Joining philosophy of language with phenomenological aesthetics, this book defines the epistemological status of abstract objects and works of art. Beginning with a provocative conversation between Socrates, Plato, Wittgenstein, and Jung, the book introduces the concept, and coins the term, "Platonic Inductive Fallacy," deriving from a cycle of language games. The author then invokes Robert Stalnaker to clarify the difference between real and actual objects, which gives new insight into the epistemology of abstract objects. Armed with defined abstract objects, the (...) reader is taken through a fascinating journey from 1890s aestheticism to present-day phenomenological aesthetics. The book clearly establishes principles and methods for defining works of art, and applies them to two versions of a Henry James novella. The clear definitions and inventive methods, supported with impressive, detailed research, lead to compelling and well-taken conclusions. This journey pays off with important and exciting results. -/- The book has been added to the National Chengchi University (NCCU) Main Library, Taipei City, Taiwan—as part of the National Science Council-subsidized humanities and social science research: phenomenology. (shrink)

These three volumes, entitled Essays On Values, bring together fortyone recent articles by researchers at the Nova Institute of Philosophy (IFILNOVA). They are a small sample of everything that, in the last four years, the Institute’s researchers have published, in English, in indexed journals and collections of essays with peer review. As a whole, they reflect very well the research work that is done at IFILNOVA. Section I. of Volume 1 gathers six articles that deal directly with the question “what (...) are values?”, the question that guides all the work of the institute’s different laboratories and research groups. The first article, by Susana Cadilha and Vítor Guerreiro, results from work developed in the Laboratory of Ethics and Political Philosophy (EPLab); the second, by João Constâncio, from the Lisbon Nietzsche Group; the third, by Alexandra Dias Fortes, from the Lisbon Wittgenstein Group; the third and fifth, by Nuno Fonseca, and Maria Filomena Molder, from the Aesthetics and Philosophy of Art Group of the Laboratory of Culture and Value (CultureLab); the last, by Erich H. Rast, from the Philosophy of Language and Argumentation Theory Group and the Lisbon Mind, Cognition & Knowledge Group of the Laboratory of Argumentation, Cognition, and Language (ArgLab). Section II. brings together three articles by members of the Lisbon Nietzsche Group. Since 2010, the Lisbon Nietzsche Group has completed several funded projects, and has established itself as a leading international research group on Nietzsche’s thought. The three articles demonstrate the crucial importance of the question of values in Nietzsche’s work, always thought from the perspective of the possibility of a “transvaluation of all values”. Maria João Mayer Branco’s article focuses on the value of introspection, and how Nietzsche anticipates Wittgenstein’s “expressivist” view of the “the Peculiar Grammar of the Word ‘I’” and the impossibility of private languages. Marta Faustino’s article considers the theme of affirmation and the value of life through the interpretation of Nietzsche’s reflection on truthfulness, intellectual honesty and courage in the light of Michel Foucault’s work on parrhesia. Pietro Gori’s article studies how Nietzsche creates a new anthropological ideal based on his enquiry into the values of the “good European”. The area of Wittgenstein studies has had a strong influence on the institute since the time when it was a philosophy of language institute. The Wittgensteinian distinction between facts and values was decisive in defining the question of values as the central issue of IFILNOVA’s research project, replacing the focus on philosophy of language. More recently, the focus of research at the Lisbon Wittgenstein Group has been on epistemic values, in particular in their connection with the question of religious belief. In Section III., Nuno Venturinha’s article examines, in the light of an epistemological standpoint, the way Wittgenstein thinks about the possibility of translation. Robert Vinten’s article argues that Wittgenstein’s thought contains elements for a critique of the concept of justice and of the liberal political visions of both Richard Rorty and Chantal Mouffe, despite the fact that both have drawn inspiration from Wittgenstein. Benedetta Zavatta’s article questions the value of mythology by thinking of it as a disease of language – not only in Wittgenstein, but also in a whole philosophical tradition that preceded him. The existence of a research group in ancient philosophy is a recent but very promising development in the life of IFILNOVA. Section IV. includes two articles by members of the group. Paulo Alexandre Lima’s article considers the critique of misology and the value of discourse in Plato’s Phaedo. Hélder Telo’s article examines the pedagogical and protreptic value of imperfection in Plato’s work. (shrink)

These three volumes, entitled Essays On Values, bring together fortyone recent articles by researchers at the Nova Institute of Philosophy (IFILNOVA). They are a small sample of everything that, in the last four years, the Institute’s researchers have published, in English, in indexed journals and collections of essays with peer review. As a whole, they reflect very well the research work that is done at IFILNOVA. Section I. of Volume 1 gathers six articles that deal directly with the question “what (...) are values?”, the question that guides all the work of the institute’s different laboratories and research groups. The first article, by Susana Cadilha and Vítor Guerreiro, results from work developed in the Laboratory of Ethics and Political Philosophy (EPLab); the second, by João Constâncio, from the Lisbon Nietzsche Group; the third, by Alexandra Dias Fortes, from the Lisbon Wittgenstein Group; the third and fifth, by Nuno Fonseca, and Maria Filomena Molder, from the Aesthetics and Philosophy of Art Group of the Laboratory of Culture and Value (CultureLab); the last, by Erich H. Rast, from the Philosophy of Language and Argumentation Theory Group and the Lisbon Mind, Cognition & Knowledge Group of the Laboratory of Argumentation, Cognition, and Language (ArgLab). Section II. brings together three articles by members of the Lisbon Nietzsche Group. Since 2010, the Lisbon Nietzsche Group has completed several funded projects, and has established itself as a leading international research group on Nietzsche’s thought. The three articles demonstrate the crucial importance of the question of values in Nietzsche’s work, always thought from the perspective of the possibility of a “transvaluation of all values”. Maria João Mayer Branco’s article focuses on the value of introspection, and how Nietzsche anticipates Wittgenstein’s “expressivist” view of the “the Peculiar Grammar of the Word ‘I’” and the impossibility of private languages. Marta Faustino’s article considers the theme of affirmation and the value of life through the interpretation of Nietzsche’s reflection on truthfulness, intellectual honesty and courage in the light of Michel Foucault’s work on parrhesia. Pietro Gori’s article studies how Nietzsche creates a new anthropological ideal based on his enquiry into the values of the “good European”. The area of Wittgenstein studies has had a strong influence on the institute since the time when it was a philosophy of language institute. The Wittgensteinian distinction between facts and values was decisive in defining the question of values as the central issue of IFILNOVA’s research project, replacing the focus on philosophy of language. More recently, the focus of research at the Lisbon Wittgenstein Group has been on epistemic values, in particular in their connection with the question of religious belief. In Section III., Nuno Venturinha’s article examines, in the light of an epistemological standpoint, the way Wittgenstein thinks about the possibility of translation. Robert Vinten’s article argues that Wittgenstein’s thought contains elements for a critique of the concept of justice and of the liberal political visions of both Richard Rorty and Chantal Mouffe, despite the fact that both have drawn inspiration from Wittgenstein. Benedetta Zavatta’s article questions the value of mythology by thinking of it as a disease of language – not only in Wittgenstein, but also in a whole philosophical tradition that preceded him. The existence of a research group in ancient philosophy is a recent but very promising development in the life of IFILNOVA. Section IV. includes two articles by members of the group. Paulo Alexandre Lima’s article considers the critique of misology and the value of discourse in Plato’s Phaedo. Hélder Telo’s article examines the pedagogical and protreptic value of imperfection in Plato’s work. (shrink)

For any given society, its particular technology of communication has far-reaching consequences, not merely as regards social organization, but on the epistemic level as well. Plato's name-theory of meaning represents the transition from the age of primary orality to that of literacy; Wittgenstein's use-theory of meaning stands for the transition from the age of literacy to that of a second orality (audiovisual communication, electronic information processing). On the basis of a use-theory of meaning the problem of machine consciousness, to which (...) the later Wittgenstein again and again returned, is capable of a non-essentialist solution: appropriate changes in our form of life might well entail a radically different psychological language-game. (shrink)

Easy to understand philosophy papers in all areas. Table of contents: Three Short Philosophy Papers on Human Freedom The Paradox of Religions Institutions Different Perspectives on Religious Belief: O’Reilly v. Dawkins. v. James v. Clifford Schopenhauer on Suicide Schopenhauer’s Fractal Conception of Reality Theodore Roszak’s Views on Bicameral Consciousness Philosophy Exam Questions and Answers Locke, Aristotle and Kant on Virtue Logic Lecture for Erika Kant’s Ethics Van Cleve on Epistemic Circularity Plato’s Theory of Forms Can we trust our senses? Yes (...) we can Descartes on What He Believes Himself to Be The Role of Values in Science Modern Science Kant’s Moral Philosophy Plato’s Republic as Pol Potist Bureaucracy Schopenhauer on Human Suffering Bertrand Russell on the Value of Philosophy The Philosophical Value of Uncertainty Logic Homework: Theorems and Models Searle vs. Turing on the Imitation Game Hume, Frankfurt, and Holbach on Personal Freedom Manifesto of the University of Wisconsin, Madison Secular Society Michael’s Analysis of the Limits of Civil Protections Bentham and Mill on Different Types of Pleasure Set Theory Homework Aristotle on Virtue Nagel On the Hard Problem Wittgenstein on Language and Thought Camus and Schopenhauer on the Meaning of Life Camus’ Hero as Rebel without a Cause My Little Finger: Camus’ Absurdism Illustrated Are Late-term Abortions Ethical? Does Mathematics Assume the Truth of Platonism? The Self-defeating Nature of Utilitarianism and Consequentialism Generally What is The Good Life? Bentham and Mill regarding types of pleasures Kant’s Moral Philosophy Five Short Papers on Mind-body Dualism Tracy Latimer’s Father had the Right to Kill Her: Towards a doctrine of generalized self-defense Arguments Concerning God and Morality Goldman, Rousseau and von Hayek on the Ideal State J.S Mill on Liberty and Personal Freedom A Kantian Analysis of a Borderline Date-rape Situation Living Well as Flourishing: Aristotle’s Conception of the Good Life Three Essays on Medical Ethics: Answers to Exam Questions on Elective Amputation, Vaccination, and Informed Consent Hobbes, Marx, Rousseau, Nietzsche: Their Central Themes De Tocqueville on Egoism Mill vs. Hobbes on Liberty Exam-Essays on the Moral Systems of Mill, Bentham, and Kant Kant’s Moral System Aristotle on Virtue Plato’s Cave Allegory An Ethical Quandary Superorganisms The Tuskegee Experiment A Rawlsian Analysis Why Moore’s Proof of an External World Fails A Defense of Nagel’s Argument Against Materialism A Utilitarian Analysis of a Case of Theft The Paradox of the Self-aware Wretch: An Analysis of Pascal’s Moral Philosophy Jean-Paul Sartre: Decline and Fall of a Marxist Sell-out A One Page Proof of Plato’s Theory of Forms Plato’s Republic as Pol Potist Bureaucracy The problem of the one and the many Four Short Essays on Truth and Knowledge What is ‘the Good Life?’ The Ontological Argument Different Political Philosophies: Plato, Locke, Madison, Rousseau, Hayek, and Mill on the State What do I know with certainty? Skepticism about skepticism Neuroscience and Freewill Operant Conditioning What makes us special? Are Late-term Abortions Ethical? No Two Papers on Epistemology: Gettier and Bostrom Examination Nietzsche on Punishment God’s Foreknowledge and Moral Responsibility . (shrink)

Both the irreducible complexity of biological phenomena and the aim of a universalized biology (life-as-it-could-be) have lead to a deep methodological shift in the study of life; represented by the appearance of ALife, with its claim that computational modelling is the main tool for studying the general principles of biological phenomenology. However this methodological shift implies important questions concerning the aesthetic, engineering and specially the epistemological status of computational models in scientific research: halfway between the well established categories of (...) theory and experiment. ALife models become powerful epistemic artefacts allowing the simulation of emergent phenomena, the interaction between different levels of organization and the integration of different causal factors in the very same manipulable object. The use of computational models in ALife can be classified in four main categories depending on their position between theoretical and empirical practices: generic, conceptual, functional and mechanistic. For each of these categories we analyse their epistemic value and select paradigmatic examples that illustrate how ALife models can be fruitfully inserted in the study of life. (shrink)

Wittgenstein’s concepts shed light on the phenomenon of schizophrenia in at least three different ways: with a view to empathy, scientific explanation, or philosophical clarification. I consider two different “positive” wittgensteinian accounts―Campbell’s idea that delusions involve a mechanism of which different framework propositions are parts, Sass’ proposal that the schizophrenic patient can be described as a solipsist, and a Rhodes’ and Gipp’s account, where epistemic aspects of schizophrenia are explained as failures in the ordinary background of certainties. I argue that (...) none of them amounts to empathic-phenomenological understanding, but they provide examples of how philosophical concepts can contribute to scientific explanation, and to philosophical clarification respectively. (shrink)

Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside, he nonetheless understands the task of the philosopher as that of making outside and inside converge in a representation. Drawing on Hegel's philosophy of art, I show that Kierkegaard's project in (...) both of these books is the aesthetic project of revealing the inner essence of something in its outward appearance. Kierkegaard's portrait of Socrates in The Concept of Irony is a phenomenology of the spirit of irony. My interpretation adds a new dimension to our understanding of Kierkegaard's aesthetics and his relation to Hegel; it presents him as a follower of Plato, whom he is usually thought to have dismissed; and it uncovers a deep connection between Kierkegaard's first two books, which are never read in conjunction. (shrink)

Whereas the entrance of the monochrome into modern art has typically been understood in light of movements in contemporary art and aesthetic theory following in its wake, this essay seeks to understand the motivations for, and the effect of, the monochrome in the work of Aleksandr Rodchenko in 1921 in reference to Plato's analysis of pure pleasure and absolute beauty in the Philebus . I argue that Rodchenko and Plato were motivated by a shared project to contend with the aesthetic (...) and psychological effects of figurative semblance, or what Socrates calls the phantasm, in order to harmonize human perception with the world of sensuous material objects. It is in this shared project, I contend, that Rodchenko's strategy is to be understood as a kind of materialist Platonism that, when viewed phenomenologically, reveals Plato's objects of absolute beauty to be, in the context of industrial capitalism and the crisis of perception that Benjamin, among others, saw as its consequence, sites of loss and meaninglessness for modern consciousness, yet sites which nonetheless contain emancipatory potential for a social order that has been systematically alienated from itself and its environment. (shrink)

In this critical review I explore the anti-intentionalist stance Adorno offers in his aesthetics, specifically focusing on his Notes to Literature, and the internal limits to this stance. Adorno rejects the primacy of authorial intentionalism: The presuppositions of its aesthetic methodology, he claims, place the individual in a position of epistemic priority, without exploring the social totalities which constitute the conditions of the presentation of aesthetic knowledge by any such individual. The role of the creator for Adorno is inherently mediated (...) within the context of such totalities. -/- This is not to wholly discount the role of creative intentions, however. Rather, Adorno frames the artist as a ‘bearer’ and a ‘representative of the total social subject’. In this context he allows for a qualified form of subjectivity, construed as a mode of creativity produced by a particular kind of “achieved self-awareness” or disposition of consciousness towards an “estrangement of meaning”. Indeed, the loss of the stronger presupposition that the subject acts as an authentic expository force can lead to a realization that objectivity by this means constitutes a “loss”, Adorno claims, which creates the possibility for pursuing a critical stance to facilitate the capacity for creating autonomous works of art. Creators of autonomous works acknowledge “the paradoxical relationship of the autonomous work to its commodity character” (‘Valery’s Deviations’), namely an awareness of their inherent reification. The self-alienating yet autonomous work is described by Adorno as possessing and demonstrating tacit yet genuine ‘wants’, but this is framed by the demands of the human condition to recognize how ill-fitting the forces of social production are upon and towards securing them. Aesthetic intentions and the subjects which channel them can be critically valuable if they allude to or exposit the contradictions between these demands and those forces. (shrink)

This investigation concerns first what Jacques Derrida and Paul Ricœur consider to be «the question of writing» in Plato’s Phaedrus, and then whether their conception of a general philosophical problem of writing finds support in the dialogue. By contrast to their attempts to «determine» the «status» of writing as the general condition of knowledge, my investigation has two objections. (1) To show that Plato’s concern is not to define writing, but to reflect on what is involved in honest and dishonest (...) inquiry. (2) To argue that Derrida’s and Ricœur’s determination of the instrumental (epistemic and moral) «status» of writing, overlooks crucial difficulties of dishonest writing that Plato’s discussion of the pharmakon reveals. The argument proposed is that honest and dishonest inquiry is not tied to the moral status that writing, as an invention or instrument, unconditionally involves, but to the moral quality of what a human being does when inquiring. (shrink)

We present an account of the evolutionary development of the experiences of empathy that marked the beginning of morality and art. We argue that aesthetic and moral capacities provided an important foundation for later epistemic developments. The distinction between phenomenal consciousness and attention is discussed, and a role for phenomenology in cognitive archeology is justified-critical sources of evidence used in our analysis are based on the archeological record. We claim that what made our species unique was a form of (...) meditative and empathic thinking that made large-scale human cooperation possible through pre-linguistic, empathic communication. A critical aspect of this proposal is that the transformation that led to the dawn of our species was not initially driven by semantic or epistemic factors, although clearly, these factors increased the gap between us and other species dramatically later on. Our proposal suggests that recent philosophy of mind and psychology might have "epistemicized" phenomenal consciousness too much by construing it in terms of semantic content rather than by describing it in terms of empathic and meditative thinking. Instead of the prevailing approach, we favor the type of subjectivity that is fundamentally "other-involving" as essential, because on our account, a necessary condition for subjectivity is the empathic understanding of other individuals' psychology, not through inference or judgment, but through immediate conscious engagement. (shrink)

This study identified and characterised Wittgenstein’s socialised epistemology. It examined some arguments against Wittgenstein’s socialised epistemology. It also assessed the strength of Wittgenstein’s socialised epistemology in light of the arguments against it. This was with a view to redirecting epistemology from its endless attempts in refuting radical skepticism to providing a solid ground for knowledge in Wittgenstein’s notion of “forms of life”. The study made use of both primary and secondary sources of data. The primary source comprised a close reading (...) of Plato’s “Theatetus”, Roderick Chisholm’s Theory of Knowledge, D.W. Hamlyn’s The Theory of Knowledge, Ludwig Wittgenstein’s The Blue and Brown Books, Ludwig Wittgenstein’s Philosophical Investigation, and Ludwig Wittgenstein’s On Certainty. The Secondary source included books, journal articles and the Internet. The data collected were subjected to conceptual analysis and philosophical argumentation. The results showed that Wittgenstein’s epistemology was a rejection of the orthodox epistemology, which assumed a representational relationship between words and objects in providing valid basis for knowledge. The study discovered that Wittgenstein treated knowledge as a product of epistemic community. It found out that in spite of its shortcomings Wittgenstein’s epistemology remained a plausible alternative approach to orthodox epistemology. It also discovered that contrary to the criticisms against Wittgenstein’s socialised epistemology, there were numerous merits that made it worth adopting as an approach to the problems of knowledge. The study concluded that rather than endlessly seeking to refute radical skepticism, epistemologists should be contented with knowledge as provided by the form of life embedded in an epistemic community. It also concluded that it was in this form of life that the nature of knowledge could be properly understood and attained as a socialised phenomenon. (shrink)

The present paper has two objectives. First, it explicates the story, initially portrayed by Eckart Förster (2012), that allegedly philosophy started with publishing of Kant’s CPR and ended a quarter century later when Hegel’s Phenomenology of Mind appeared. We address the questions in what sense this happened and how is this development to be interpreted? Secondly, we demonstrate that similar radical transition from new, “true” beginning of philosophy to its apparent finishing took place in two other, high profile occasions (...) in the history of Western philosophy, in two key points of its development: in the years 390–365 BC, between the early and the late Plato, and between 1898 and 1922, between Russell and Wittgenstein’s Tractatus. These three short-lived, spectacular transitions from philosophy’s alleged start to its alleged ultimate accomplishment give us good reason to speak about a specific 25-years principle in philosophy. In a peculiar way, this principle reveals philosophy’s true nature. (shrink)

This volume of new essays explores the relationship between the thought of Wittgenstein and the key figures of phenomenology: Husserl, Heidegger, Levinas, Merleau-Ponty and Sartre. It is the first book to provide an overview of how Wittgenstein’s philosophy in its different phases, including his own so-called phenomenological phase, relates to the variety of phenomenological approaches developed in continental Europe. In so doing, the volume seeks to throw light on both sides of the comparison, and to clarify more broadly the (...) relations between analytic and phenomenological philosophy. However, rather than treating the interpretation of either phenomenological philosophy or Wittgenstein as an already settled issue, several chapters in the volume examine and question received views regarding them, and develop alternatives to such views. "Wittgenstein and Phenomenology" will be of interest to scholars working in philosophical methodology and meta-philosophy, the philosophy of mind, philosophy of language and logic, and ethics. (shrink)

From Plato to the present, intuition plays a central role in epistemology. My concern in this paper is with the nature and epistemic status of intuition. To that end, I will be reviewing both Bealer’s and Wittgenstein’s accounts of intuition. I will be arguing that by ‘intuition’ Bealer understands modal intuition that has Platonic and metaphysical roles. Subsequently, I shall also show that although Wittgenstein’s view avoids these two issues, it amounts to the idea that intuition is a normative activity (...) with a dialectical value. As a result, if Bealer and Wittgenstein are right, then intuition should no more have any epistemic and evidential role. (shrink)

Mysticism and the sciences have traditionally been theoretical enemies, and the closer that philosophy allies itself with the sciences, the greater the philosophical tendency has been to attack mysticism as a possible avenue towards the acquisition of knowledge and/or understanding. Science and modern philosophy generally aim for epistemic disclosure of their contents, and, conversely, mysticism either aims at the restriction of esoteric knowledge, or claims such knowledge to be non-transferable. Thus the mystic is typically seen by analytic philosophers as a (...) variety of 'private language' speaker, although the plausibility of such a position is seemingly foreclosed by Wittgenstein's work in the Philosophical Investigations. Yorke re-examines Wittgenstein's conclusion on the matter of private language, and argues that so-called 'ineffable' mystical experiences, far from being a 'beetle in a box', can play a viable role in our public language-games, via renewed efforts at articulation. (shrink)

Husserl holds that the theoretical sciences should be value-free, i.e., free from the values of extra-scientific practices and guided only by epistemic values such as coherence and truth. This view does not imply that to Husserl the sciences would be immune to all criticism of interests, goals, and values. On the contrary, the paper argues that Husserlian phenomenology necessarily embodies reflection on the epistemic values guiding the sciences. The argument clarifies Husserl’s position by comparing it with the pluralistic position (...) developed in feminist epistemology, according to which sciences may be guided by several competing sets of epistemic values. Further, the existence of alternative epistemic values suggests that choices among such values are social and historically conditioned. Indeed, this is how Husserl’s mature discussion in The Crisis can be understood: his examination of Galileo’s contribution in physics operates as a criticism of the unquestioned dominance of certain set of inherited epistemic values, including the values of accuracy and universal applicability. Indeed, his The Origin of Geometry endorses another set of epistemic values, most importantly that of ontological heterogeneity. Husserl’s analysis demonstrates that the choice of any set of epistemic values is influenced by historical and social factors. Moreover, Husserl argues that we can only avoid biases due to “spells of the time” by continued reflection – Besinnung, in his terms – on the role of values in science. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...) Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism leads him to an alētheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein also rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: there are significant parallels to be drawn between Wittgenstein’s and Heidegger’s anti-scientism about aesthetics, (...) and that their anti-scientism leads both towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a broader metaphilosophical disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

Wittgenstein’s mention of the term “phenomenology” in his writings from the middle period has long been regarded as puzzling by interpreters. It is striking to see him concerned with that philosophical approach, generally regarded as foreign to the tradition of Russell and Frege, in which Wittgenstein’s thought is commonly taken to have primarily developed. On the basis of partially unpublished material from Wittgenstein’s Nachlass, the thesis provides a reconstruction of the rationale and fate of his conception of phenomenology, (...) which he advances after his return to Cambridge in 1929. On the one hand, that conception is tributary to his longstanding task to philosophically clarify the workings of language. On the other hand, Wittgenstein’s concern with phenomenology develops against the background of his reconsideration of the resources for clarification provided by his early philosophy. His 1929 paper “Some Remarks on Logical Form” is elucidatory in this respect. The paper expresses a dissatisfaction with the Tractarian account of logical grammar and pleas for a “logical investigation of the phenomena themselves”. That plea echoes Wittgenstein’s notion of a “phenomenological language” in the manuscripts from the same period. The thesis addresses the intricacies of that notion and the reasons for Wittgenstein’s coming to criticize it. By contrast to the prevalent view in the literature, it turns out that he did not fully endorse for a definite period, and then suddenly abandoned, the idea of phenomenological language. Wittgenstein rather attempts to develop a viable means of clarification and of philosophical expression through phenomenological language, while critically exploring the assumptions and implications of that attempt at the very same time. (shrink)

Wittgenstein and Heidegger’s objections against the possibility of an aesthetic science were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism is tied up with a critique of the reduction of the work of art to an object of aesthetic experience. This leads him to an aletheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein too rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. His appeal to ordinary language provides the backdrop (...) for his critique of the philosophical tradition’s focus on a narrow range of evaluative aesthetic terms, thus excluding most of the language we ordinarily employ in the relevant cases. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: (a) there are significant parallels to be drawn between Wittgenstein and Heidegger’s anti-scientism about aesthetics, and (b) their anti-scientism leads them towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

Ineffability in Plato is a conundrum. There are at least four dimensions of ineffability in Platonic texts: epistemic (divine), strategic (religious), unspeakability and incommunicability. In this paper, I deal only with the first dimension, which is strictly epistemic in kind, and defend that Plato rejects divine ineffability, namely, the belief that the knowledge of the divine in general is inaccessible to the human mind. Several crucial passages attest to this rejection unequivocally. They show that Plato attached a great philosophical relevance (...) to what I call the equivalenceprinciple, namely, the interdependence or specularity between human and divine intelligence. The assertion of this principle represents the Platonic path to absolute knowledge, which I try to locate in the broader context of the history of philosophy, from early philosophers to Hegel. (shrink)

Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human (...) responses, and that cognizers are thereby capable of grasping rules for the correct application of aesthetic concepts without relying on evaluation or enculturation. However, in this article I use Wittgenstein’s rule-following considerations to argue that psychological theories grounded upon this so-called objective model of rule-following fail to adequately account for concept acquisition and mastery. I argue that this is because linguistic enculturation, and the perceptual learning that’s often involved, influences and enables the mastery of aesthetic concepts. I argue that part of what’s involved in speaking aesthetically is to belong to a cultural practice of making sense of things aesthetically, and that it’s within a socio-linguistic community, and that community’s practices, that such aesthetic sense can be made intelligible. (shrink)

As touch remains commonly defined by the closeness it physically implies and it rhetorically evokes, the mere notion of distant touch and of distal haptic perception seems peculiar. But Aristotle’s perspective, which I wish to take as a point of departure, is firm: we perceive the objects of touch, the hot and the cold, the hard and the soft, the curved and the sharp, through other things: δι' ἑτέρων. In this article, I would like to explore this ἕτερος by showing (...) how the otherness of perception always implies an intermediary, a middle point (μέσος), i.e. an other not so other, an other that is able to translate the much more distant otherness of the perceived object. To explore these forgotten layers of alterity that fall into what we commonly conceive of as the impalpable emptiness of distance, I propose to study the idea of distant touch from the perspective of phenomenological aesthetics. In order to do so, I will first examine some aspects of the Husserlian account of perception and will then focus on the phenomenology of distant touch in Alejandra Costamagna’s novel El Sistema del Tacto [The System of Touch] (2018). (shrink)

Monk’s ‘The Temptations of Phenomenology’ examines what the term ‘Phänomenologie’ meant for Wittgenstein. Contesting various other scholars, Monk claims that Wittgenstein’s relation to ‘Phänomenologie’ began and ended during 1929. Monk only partially touches on the question of Wittgenstein’s relation to the phenomenological movement during this time. Though Monk does not mention this, 1929 was also the year in which Ryle and Carnap turned their critical attention toward Heidegger. Wittgenstein also expressed his sympathy for Heidegger in 1929. Furthermore, though in (...) 1929 Wittgenstein agrees with the early Husserl on relating logic and science to phenomenology, it is not clear that they mean the same thing by either logic or phenomenology, or that they agree on what the relation between the two should be. (shrink)

Wittgenstein’s experiments on rhythm (1912-13) were based on Charles Myers’s 1911 written protocols for laboratory exercises. The experiments provided an early onset for Wittgenstein’s career-long exploration of the philosophically pervasive implications of aspects. Years before the Tractatus, Wittgenstein already got a glimpse of a philosophical angle, which was bound to become very important to him not only in aesthetics, but also for his overarching philosophical development. He became interested in the possibilities of aesthetic conversation, in what we actually do when (...) we re-phrase, compare, come up with good similes in order to illuminate something definite within the space of possibility. These initial insights were bound to recede into the background for a while by the mounting demands of the Tractatus framework, only to fully bloom in Wittgenstein’s later work. (shrink)

Homo deceptus is a book that brings together new ideas on language, consciousness and physics into a comprehensive theory that unifies science and philosophy in a different kind of Theory of Everything. The subject of how we are to make sense of the world is addressed in a structured and ordered manner, which starts with a recognition that scientific truths are constructed within a linguistic framework. The author argues that an epistemic foundation of natural language must be understood before laying (...) claim to any notion of reality. This foundation begins with Ludwig Wittgenstein’s Tractatus Logico-Philosophicus and the relationship of language to formal logic. Ultimately, we arrive at an answer to the question of why people believe the things they do. This is effectively a modification of Alfred Tarski’s semantic theory of truth. The second major issue addressed is the ‘dreaded’ Hard Problem of Consciousness as first stated by David Chalmers in 1995. The solution is found in the unification of consciousness, information theory and notions of physicalism. The physical world is shown to be an isomorphic representation of the phenomenological conscious experience. New concepts in understanding how language operates help to explain why this relationship has been so difficult to appreciate. The inclusion of concepts from information theory shows how a digital mechanics resolves heretofore conflicting theories in physics, cognitive science and linguistics. Scientific orthodoxy is supported, but viewed in a different light. Mainstream science is not challenged, but findings are interpreted in a manner that unifies consciousness without contradiction. Digital mechanics and formal systems of logic play central roles in combining language, consciousness and the physical world into a unified theory where all can be understood within a single consistent framework. (shrink)

I demonstrate that analogies, both explicit and implicit, between Wittgenstein’s discussions of rituals, aesthetics, and aspect-perception, have important payoffs in terms of understanding his notion of a “surveyable representation” (übersichtliche Darstellung) as it applies to phenomena that are not exclusively grammatical in nature. In particular, I argue that a surveyable representation of certain anthropological and aesthetic facts allows us to see, qua form of aspect-perception, internal relations and formal connections, so that the inner nature of a ritual or the solution (...) of an aesthetic puzzle is exhibited. This particular form of seeing both explains why Wittgenstein thought that hypothetical explanations about the origins of a ritual are irrelevant to appreciating its meaning and elucidates his understanding of rituals, which involves seeing “internal relations” and “formal connections.” The upshots of the account for work in anthropology are discussed. (shrink)

This paper aims to provide a psychologically-informed philosophical account of the phenomenology of episodic remembering. The literature on epistemic or metacognitive feelings has grown considerably in recent years, and there are persuasive reasons, both conceptual and empirical, in favour of the view that the phenomenology of remembering—autonoetic consciousness, as Tulving influentially referred to it, or the feeling of pastness, as we will refer to it here—is an epistemic feeling, but few philosophical treatments of this phenomenology as an (...) epistemic feeling have so far been proposed. Building on insights from the psychological literature, we argue that a form of feeling-based metacognition is involved in episodic remembering and develop an integrated metacognitive feeling-based view that addresses several key aspects of the feeling of pastness, namely, its status as a feeling, its content, and its relationship to the first-order memories the phenomenology of which it provides. (shrink)

In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) the clarifying (...) experience of the dawning of an aspect, which Wittgenstein pictures as the perception of an internal relation. By examining Wittgenstein’s use of “internal relation” from the Tractatus to his later writings, I come to challenge the still prevalent understanding of Wittgenstein’s appeals to grammar as an appeal to something given (e.g., to a set of grammatical rules). Instead, as I argue, Wittgensteinian appeals to grammatical criteria should be understood as modeled by the form of justification found in our conversations about art. (shrink)

Do epistemic and aesthetic values ever conflict? The answer might appear to be no, given that background knowledge generally enhances aesthetic experience, and aesthetic experience in turn generates new knowledge. As Keats writes, ‘Beauty is truth, truth beauty’ (Keats, 1996). Contra this line of thought, I argue that epistemic and aesthetic values can conflict when we over-rely on aesthetically enhancing background beliefs. The true and the beautiful can pull in different directions, forcing us to choose between flavours of normativity.

The paper argues, in a nutshell, that Wittgenstein’s reconsideration, after Ramsey’s review, of the Tractatus provides the rationale for the methodological reflections from the former’s manuscripts, which are less sceptical than Schlick’s, on the viability of a phenomenological philosophy. The argument proceeds like this. Section 1 exposes a charge against a Tractarian account of logical syntax: for Ramsey, early Wittgenstein holds unjustifiably that any proposition taken to exhibit logical impossibility, like the impossibility of a fleck of two colours, is analysable (...) into formal contradiction. Section 2 explores ways in which Ramsey’s charge is taken on board by Wittgenstein’s 1929 “Some Remarks on Logical Form”, while bringing forth the view that propositions like “This is of two colours” cannot be analysed into formal contradiction. Section 3 reconstructs a mirror image of early Wittgenstein’s approach to colour-exclusion, from Schlick’s claim that propositions like “This cannot be of two colours” exhibit logical necessity and amount to formal tautologies. Section 4 isolates two responses two Schlick’s approach to colour-exclusion, suggesting that it is not more viable than early Wittgenstein’s. Section 5 assesses the rationale of Wittgenstein’s reflections on phenomenology, as informed by his approaches to colour-exclusion from early onwards. (shrink)

It is shown through examples ranging from Parmenides and Plato to Whitehead and Wittgenstein that beauty is central among the values that have made metaphysical theories appealing and credible. A common attitude would be that the aesthetic properties of metaphysical theories may be important for effective presentation but are irrelevant to the cognitive value of the theories. This however is question-begging, since it assumes without argument that ultimate reality is indifferent to ’value considerations’ such as beauty. If on the contrary (...) we allow that the aesthetic properties of theories may be cognitively relevant, which such properties should be considered? This question is explored in the final section of the paper. (shrink)

Why is aesthetics important to Wittgenstein? What, according to him, is the function of the aesthetic? My answer consists of three parts: first, I argue that Wittgenstein finds himself in an aporia of normative consciousness – that is to say, a problem with regard to our awareness of the world in terms of its relation to a norm. Second, I argue that the function of Wittgenstein’s aesthetic writings is to deal with this aporia. Third, through a comparison with Friedrich Schlegel’s (...) writings on allegory, I try to show that the way in which Wittgenstein resolves the aporia renders him a Romanticist philosopher. The point of an aesthetic interaction, for Wittgenstein, is that it can render clear what cannot be described without running against the walls of our cage: the absolute. Through aesthetic interactions we are able to (indirectly) access a ground for norms by which we experience ourselves as unconditionally bound. (shrink)

Developed through a series of conceptual analyses (Edmund Husserl, Vilém Flusser, Ludwig Wittgenstein and Walter Benjamin) and case studies (Fernando Lopes’s Belarmino and Jeff Wall’s Mimic), this article delves into the relationship between gesture, attunement and atmosphere and how it unfolds in photographic works dealing with urban space. The first section focuses on the role played by photography in the film Belarmino, which raises questions about both the representation of urban phenomena and issues related to expression and gesture in boxing. (...) The second section discusses Husserl’s thinking on image consciousness and his surprising reference to a “photograph” of a boxer, which reveals the relevance of his phenomenological approach when it comes to defining the aesthetic properties of gesture-images. The third section examines the principles of Flusser’s philosophy of gestures, focusing on the semantic field of attunement and its connection with various elements related to photography, gesture, moods and affects. The question of gesture in photography—both the gestures of the photographed and those of the photographer—can be articulated with the notions of attunement and atmosphere, which go beyond semiological, psychological and communicational approaches and are important for our understanding of aesthetic and artistic experiences. Finally, if photography is a privileged way of studying atmospheres and gestures (as suggested by the Benjaminian notion of optical unconscious) and their connection with the inner life of the subject, in relation to urban space this study often acquires an intersubjective, social and political dimension, as in Jeff Wall’s Mimic. (shrink)

Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” similarly in Condillac, Mead and (...) Kristeva; “grace” in Avicenna, Schiller and Dewey; and “resilience” in Fanon, (Judith) Butler and Deleuze. With these analyses in place, I apply the four Moves in analyzing various forms of dancing (including salsa dancing and the pollen dance of the honeybee) and coordinate them to outline a comprehensive philosophy of dance. This philosophy points to certain conditions for an ideally flourishing, dancing society. And these conditions create the possibility for a coalition of sympathetic discourses (including critical race theory, queer theory, disability studies and democratic theory) united in pursuit of political virtue. The development of a philosophy of dance offers a deeper understanding of the intellectual values of a practice often identified with bodily immediacy and therefore judged uninteresting. It also reinvigorates philosophy with the dynamism and bodily relevance of the practice of dancing. Most important, it demonstrates the meaningful intersection of aesthetics and political ethics, by exploring how aesthetic practices underlie and inspire human flourishing. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express are (...) ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

Ask most any cognitive scientist working today if a digital computational system could develop aesthetic sensibility and you will likely receive the optimistic reply that this remains an open empirical question. However, I attempt to show, while drawing upon the later Wittgenstein, that the correct answer is in fact available. And it is a negative a priori. It would seem, for example, that recent computational successes in generative AI and textual attribution, most notably those of Donald Foster (famed finder of (...) Ted Kazinski a.k.a. “the Unibomber”) speak favorably of the connectionist model's capacity to overcome the “aspect blindness” handicap in this domain. I argue however that such results are only achievable when rigid input‐to‐output parameters are given, and that this element is precisely what is absent in standard examples of aesthetic judgment. I thus conclude that while the connectionist model anticipated by Turing may provide the best approach for the AI project, its capacity for meeting its own sufficiency requirements is necessarily crippled by its inability to share in what can be generally referred to as the collective engagements of human solidarity. (shrink)

This article argues that the aesthetics of the oppressed—a series of artistic practices elaborated by Augusto Boal (1931-2009) that comprises the theatre of the oppressed, the rainbow of desire technique, and legislative theatre—utilizes art in order to resist epistemic injustice and promote democratic freedom.

To Wittgenstein’s late thought is often attributed a form of cultural or epistemic relativism, according to which truths are relative to the criteria of justification valid within a linguistic community. This paper aims to show that this attribution lies largely on a misinterpretation of Wittgenstein’s ideas on the relation between language-games and forms of life. In the first section are presented the grounds for some relativist readings of Wittgenstein’s thought. In the second section, through the analysis of some passages of (...) the Tractatus and On Certainty, it is argued that, although Wittgenstein insisted on the “ungroundedness” of our language-games, he did not mean that any epistemic attitude, as long as it is endorsed by a community, is as valid as any other one. Rather, it is possible to show that some games better apply to our world and appear thus as more objective, so that there can be a difference in the validity of world-picures, contrary to what the epistemic relativist holds. In the third and final section, it is claimed that the different communities that appear in Wittgenstein’s examples are not actual or existing alternative possibilities, but an imaginary anthropology that Wittgenstein uses to enlighten how we, humans, work with our language-games. So, it is not possible to attribute him the idea that different games underly different forms of life, as some relativist authors do. It is concluded that Wittgenstein was not likely to be a cultural relativist. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...) Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.

Cybernetic Revelation explores the dual philosophical histories of deconstruction and artificial intelligence, tracing the development of concepts like "logos" and the notion of modeling the mind technologically from pre-history to contemporary thinkers such as Slavoj Zizek and Steven Pinker. The writing is clear and accessible throughout, yet the text probes deeply into major philosophers seen by JD Casten as "conceptual engineers." -/- Philosophers covered include: Anaximander, Heraclitus, Parmenides, Plato, Aristotle, Philo, Augustine, Shakespeare, Descartes, Spinoza, Leibniz, Locke, Berkeley, Hume, Kant, Hegel, (...) Nietzsche, Freud, Jung, Joyce, Dewey, Wittgenstein, Heidegger, Adorno, Benjamin, Derrida, Chomsky, Zizek, Pinker, Dennett, Hofstadter, Stiegler + more; with special chapters on: AI's history, Complexity, Deconstructing AI, Aesthetics, Consciousness + more... (shrink)

This is a thesis in support of the conceptual yoking of analytic truth to a priori knowledge. My approach is a semantic one; the primary subject matter throughout the thesis is linguistic objects, such as propositions or sentences. I evaluate arguments, and also forward my own, about how such linguistic objects’ truth is determined, how their meaning is fixed and how we, respectively, know the conditions under which their truth and meaning are obtained. The strategy is to make explicit what (...) is distinctive about analytic truths. The objective is to show that truths, known a priori, are trivial in a highly circumscribed way. My arguments are premised on a language-relative account of analytic truth. The language relative account which underwrites much of what I do has two central tenets: 1. Conventionalism about truth and, 2. Non-factualism about meaning. I argue that one decisive way of establishing conventionalism and non-factualism is to prioritise epistemological questions. Once it is established that some truths are not known empirically an account of truth must follow which precludes factual truths being known non-empirically. The function of Part 1 is, chiefly, to render Carnap’s language-relative account of analytic truth. I do not offer arguments in support of Carnap at this stage, but throughout Parts 2 and 3, by looking at more current literature on a priori knowledge and analytic truth, it becomes quickly evident that I take Carnap to be correct, and why. In order to illustrate the extent to which Carnap’s account is conventionalist and non-factualist I pose his arguments against those of his predecessors, Kant and Frege. Part 1 is a lightly retrospective background to the concepts of ‘analytic’ and ‘a priori’. The strategy therein is more mercenary than exegetical: I select the parts from Kant and Frege most relevant to Carnap’s eventual reaction to them. Hereby I give the reasons why Carnap foregoes a factual and objective basis for logical truth. The upshot of this is an account of analytic truth (i.e. logical truth, to him) which ensures its trivial nature. In opposition to accounts of a priori knowledge, which describe it as knowledge gained from rational apprehension, I argue that it is either knowledge from logical deduction or knowledge of stipulations. I therefore reject, in Part 2, three epistemologies for knowing linguistic conventions (e.g. implicit definitions): 1. intuition, 2. inferential a priori knowledge and, 3. a posteriori knowledge. At base, all three epistemologies are rejected because they are incompatible with conventionalism and non-factualism. I argue this point by signalling that such accounts of knowledge yield unsubstantiated second-order claims and/or they render the relevant linguistic conventions epistemically arrogant. For a convention to be arrogant it must be stipulated to be true. The stipulation is then considered arrogant when its meaning cannot be fixed, and its truth cannot be determined without empirical ‘work’. Once a working explication of ‘a priori’ has been given, partially in Part 1 (as inferential) and then in Part 2 (as non-inferential) I look, in Part 3, at an apriorist account of analytic truth, which, I argue, renders analytic truth non-trivial. The particular subject matter here is the implicit definitions of logical terms. The opposition’s argument holds that logical truths are known a priori (this is part of their identification criteria) and that their meaning is factually based. From here it follows that analytic truth, being determined by factually based meaning, is also factual. I oppose these arguments by exposing the internal inconsistencies; that implicit definition is premised on the arbitrary stipulation of truth which is inconsistent with saying that there are facts which determine the same truth. In doing so, I endorse the standard irrealist position about implicit definition and analytic truth (along with the “early friends of implicit definition” such as Wittgenstein and Carnap). What is it that I am trying to get at by doing all of the abovementioned? Here is a very abstracted explanation. The unmitigated realism of the rationalists of old, e.g. Plato, Descartes, Kant, have stoically borne the brunt of the allegation of yielding ‘synthetic a priori’ claims. The anti-rationalist phase of this accusation I am most interested in is that forwarded by the semantically driven empiricism of the early 20th century. It is here that the charge of the ‘synthetic a priori’ really takes hold. Since then new methods and accusatory terms are employed by, chiefly, non-realist positions. I plan to give these proper attention in due course. However, it seems to me that the reframing of the debate in these new terms has also created the illusion that current philosophical realism, whether naturalistic realism, realism in science, realism in logic and mathematics, is somehow not guilty of the same epistemological and semantic charges levelled against Plato, Descartes and Kant. It is of interest to me that in, particularly, current analytic philosophy (given its rationale) realism in many areas seems to escape the accusation of yielding synthetic priori claims. Yet yielding synthetic a priori claims is something which realism so easily falls prey to. Perhaps this is a function of the fact that the phrase, ‘synthetic a priori’, used as an allegation, is now outmoded. This thesis is nothing other than an indictment of metaphysics, or speculative philosophy (this being the crime), brought against a specific selection of realist arguments. I, therefore, ask of my reader to see my explicit, and perhaps outmoded, charge of the ‘synthetic a priori’ levelled against respective theorists as an attempt to draw a direct comparison with the speculative metaphysics so many analytic philosophers now love to hate. I think the phrase ‘synthetic a priori’ still does a lot of work in this regard, precisely because so many current theorists wrongly think they are immune to this charge. Consequently, I shall say much about what is not permitted. Such is, I suppose, the nature of arguing ‘against’ something. I’ll argue that it is not permitted to be a factualist about logical principles and say that they are known a priori. I’ll argue that it is not permitted to say linguistic conventions are a posteriori, when there is a complete failure in locating such a posteriori conventions. Both such philosophical claims are candidates for the synthetic a priori, for unmitigated rationalism. But on the positive side, we now have these two assets: Firstly, I do not ask us to abandon any of the linguistic practises discussed; merely to adopt the correct attitude towards them. For instance, where we use the laws of logic, let us remember that there are no known/knowable facts about logic. These laws are therefore, to the best of our knowledge, conventions not dissimilar to the rules of a game. And, secondly, once we pass sentence on knowing, a priori, anything but trivial truths we shall have at our disposal the sharpest of philosophical tools. A tool which can only proffer a better brand of empiricism. (shrink)

This paper offers an overview of the philosophical work on epistemic injustices as it relates to psychiatry. After describing the development of epistemic injustice studies, we survey the existing literature on its application to psychiatry. We describe how the concept of epistemic injustice has been taken up into a range of debates in philosophy of psychiatry, including the nature of psychiatric conditions, psychiatric practices and research, and ameliorative projects. The final section of the paper indicates future directions for philosophical research (...) of epistemic injustices and psychiatry, concerning neurocognitive disorders, identity prejudices in psychiatric illness, concepts of epistemic privilege in psychiatry, and the prospects for combining phenomenological psychopathology and epistemic justice. We argue that much remains to be done in the conceptualization of these epistemic injustices and suggest that this future work should be multidisciplinary in character and sensitive to the phenomenology of psychiatric conditions. (shrink)

Two Socratic dialogues often considered “comic”—Ion and Hippias Major—have also been contested as to their Platonic authenticity. Plato’s dialogues; while certainly engaging, can also seem grim in their philosophical intensity: At least one author has contended that the dialogue more firmly established as genuinely by Plato, Symposium; has some comic elements: This article goes a step further in suggesting that this dialogue does not merely have comic elements but is in fact a comedy. It draws on several texts in the (...) literature on Greek comedy over the past century and suggests that; although the dialogue sets itself serious philosophical challenges, its structure; style; and method are deeply steeped in comedic modes from around Plato’s day. This is not to presume whether Plato was deliberately writing a comedy. In general, writers are often strongly influenced by literary fashions of the day, so it would not be far stretching the matter to understand the work as comedic. Thereby, the article offers, via textual analysis, an argument for how the dialogue is a comedy along withcounter-arguments against such a notion. In the end, indeed, acknowledging it is a comedy promises to open up new angles on interpreting that dialogue. (shrink)

The objective of this research essay is to understand the episteme of phenomenology using the recent construction of Mark D. Vagle which understands phenomenological knowledge as a conceptual tripod between encounters, way of living and crafting. There is here a preliminary view on the subject where it seeks to understand the phenomenology beyond its big names such as Husserl, Heidegger, Merleau-Ponty, Sartre, among others. It is a phenomenology of vision for the twenty-first century, focusing on the epistemological (...) and methodological construction of phenomenological research. -/- . (shrink)

This paper continues my development of philosophy of religion as multi-disciplinary comparative research. An earlier paper, “Wittgenstein and Contemporary Belief-Credence Dualism” compared Wittgensteinian reflections on religious discourse and praxis with B-C dualism as articulated by its leading proponents. While some strong commonalities were elaborated that might help to bridge Continental and Analytic approaches in philosophy of religion, Wittgenstein was found to be a corrective to B-C dualism especially as regards how the psychology and philosophy of epistemic luck/risk applies to doxastic (...) faith ventures. This paper aims to further elaborate a basis for improved dialogue between philosophers, theologians, and scholars in special sciences which study religion. I call this basis the Triangulated model the ABC’s of religious epistemics in order to contrast it with the B-C dualist proposal. (shrink)