that it is now possible to describe jazz improvisation as possessing both embodied and distributed cognitive properties. The emergent neuronal ensemble behavior within the individual that is visible in jazz improvisors, discovered by the neuroscientists at Johns Hopkins led by Charles Limb, bears striking resemblance to the interactive behaviors of the jazz ensemble itself. Thus, it is by recourse to recent research by myself and others into the cognitive neuroscience of music generally, and jazz improvisation specifically, that the empirical grounds for an anthropology of neuro-resistance become visible. (shrink)

The concept of expression has always held an important place in Fernando Gil’s thought. The author’s reflection on the idea of expression is well reflected among his writings – either in his early essays or throughout his entire work –, attaining a special focus in the lectures that he gave at Johns Hopkins University during the years of 2002, 2003 and 2004. Actually, these lectures represent the strongest testimony of the relevancy given by Fernando Gil to this concept. However, (...) despite being a concept which crosses all his work, clearly having a central place in his thought, Fernando Gil never got to write a systematic theory on the concept of expression. Thus, closely following the author’s works, the main purpose of this study is to suggest a personal vision of what could have been Fernando Gil’s theory on expression. Combining some of the main ideas of Johns Hopkins lectures to some fundamental notions of Fernando Gil’s thought, we will try to show that Fernando Gil’s theory on expression is a theory on the ordination of thought, on cognitive construction and, above all, a theory on the elevation of thought to what shall be considered its higher modality, the aesthetical thought. In fact, our major hypothesis is that Fernando Gil’s theory on expression is not only a cognitive theory but also an aesthetical one. As such, its major guidelines shall be: to explain the adequacy of expression to its objects; to show how expression evolves according to the cognitive development of the subject; and, finally, to explain and to justify the elevation of thought to universality, harmony and beauty. (shrink)

Much of the literature from political psychology has focused on the negative traits that are positively associated with affective polarization—e.g., animus, arrogance, distrust, hostility, and outrage. Not as much attention has been focused on the positive traits that might be negatively associated with polarization. For instance, given that people who are intellectually humble display greater openness and less hostility towards conflicting viewpoints (Krumrei-Mancuso & Rouse, 2016; Hopkin et al., 2014; Porter & Schumann, 2018), one might reasonably expect them to be (...) less polarized. -/- We ran two studies designed to explore the relationship between various forms of humility and polarization. Our chief finding is that people who value humility are prone to what we are calling epistemic polarization—that is, judging the epistemic traits of contrapartisans negatively—which in turn plays a role in polarization more generally. Not only are contrapartisans deemed to have the wrong moral and political beliefs, they are also viewed as less humble and more arrogant, close-minded, and irrational. This makes matters even worse when it comes to the growing partisan divide. In light of our findings, we believe that the novel concept of epistemic polarization that we introduce is a promising target for further investigation. (shrink)

This chapter includes Margaret Floy Washburn’s discussion of the basis of inferences about animal minds and her discussion of what it is like to be an amoeba.

El presente texto de Maurice Blanchot (1907-2003) apareció por primera vez en una traducción al italiano de Guido Neri bajo el título “II nome Berlino” [El nombre Berlín], publicado en 1964 en la revista literaria dirigida por Elio Vittorini e Italo Calvino Il menabó 7, año 6, pp. 121-25. El texto original en francés se extravió y, con la autorización del propio Blanchot, Hélène Jelen y Jean-Luc Nancy tradujeron la versión italiana al francés para publicarla en 1983 como “Le Nom (...) de Berlin” en una edición bilingüe. Desde entonces, la versión francesa ha sido reimpresa múltiples veces: en Cafe 3 (1983), 43-6; Berlin, collection Libération, 4 (1989); y Po&sie 52 (1990), 6-8. El texto fue finalmente republicado con su nombre original en francés, es decir, “Berlin” para la publicación de la traducción cuatrilingüe francés, inglés, ruso y alemán) aparecida en 1994 en MLN, Vol. 109, No. 3, German Issue (Apr.), The Johns Hopkins University Press, pp. 345-355. Se ha decidido traducir este texto también en lengua hispana por su innegable actualidad y peculiar claridad. En él no se trata exclusivamente sobre la realidad política, económica y lingüística de Berlín (o de Alemania) durante la Guerra Fría. Las reflexiones de Blanchot permanecen tan vigentes como el fenómeno que aquí decide enfrentar en sus múltiples aspectos: los fundamentos mismos de la política y el Estado en la modernidad. Para esta primera traducción al castellano del texto se ha tomado como referencia la versión de Jelen y Nancy antes mencionada. (shrink)

Nos meses de Junho/Julho - 2019, houve relatos de vazamento de patógenos do Fort Detrick, instalação do Comando Médico do Exército dos EUA, conhecido por desenvolver armas biológicas e que abriga um dos muitos laboratórios BSL-4 do país. Em agosto de 2019, a instalação foi fechada para investigação e a imprensa não teve acesso a informações detalhadas. -/- Em setembro de 2019, um vírus mortal começou a se espalhar nos EUA infectando 26 milhões de pessoas naquele outono, com pelo menos (...) 250.000 hospitalizadas e 20.000 mortes. Posteriormente o Dr. Robert Redfield, diretor do Centro de Controle e Prevenção de Doenças dos EUA, reconheceu perante o Comitê do Congresso, que algumas mortes por influenza foram mais tarde diagnosticadas como de Covid-19. -/- Em 18 de outubro de 2019, dia do início dos Jogos Mundiais Militares em Wuhan, que contou com a presença de militares americanos, a Fundação Bill & Melinda Gates e o Johns Hopkins Center for Health Security em parceria com o Fórum Econômico Mundial, promovem uma simulação de pandemia de coronavírus em Nova York, reunindo líderes empresariais e agentes do governo. -/- Em novembro de 2019, o prefeito de Belleville, Nova Jersey, Michael Melham, passou mal e seu diagnóstico foi uma grave pneumonia posteriormente confirmado como sendo Covid-19. Falei com Michael sobre a veracidade dos fatos e ele me confirmou o diagnóstico. Disse que possui dois testes de anticorpos positivos para a Covid-19. -/- Em janeiro de 2019 a revista Science publicou um artigo questionando a teoria oficial de que o vírus havia sido transmitido de um animal para um ser humano no mercado de Wuhan e outro estudo publicado na revista The Lancet, concluiu que 13 das primeiras 41 pessoas diagnosticadas com Covid-19 não tiveram nenhum contato com o mercado de Wuhan, além disso, o Dr. Daniel Lucey, professor de doenças infecciosas da Georgetown University Medical Center, disse baseado em evidências, que o "paciente zero", foi infectado antes de dezembro de 2019, mais precisamente entre outubro e início de novembro de 2019, mas o diagnóstico era de pneumonia e assim o vírus começou a se espalhar por Wuhan. -/- Agora, não é porque o novo coronavírus surgiu na China, que sua origem seja o laboratório de Wuhan, a gripe espanhola por exemplo, se disseminou no mundo a partir da Europa matando 50 milhões de pessoas e sua origem estava no Fort Riley, em Kansas, EUA. (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)

‘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.

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)

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)

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)

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.

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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.

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.

What is special about picturing according to the rules of perspectival drawing systems? My answer is at once both radical and conciliatory. I think that depiction essentially involves a distinctive experience, an experience of resemblance. More precisely, the picture must be seen as preserving what Thomas Reid (Enquiry 1764) called the "visible figure" of what is represented. It follows from this, and from some other plausible premises, that if a picture is to depict detailed spatial arrangements, rather than simply to (...) represent them in some other, non-pictorial, way, it must conform to perspectival rules. Hence the radicalism. Perspective does not provide uniquely accurate or realistic ways to depict things, but, for certain aspects of the world, the only way to depict them at all. What of the conciliatory aspect of my view? My account of depiction in no way implies that only perspectival pictures can depict anything at all. Indeed, it is quite consistent with a good deal of variation in the marks which might, in the right context, depict a given content. But better still, the factors determining what we see a picture as resembling, and hence partially determining what it depicts, are just those factors emphasized by those who take perspective to be a matter of convention. They include, for instance, the nature of the subject's perceptual environment, and the sorts of pictures to which he has previously been exposed. Thus, even given the radical claim, the variety in ways of depicting a given thing is neither incomprehensible nor indicative of some kind of failure. We can understand perspective's special status without denigrating the alternatives. (shrink)

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

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)

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

Infants apparently start to understand their experience via the linked concepts of numerical identity and spatio-temporally continuous objects during the forth month of life. As described by Piaget and Klein, this development requires them to synthesise their experience in a new ways: in particular they must start to acknowledge that the main target of their anger at frustration and the main target of their gratitude and love are the same person, who is unique and irreplaceable. This seems to have an (...) immediate consequence in the onset of separation distress and stranger anxiety, and apparently has far-reaching psychological consequences later. (shrink)

This note is part of a discussion of Mark Solm's 'The Conscious Id'. -/- It seconds Solms' claim that recent work in neuroscience indicates that the subcortical mechanisms that generate motives also generate consciousness, and that his enables us to integrate neuroscience with the Freudian Ego and Id. -/- Still this is not reason to regard the Id as conscious. If we take full account of the role of conflict, as described in terms of the Freudian superego, we can see (...) that the complex role of aggression in human life ensures that much of our emotional life is unconscious. (shrink)

Freudian theory as an extension of commonsense psychology that is potentially cogent, cumulative, and radical.

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)

Freud's biological notion of a death drive is not well founded but a number of closely associated notions (including those of a drive, and of aggression turned against the self) are.

Psychoanalytic reasoning is an instance of inference to the best explanation and provides an extension of commonsense psychology that is potentially cogent, cumulative, and radical.

The psychoanalytic notions of identification and projection fit with Darwinian theory in explaining human group conflict and relating it to emotional conflict in individuals.

The problem of consciousness is taken to concern items which are internal to the mind, and phenomenal, subjective, and private. Understanding the notion of innerness in this enables us to understand the rest in physical terms.

Brief description of Freud's life and work, emphasising the role of fictive belief and experience (phantasy) in his account of mental disorder.

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)

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.

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)

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

This is an unedited version of a paper written in 2012 accepted for publication in a forthcoming Festschrift for Mark Platts. In it I argue that the Helmholtz/Bayes tradition of free energy neuroscience begun by Geoffrey Hinton and his colleagues, and now being carried forward by Karl Friston and his, can be seen as a fulfilment of the Quine/Davidson program of radical interpretation, and also of Quine’s conception of a naturalized epistemology. -/- This program, in turn, is rooted in Helmholtz’s (...) scientific reconception of Kant’s notion of a concept-led synthesis of affectations by an extra-sensory reality that creates human self-consciousness, a topic previously discussed in my (2012) Psychoanalysis, Representation, and Neuroscience. -/- I also argue that 20th century analytical philosophy went astray when Frege, Russell, and Wittgenstein ignored their legacy from Helmholtz and espoused a conception of perception and epistemology that he had already shown to be false. (shrink)

This paper briefly addresses questions of confirmation and disconfirmation in psychoanalysis. It argues that psychoanalysis enjoys Bayesian support as an interpretive extension of commonsense psychology that provides the best explanation of a large range of empirical data. Suggestion provides no such explanation, and recent work in attachment, developmental psychology, and neuroscience accord with this view.

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

This paper compares the free energy neuroscience now advocated by Karl Friston and his colleagues with that hypothesised by Freud, arguing that Freud's notions of conflict and trauma can be understood in terms of computational complexity. It relates Hobson and Friston's work on dreaming and the reduction of complexity to contemporary accounts of dreaming and the consolidation of memory, and advances the hypothesis that mental disorder can be understood in terms of computational complexity and the mechanisms, including synaptic pruning, that (...) have evolved to reduce it. (shrink)