Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

Recent discussions of emergence in physics have focussed on the use of limiting relations, and often particularly on singular or asymptotic limits. We discuss a putative example of emergence that does not fit into this narrative: the case of phonons. These quasi-particles have some claim to be emergent, not least because the way in which they relate to the underlying crystal is almost precisely analogous to the way in which quantum particles relate to the underlying quantum field theory. But there (...) is no need to take a limit when moving from a crystal lattice based description to the phonon description. Not only does this demonstrate that we can have emergence without limits, but also provides a way of understanding cases that do involve limits. (shrink)

In this paper we will examine the influence digital media has had on political dialogue in the public sphere. We will explore the phenomenon through an example case, namely the global feminist #MeToo movement which started in 2017. Within the framework of the #MeToo Movement, we introduce and examine the challenges digital media poses to the political dialogue in the public sphere. We start by going through concepts and theories utilized in this research paper. Then we will discuss the relationship (...) between digital media and #MeToo, after which we will assess the negative and positive outcomes of the #MeToo movement. Finally, an overall assessment concerning the movement and phenomenon around it is given. Our main argument is that while making the public sphere more inclusive, digital media has also made public debate and political discussion more polarized and antagonistic. (shrink)

According to the Monist Interpretation of Descartes, there is really only one corporeal substance—the entire extended plenum. Evidence for this interpretation seems to be provided by Descartes in the Synopsis of the Meditations, where he claims that all substances are incorruptible. Finite bodies, being corruptible, would then fail to be substances. On the other hand, ‘body, taken in the general sense,’ being incorruptible, would be a corporeal substance. In this paper, I defend a Pluralist Interpretation of Descartes, according to which (...) there are many corporeal substances. In particular, I show that none of the claims in the Synopsis about incorruptibility and substance entail either that finite bodies are not substances, or that the only corporeal substance is the entire plenum. (shrink)

Discussions concerning whether there is a natural right to health care may occur in various forms, resulting in policy recommendations for how to implement any such right in a given society. But health care policies may be judged by international standards including the UN Universal Declaration of Human Rights. The rights enumerated in the UDHR are grounded in traditions of moral theory, a philosophical analysis of which is necessary in order to adjudicate the value of specific policies designed to enshrine (...) rights such as a right to health care. We begin with an overview of the drafting of the UDHR and highlight the primary influence of natural law theory in validating the rights contained therein. We then provide an explication of natural law theory by reference to the writings of Thomas Aquinas, as well as elucidate the complementary “capabilities approach” of Martha Nussbaum. We conclude that a right to health care ought to be guaranteed by the state. (shrink)

In a well-known paper, Reginald Jackson expresses a sentiment not uncommon among readers of Locke: “Among the merits of Locke’s Essay…not even the friendliest critic would number consistency.”2 This unflattering opinion of Locke is reiterated by Maurice Mandelbaum: “Under no circumstances can [Locke] be counted among the clearest and most consistent of philosophers.”3 The now familiar story is that there are innumerable inconsistencies and internal problems contained in Locke’s Essay. In fact, it is probably safe to say that there is (...) not another canonical, well-respected, and seminal philosopher whose work is so widely thought to be swarming with inconsistencies. I, however, do not think that the common, unflattering view of Locke is accurate as a general view of the Essay. But despite my wishes to the contrary, I do believe that Locke’s chapter ‘Of Identity and Diversity’ (2.27)4 leads to (at least) one intractable problem, a problem that is the subject of this paper. (shrink)

In this paper, I examine the crucial relationship between Locke’s theory of individuation and his theory of kinds. Locke holds that two material objects—e.g., a mass of matter and an oak tree—can be in the same place at the same time, provided that they are ‘of different kinds’. According to Locke, kinds are nominal essences, that is, general abstract ideas based on objective similarities between particular individuals. I argue that Locke’s view on coinciding material objects is incompatible with his view (...) on kinds. In order for two material objects to be in the same place at the same time, they must differ with respect to at least one nominal essence. However, Locke thinks that it is impossible that x and y have the same real essence but differ with respect to any nominal essence; and coinciding material objects have the same real essence. Therefore, Locke cannot hold what he in fact holds, namely that distinct material objects can be in the same place at the same time. (shrink)

The overarching thesis of this essay is that despite the etymological relationship between the word ‘philosophy’ and wisdom—the word ‘philosophos’, in Greek, means ‘lover of wisdom’—and irrespective of the longstanding tradition of identifying philosophers with ‘wise men’—mainline philosophy, historically, has had little interest in wisdom and has been preoccupied primarily with knowledge. Philosophy, if we are speaking of the mainline tradition, has had and continues to have more in common with the natural and social sciences than it does with the (...) humanities and liberal arts. In advancing this thesis, I divide the history of philosophy into three competing traditions: the mainline tradition of philosophy and two philosophical ‘countercultures,’ one conservative the other radical. At issue between these rival traditions is precisely the relative significance of knowledge and wisdom and their respective places in inquiry. I also provide an account of the distinction between knowledge and wisdom—which I argue is greater than has perhaps been appreciated—and between the natural and applied sciences, on the one hand, and the humanities and liberal arts on the other. (Published Online February 27 2006). (shrink)

Vere Chappell has pointed out that it is not clear whether Locke has a well-developed ontology or even whether he is entitled to have one.2 Nevertheless, it is clear that Locke believes that there are organisms, and it is clear that he thinks that there are substances. But does he believe that organisms are substances? There are certainly parts of the Essay in which Locke seems unequivocally to state that organisms are substances. For instance, in 2.23.3 Locke uses men and (...) horses as examples of substances. In Locke’s most explicit the account of abstraction, given in 3.3.7-9, organism [vivens] is treated as a sub-species of body and body as a sub-species of substance; so, by transitivity, organism is a kind of substance. Finally, in his discussion of essences in 3.6, Locke uses all of the following organisms as examples of substances: horses, mules, men, sheep, goats, plants, drills, changelings, asses, bulls, cats, and rats. This textual evidence would seem to settle the matter about the ontological status of organisms. However, there are other parts of the Essay in which the ontological status of organisms is less clear, to say the least. In fact, there are texts in which Locke seems to state (or at least to be committed to the.. (shrink)

Review of Witzel's "The Origin of World Mythologies".

ABSTRACTThis article addresses the question of whether certain experiences that originate in causes other than bereavement are properly termed ‘grief’. To do so, we focus on widespread experiences of grief that have been reported during the Covid-19 pandemic. We consider two potential objections to a more permissive use of the term: grief is, by definition, a response to a death; grief is subject to certain norms that apply only to the case of bereavement. Having shown that these objections are unconvincing, (...) we sketch a positive case for a conception of grief that is not specific to bereavement, by noting some features that grief following bereavement shares with other experiences of loss. (shrink)

Whipple disease is a rare, infectious, disease first described from a single case by Whipple in 1907. As well as characterising the clinical and pathological features of the condition, Whipple made two suggestions regarding its aetiology. These were either than the disease was caused by an infectious agent, or that it was of metabolic origin. As the disease is now thought to be caused by infection with the bacterium Tropheryma whipplei, historical reviews of the history of the disease typically mention (...) only the first of these suggestions. In this paper, we therefore revisit Whipple’s other theory. We argue that a diverse and often successful research programme was developed around this mechanism of disease causation which gave rise to many useful findings on the condition. In the later parts of this article, we then turn to discuss the surprising neglect of this period of Whipple disease research in the current literature, and conclude by offering a brief reconstruction of this early history suitable for use in a technical context. (shrink)

We are living in an age that is narratively obsessed: both in the academy and in popular culture, temporally articulated phenomena currently exert a vice-like grip over the collective imagination. Under such conditions, how may non-narrative sources of aesthetic power be made available once again to human observers? Charlie Kaufman’s response, in Adaptation, takes the form not of statements but of actions, of “philosophical therapy” for our insatiable narrative hunger. It leaves us, in the end, with two phenomena that (...) have (in the full sense of the word) no history at all: the beauty of flowers and the intricacy of a human soul. (shrink)

In several papers, I have argued for a theory of distributive justice and considered its implications. This theory includes a principle of responsibility that was endorsed by others within an account of defensive force (self-defense and defense of others). Whitley Kaufman criticizes this account which he refers to as the "distributive justice theory of self-defense" (DJ theory). In this paper, I respond to this criticism. I argue that Kaufman presents the theory inaccurately, that his standard of evaluation of (...) the theory is inadequate and that his claim that the theory should be rejected is unconvincing. (shrink)

Distributive Justice and Access to Advantage is the most recent anthology devoted to the work of the great and, sadly, late political philosopher G.A. Cohen. Wh.

Eleanor Knox has argued that our concept of spacetime applies to whichever structure plays a certain functional role in the laws (the role of determining local inertial structure). I raise two complications for this approach. First, our spacetime concept seems to have the structure of a cluster concept, which means that Knox's inertial criteria for spacetime cannot succeed with complete generality. Second, the notion of metaphysical fundamentality may feature in the spacetime concept, in which case spacetime functionalism may be (...) uninformative in the absence of answers to fundamental metaphysical questions like the substantivalist/relationist debate. (shrink)

Michel Gondry and Charlie Kaufman’s 2004 Eternal Sunshine of the Spotless Mind, which celebrated its fifteenth anniversary in 2019, is an extended thought experiment on the nature of memory, minds, and persons. The memory erasure thought experiment presented in the film—and its implications for personal identity—raises poignant questions for the ethicist, epistemologist, neuroscientist, metaphysician, and cognitive scientist. In this paper, I explore the rich insights the film has to offer interdisciplinary studies of memory, providing a case study in how (...) narrative can uniquely contribute to memory research, while also maintaining philosophical rigor and fidelity to scientific discoveries about memory. Turning to the philosophical implications of memory erasure, I consider memory erasure in the context of several leading views of personal identity and proposed answers to the persistence question of personal identity, assessing the challenges and complications that the memory erasure thought experiment brought to life by Eternal Sunshine poses to these theories. I argue that the psychological continuity view of personal identity—in its various iterations—does not allow an individual to truly survive the memory erasure procedure. The memory erasure thought experiment presented in Eternal Sunshine—and its metaphysical and epistemological consequences—reveal how we establish the relationship between memories and selfhood, how to define personhood in the presence of both hypothetical and real-world memory loss, and what experiences we value in human life. (shrink)

This is a reply to the commentaries on my paper 'Truthmaker Semantics for Natural Language: Attitude Verbs, Modals, and Intensional Transitive Verbs'. The paper is a commissioned 'target' article, with commentaries by W. Davis, B. Arsenijevic, K. Moulton, K. Liefke, M. Kaufman, R. Matthews, P. Portner and A. Rubinstein, P. Elliott, and G. Ramchand.

One of the core insights from Eleanor Rosch’s work on categorization is that human categorization isn’t arbitrary. Instead, two psychological principles constrain possible systems of classification for all human cultures. According to these principles, the task of a category system is to provide maximum information with the least cognitive effort, and the perceived world provides us with structured rather than arbitrary features. In this paper, I show that Rosch's insights give us important resources for making progress on the 'feasibility (...) question' in conceptual engineering: the question of how we can implement conceptual engineering projects in ways that are practically feasible. Specifically, I show that one overlooked upshot of Rosch's work is that naming practices play an extremely important role in the construction of perceived similarities within and dissimilarities between categories, and, correspondingly, the dissemination of social stereotypes that serve as markers between different categories that are otherwise similar. Thus, naming practices will be a crucial constraint for the feasibility of certain ameliorative projects. (shrink)

To what extent can film - or individual films - act as a vehicle of or forum for philosophy itself?. Many have responded that films can indeed do philosophy to a substantial degree. Furthermore, it has been claimed that this virtue does not belong solely to ‘art’ films, but that popular cinema too can do philosophy. A case in point is Spike Jonze’s 1999 film Being John Malkovich, the Oscar-winning screenplay of which was written by Charlie Kaufman. The outrageous (...) premise of this comic fantasy is summarised by the film’s protagonist, Craig Schwartz: "There's a tiny door in my office Maxine. It's a portal, and it takes you inside John Malkovich. You see the world through John Malkovich's eyes. And then, after about fifteen minutes, you're spit out into a ditch on the side of the New Jersey Turnpike." The philosophical issues that this scenario raises are manifold. My primary aim in this paper is to follow the film through its exploration of subjectivity, clarifying its insights with the aid of current philosophical work on the topic. Hopefully, this will enhance our understanding both of subjectivity, and of the philosophical relevance of the film. A secondary goal of this enquiry is to provide a clear example of film-as-philosophy, perhaps demonstrating how film contributes something to the philosophical forum that an academic text cannot. (shrink)

What would the Merleau-Ponty of Phenomenology of Perception have thought of the use of his phenomenology in the cognitive sciences? This question raises the issue of Merleau-Ponty’s conception of the relationship between the sciences and philosophy, and of what he took the philosophical significance of his phenomenology to be. In this article I suggest an answer to this question through a discussion of certain claims made in connection to the “post-cognitivist” approach to cognitive science by Hubert Dreyfus, Shaun Gallagher and (...) Francisco Varela, Evan Thompson and Eleanor Rosch. I suggest that these claims are indicative of an appropriation of Merleau-Ponty’s thought that he would have welcomed as innovative science. Despite this, I argue that he would have viewed this use of his work as potentially occluding the full philosophical significance that he believed his phenomenological investigations to contain. (shrink)

José Hugo Burel Guerra nació el 23 de marzo de 1951 en Montevideo (Uruguay). Desde 2017 es miembro de número de la Academia Nacional de Letras del Uruguay (ANL), institución a la cual ingresó con su discurso titulado «Ismael». Es licenciado en Letras por el Instituto de Filosofía, Ciencias y Letras (que se conoce en la actualidad como UCUDAL) y la Pontificia Universidad Católica de Río Grande do Sul. Aparte de ser escritor, se ha desempeñado como músico, publicista, diseñador gráfico, (...) profesor y periodista. Dentro del ámbito literario, ha publicado cuentos, novelas y ensayos. Entre su producción, algunos títulos son los siguientes: Esperando a la pianista y otros cuentos (1983), Tampoco la pena dura (1989), Los dados de Dios (1997) El autor de mis días (1999), El guerrero del crepúsculo (2001), Tijeras de plata (2003), Los inmortales (2004), El corredor nocturno (2005), El desfile salvaje (2007), El caso Bonapelch (2014) y La misteriosa muerte de Eleanor Rigby (2019). Asimismo, ha sido merecedor de múltiples distinciones. Algunas de ellas fueron el segundo premio del concurso literario de Radio Carve (1975), el Premio Juan Rulfo de Radio Francia Internacional (1995), el Premio de Inéditos del MEC-Ministerio de Educación y Cultura (1995), el VII Premio Lengua de Trapo de Narrativa (2001), el Premio Bartolomé Hidalgo (2004), el Premio Alas (2008) y el Premio Libro de Oro (2014). (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

From Basil Fawlty, The Little Tramp and Frank Spencer; to Jim Carey, Andy Kaufman and Rowan Atkinson... comedy characters and comic actors have proved useful lenses for exploring—and exposing—humor’s cultural and political significance. Both performing as well as chastising cultural values, ideas and beliefs, the comic character gives a unique insight into latent forms of social exclusion that, in many instances, can only ever be approached through the comic form. It is in examining this comic form that this paper (...) will consider how the ‘comedy character’ presents a unique, subversive significance. Drawing from Lacanian conceptions of the subject and television ‘sitcom’ examples, the emancipatory potential of the comedy character will be used to criticize the predominance of irony and satire in comic displays. Indeed, while funny, it will be argued that such comic examples underscore a deprivative cynicism within comedy and humor. Countering this, it will be argued that a Lacanian conception of the subject can profer a comic efficacy that not only reveals how our social orders are inherently inconsistent and open to subversive redefinition, but that these very inconsistencies are also echoed in the subject, and, in particular, the ‘true comedy character’. (shrink)

"In 'I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind', William Day shows how Kaufman's Eternal Sunshine of the Spotless Mind should be considered part of the film genre known as remarriage comedy; but he also shows how Kaufman contributes something new to the genre. Day addresses, in particular, how the conversation that is the condition for reunion involves discovering 'what it means to have memories together as a way of learning how to (...) be together'. One of the most innovative aspects of Kaufman's filmic representation of such a conversation is its effect on the audience: how the narrative structure 'replicates for the viewer the felt contingency of memory that we attribute' to the characters we see onscreen - a couple contending with the interrelated experiences of remarriage and remembering." --David LaRocca, Introduction to The Philosophy of Charlie Kaufman, 12. (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...) body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

This article critically examines the positions taken by Stephen E. Toulmin, Robert C. Coburn, and and Gordon D. Kaufman on existential experience and limiting questions and answers.

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. (...) Annotated bibliography by Joshua Shaw. (shrink)

Nabigyan ng pagpapahalaga ang komprehensibong pagdalumat sa relasyong Tsino at Pilipino sa buhay at kamatayan sa isang aklat na pinamagatang Himlayan, Pantiyon, Kampo Santo, Sementeryo: Exploring Philippine Cemeteries (2016) na pinamamatnugutan ni Dr. Grace Barretto-Tesoro ng Programa sa Araling Arkeolohiya ng Unibersidad ng Pilipinas. Ito ay binubuo ng isang daan at apatnapu’t dalawang (242) pahina at limang (5) kabanata-- [1] Angels on Earth: Investigating Infant and Children Burials in Manila Cemeteries ni Grace Barreto-Tesoro (pah. 1-39); [2] Angels and Dragons in (...) the Manila Chinese Cemetery nina Donna Mae N. Arriola at Eleanor Marie S. Lim (pah. 41-80); [3] Ang Mamatay ng Dahil sa iyo: Patriots’ Graves at Manila Cemeteries and Neighboring Provinces ni Andrea Malaya M. Ragragio (pah. 81-153); [4] Death, Grief, and Memorial: A Review of the Boy Scouts Tragedy of 1963 nina Kathleen D.C. Tantuico at Omar K. Choa (pah. 155-168); at [5] Colonial Period Cemeteries as Filipino Heritage ni Michelle S. Eusebio (pah. 169-197). Sa limang kabanatang ito, mas higit na binigyan ng pansin at lapatan ng anotasyon ang ikalawa dahil tahasan tumatalakay ang artikulong ito sa mayaman at makakultural na ugnayan ng Pilipinas at Tsina bilang mga Asyanong bansa pagdating sa konseptwalisasyon ng kamatayan. (shrink)

This is an in-depth review of "The Embodied Mind: Cognitive Science and Human Experience" by Francisco Varela, Evan Thompson and Eleanor Rosch.

To understand what ontologies do through their definitions, we propose a theoretical explanation of the functions of definitions in ontologies backed by empirical neuropsychological studies. Our goal is to show how these functions should motivate (i) the systematic inclusion of definitions in ontologies and (ii) the adaptation of definition content and form to the specific context of use of ontologies.

Responding to a set of essays by Walter Benn Michaels, this paper argues that we can solve some interesting puzzles about intention in photography without the need for any fancy Anscombian footwork. Three distinctions are enough to do the job. First, with Alexander Nehamas, we should separate the empirical photographer from the postulated artist. Next we should mark off generic intentions (such as the intention to make a work of art) from specific intentions (such as the intention to critique capitalism). (...) And finally we should draw a line between intention at time of conception and intention at time of display. A good interpretation, then, will attribute *specific* intentions to the *postulated* artist at the time of *display*. Problem solved? The postulated author of this essay thought so, at least, at the moment when he hit "send.". (shrink)