In reasoning, we draw conclusions from multiple premises. But thinkers can be fragmented. And if there is no single fragment of the agent that thinks all of the premises, then the agent cannot draw any conclusions from them. It follows that reasoning from multiple premises depends on their being thought together. But what is it to think premises together? What is the condition that contrasts with fragmentation? This paper provides an answer to this question that is simple but compelling: to (...) think premises together is to attribute those very thoughts to one and the same self. The ability to reason depends on the ability to attribute the thoughts from which one reasons to oneself. Reasoning—at least the sort of reasoning that we do—requires de se thought. (shrink)

Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's (...) semantics for basic depictive content, I argue that the relevant systematicity is absent from the pictorial realm. (shrink)

Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...) pessimism has certain advantages over the first. I offer two candidates for the non-epistemic norm that, on this view, stands in the way of our taking aesthetic testimony. And I argue that this form of pessimism meets a challenge to pessimism in general – that of explaining why, if testimony cannot be a legitimate source of aesthetic belief, we can nonetheless rightly rely on the aesthetic recommendations of others. (shrink)

What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...) defends the account against four objections. Imagining and remembering seem to differ in whether they are active or passive, in the forms of singular content they involve, in their relations to observation and in their relations to belief. I argue that these differences can be accommodated, and some even explained, once we flesh out what else is involved in episodic memory, in addition to imagining the past. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

The overwhelming majority of those who theorize about implicit biases posit that these biases are caused by some sort of association. However, what exactly this claim amounts to is rarely specified. In this paper, I distinguish between different understandings of association, and I argue that the crucial senses of association for elucidating implicit bias are the cognitive structure and mental process senses. A hypothesis is subsequently derived: if associations really underpin implicit biases, then implicit biases should be modulated by counterconditioning (...) or extinction but should not be modulated by rational argumentation or logical interventions. This hypothesis is false; implicit biases are not predicated on any associative structures or associative processes but instead arise because of unconscious propositionally structured beliefs. I conclude by discussing how the case study of implicit bias illuminates problems with popular dual-process models of cognitive architecture. (shrink)

What are the legitimate sources of aesthetic belief? Which methods for forming aesthetic belief are acceptable? Although the question is rarely framed explicitly, it is a familiar idea that there is something distinctive about aesthetic matters in this respect. Crudely, the thought is that the legitimate routes to belief are rather more limited in the aesthetic case than elsewhere. If so, this might tell us something about the sorts of facts that aesthetic beliefs describe, about the nature of our aesthetic (...) judgements, or about the responses that ground them. Getting the epistemology right here may help with the metaphysics, the semantics or the philosophical psychology. Investigating the legitimate sources of aesthetic belief may thus teach us something important about the aesthetic realm. (shrink)

Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...) great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)

An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how more precisely (...) does it operate? I show how to use the notion of experienced resemblance in outline shape to analyse depiction in such a way as to answer this question, and to explain the six key features above. (shrink)

We cannot imagine two straight lines intersecting at two points even though they may do so. In this case our abilities to imagine depend upon our abilities to visualise.

What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper question: (...) what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)

Perceptual filling-in for vision is the insertion of visual properties (e.g., color, contour, luminance, or motion) into one’s visual field, when those properties have no corresponding retinal input. This paper introduces and provides preliminary empirical support for filled/non-filled pairs, pairs of images that appear identical, yet differ by amount of filling-in. It is argued that such image pairs are important to the experimental testing of theories of consciousness. We review recent experimental research and conclude that filling-in involves brain activity with (...) relatively high integrated information (Phi) compared to veridical visual perceptions. We then present filled/non-filled pairs as an empirical challenge to the integrated information theory of consciousness, which predicts that phenomenologically identical experiences depend on brain processes with identical Phi. (shrink)

James Hopkins; IX*—Wittgenstein and Physicalism, Proceedings of the Aristotelian Society, Volume 75, Issue 1, 1 June 1975, Pages 121–146, https://doi.org/10.109.

Episodic memory is sometimes described as mental time travel. This suggests three ideas: that episodic memory offers us access to the past that is quasi-experiential, that it is a source of knowledge of the past, and that it is, at root, passive. I offer an account of episodic memory that rejects all three ideas. The account claims that remembering is a matter of representing the past to oneself, in a way suitably responsive to how one experienced the remembered episode to (...) be. I argue that episodic memory is active, in the way this view suggests. I clarify the idea that it is, as the view also implies, not a source of knowledge but an expression of knowledge the subject already has. And I suggest the view need not limit memories to states that are in any way experience-like. This position offers a way to articulate the relations between episodic memory and related phenomena: factual memory, generic memory, remembering-how and anticipation. And it allows us to explain how we know which aspects of our episodic memory states to take seriously and which (such as the shift to an observer perspective on the remembered events) to treat as merely incidental. (shrink)

Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those experiences (...) reflect differences in the objects’ themselves. A range of objections to this position is considered, but all are found wanting. (shrink)

Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so very much (...) better off? The film uses the failures of Leonard’s system to raise doubts about the effectiveness of our own psychological capacities for grasping the past. However, memory does more than allow us to retain information. As Richard Wollheim showed, it also enables the past to control our present, by perpetuating, while modifying, its affective hold over us. This is something wholly denied Leonard. By implicitly contrasting his position with ours in this respect, the film also explores this second role that memory plays in our lives. (shrink)

What is the relation between affective states, such as emotions and pleasure, and imagining? Do the latter cause the former, just as perceptual states do? Or are the former merely imagined, along with suitable objects? I consider this issue against the backdrop of Sartre’s theory of imagination, and drawing on his highly illuminating discussion of it. I suggest that, while it is commonly assumed that imaginative states cause affective responses much as do perceptions, the alternatives merit more careful consideration than (...) they are usually given. (shrink)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can that (...) seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

The outcome of criticism is a perception. Does this mean that criticism cannot count as a rational process? For it to do so, it seems it would have to be possible for there to be an argument for a perception. Yet perceptions do not seem to be the right sort of item to serve as the conclusions of arguments. Is this appearance borne out? I examine why perceptions might not be able to play that role, and explore what would have (...) to be true of critical discourse for those obstacles to be circumvented. (shrink)

This paper summarises the main claims I have made in a series of publications on depiction. Having described six features of depiction that any account should explain, I sketch an account that does this. The account understands depiction in terms of the experience to which it gives rise, and construes that experience as one of resemblance. The property in respect of which resemblance is experienced was identified by Thomas Reid, in his account of ‘visible figure’. I defend the account against (...) certain criticisms, and compare it to some of its main rivals, in particular the views offered by Goodman, Wollheim and Dominic Lopes. (shrink)

I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...) artistically interesting communication of thought. The central resources of representation are content, vehicle properties, and the interplay between these two. Whereas painting and other representational arts are able to exploit all three to communicate thought, authentic photography can exploit interplay only to a very limited degree. However, the exploitation of interplay is the culmination of communicative representational art: the natural endpoint in its development. (shrink)

Whole Brain Emulation has been championed as the most promising, well-defined route to achieving both human-level artificial intelligence and superintelligence. It has even been touted as a viable route to achieving immortality through brain uploading. WBE is not a fringe theory: the doctrine of Computationalism in philosophy of mind lends credence to the in-principle feasibility of the idea, and the standing of the Human Connectome Project makes it appear to be feasible in practice. Computationalism is a popular, independently plausible theory, (...) and Connectomics a well-funded empirical research program, so optimism about WBE is understandable. However, this optimism may be misplaced. This article argues that WBE is, at best, no more compelling than any of the other far-flung routes to achieving superintelligence. Similarly skeptical conclusions are found regarding immortality. The essay concludes with some positive considerations in favor of the Biological Theory of consciousness, as well as morals about the limits of Computationalism in both artificial intelligence and the philosophy of mind more generally. (shrink)

We propose four policies of ethical design of human-grade Artificial Intelligence. Two of our policies are precautionary. Given substantial uncertainty both about ethical theory and about the conditions under which AI would have conscious experiences, we should be cautious in our handling of cases where different moral theories or different theories of consciousness would produce very different ethical recommendations. Two of our policies concern respect and freedom. If we design AI that deserves moral consideration equivalent to that of human beings, (...) that AI should be designed with self-respect and with the freedom to explore values other than those we might impose. We are especially concerned about the temptation to create human-grade AI pre-installed with the desire to cheerfully sacrifice itself for its creators’ benefit. (shrink)

Some philosophers take Perky's experiments to show that perceiving can be mistaken for visualizing and so that the two sometimes match in phenomenology. On Segal’s alternative interpretation Perky’s subjects did not consciously perceive the stimuli at all. I argue that even setting this alternative aside, Perky's results do not prove what the philosophers think. She showed her subjects, not the objects they were asked to visualise, but pictures of them. What they mistook for visualizing was not perceptual consciousness of stimuli, (...) but pictorial consciousness. Once clear about the nature of the latter, we can see that Perky's results reveal nothing very surprising. (shrink)

This (1982) essay sets out the claim that psychoanalysis is a cogent extension of the intuitive common sense psychology by which we naturally understand human action. In this psychology explanation proceeds by relating actions to the logically and causally cohering desires and beliefs of agents. As Freud showed, this kind of explanation is systematically deepened and extended by the explanation of dreams, the symptoms of mental disorder, and other related phenomena via the Freudian concept of wish fulfilment, which was later (...) extended to the more inclusive post-Freudian concept of phantasy. In this extension everyday actions, such as Freud's writing up his patient Irma's case history on the day before his dream of Irma's injection, are seen to be rooted in the same unconscious motives as are represented as fulfilled in dreams and symptoms -- e.g., in this case, by unconscious stirrings of deep guilt on the topic of injection, of which Freud was unaware until he analysed the dream. As this illustrates, the understanding of wishfulfilments and other formations of phantasy enables us fill out our account of agents and their actions by adding a stock of previously unacknowledged desires and modes of expression of desire. These are seen to cohere with, and also to deepen, our previous understanding: after understanding Freud's dream, we also have a deeper and firmer (and so more cogent) understanding of his behaviour on the previous day. In this way Freud effected an extension of our everyday mode of understanding that was cogent, cumulative, and radical, as illustrated further by examination of Freud's case history of the patient described as the Rat Man. (shrink)

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

As the international genomic research community moves from the tool-making efforts of the Human Genome Project into biomedical applications of those tools, new metaphors are being suggested as useful to understanding how our genes work – and for understanding who we are as biological organisms. In this essay we focus on the Human Microbiome Project as one such translational initiative. The HMP is a new ‘metagenomic’ research effort to sequence the genomes of human microbiological flora, in order to pursue the (...) interesting hypothesis that our ‘microbiome’ plays a vital and interactive role with our human genome in normal human physiology. Rather than describing the human genome as the ‘blueprint’ for human nature, the promoters of the HMP stress the ways in which our primate lineage DNA is interdependent with the genomes of our microbiological flora. They argue that the human body should be understood as an ecosystem with multiple ecological niches and habitats in which a variety of cellular species collaborate and compete, and that human beings should be understood as ‘superorganisms’ that incorporate multiple symbiotic cell species into a single individual with very blurry boundaries. These metaphors carry interesting philosophical messages, but their inspiration is not entirely ideological. Instead, part of their cachet within genome science stems from the ways in which they are rooted in genomic research techniques, in what philosophers of science have called a ‘tools-to-theory’ heuristic. Their emergence within genome science illustrates the complexity of conceptual change in translational research, by showing how it reflects both aspirational and methodological influences. (shrink)

In The Imaginary Sartre offers a systematic, insightful and heterodox account of imagining in many forms. Beginning with four ‘characteristics’ he takes to capture the phenomenology of imagining, he draws on considerations both philosophical and psychological to describe the deeper nature of the state that has those features. The result is a view that remains the most potent challenge to the Humean orthodoxy that to this day dominates both philosophical and psychological thinking on the topic.

For a period of several years the philosopher of science Hasok Chang has promoted various inter-related views including pluralism, pragmatism, and an associated view of natural kinds. He has also argued for what he calls the persistence of everyday terms in the scientific view. Chang claims that terms like phlogiston were never truly abandoned but became transformed into different concepts that remain useful. On the other hand, Chang argues that some scientific terms such as acidity have suffered a form of (...) “rupture”, especially in the case of the modern Lewis definition of acids. Chang also complains that the degree of acidity of a Lewis acid cannot be measured using a pH meter and seems to regard this as a serious problem. The present paper examines some of these views, especially what Chang claims to be a rupture in the definition of acidity. It is suggested that there has been no such rupture but a genuine generalization, on moving from the Brønsted-Lowry theory to the Lewis theory of acidity. It will be shown how the quantification and measurement of Lewis acidity can easily be realized through the use of equilibrium theory and the use of stability constants. (shrink)

I describe a phenomenon that has not yet been described in the epistemology literature. I label this phenomenon expression-style exclusion. Expression-style exclusion is an example of how s...

Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...) this question. The notable exception is M.G.F.Martin’s account of pictures in terms of an ‘image’, a pure visibile that presents the represented object and its features without exemplifying them. In order to interpret Martin’s view so as to bring out its plausibility, I relate it to the somewhat similar position advocated by Lambert Wiesing’s account of pictures and our experience of them. That done, I ask whether a position drawing on both these positions can justify drawing a fundamental distinction between the ways in which pictures and sculptures present what they represent. (shrink)

Number words seemingly function both as adjectives attributing cardinality properties to collections, as in Frege’s ‘Jupiter has four moons’, and as names referring to numbers, as in Frege’s ‘The number of Jupiter’s moons is four’. This leads to what Thomas Hofweber calls Frege’s Other Puzzle: How can number words function as modifiers and as singular terms if neither adjectives nor names can serve multiple semantic functions? Whereas most philosophers deny that one of these uses is genuine, we instead argue that (...) number words, like many related expressions, are polymorphic, having multiple uses whose meanings are systematically related via type shifting. (shrink)

On an intellectualist approach to belief, the intellectual endorsement of a proposition (such as “The working poor deserve as much respect as the handsomely paid”) is sufficient or nearly sufficient for believing it. On a pragmatic approach to belief, intellectual endorsement is not enough. Belief is behaviorally demanding. To really, fully believe, you must also “walk the walk.” This chapter argues that the pragmatic approach is preferable on pragmatic grounds: It rightly directs our attention to what matters most in thinking (...) about belief. (shrink)

A common view in the philosophy of mind and philosophy of psychology is that there is an ideally correct way of categorizing the structures and operations of the mind, and that the goal of neuroscience and psychology is to find this correct categorizational scheme. Categories which cannot find a place within this correct framework ought to be eliminated from scientific practice. In this paper, I argue that this general idea runs counter to productive scientific practices. Such a view ignores the (...) plurality of aims and goals that neuroscientists and psychologists have in studying mental phenomena, and the necessity of employing distinct classificatory frameworks to achieve them. (shrink)

Unconscious logical inference seems to rely on the syntactic structures of mental representations (Quilty-Dunn & Mandelbaum 2018). Other transitions, such as transitions using iconic representations and associative transitions, are harder to assimilate to syntax-based theories. Here we tackle these difficulties head on in the interest of a fuller taxonomy of mental transitions. Along the way we discuss how icons can be compositional without having constituent structure, and expand and defend the “symmetry condition” on Associationism (the idea that associative links and (...) transitions are perfectly symmetric). In the end, we show how a BIT (“bare inferential transition”) theory can cohabitate with these other non-inferential mental transitions. (shrink)

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

Moorean arguments are a popular and powerful way to engage highly revisionary philosophical views, such as nihilism about motion, time, truth, consciousness, causation, and various kinds of skepticism (e.g., external world, other minds, inductive, global). They take, as a premise, a highly plausible first-order claim (e.g., cars move, I ate breakfast before lunch, it’s true that some fish have gills) and conclude from it the falsity of the highly revisionary philosophical thesis. Moorean arguments can be used against nihilists in ethics (...) (error theorists), too. Recently, error theorists have recognized Moorean arguments as a powerful challenge and have tried to meet it. They’ve argued that moral Moorean premises seem highly credible to us, but aren’t, by offering various debunking explanations. These explanations all appeal to higher-order evidence—evidence of error in our reasoning. I argue that drawing attention to higher-order evidence is a welcome contribution from error theorists, but that the higher-order evidence actually counts further against error theoretic arguments—including their debunking explanations—and further in favor of Moorean arguments and the commonsense views they support. Along the way I answer a few prominent objections to Moorean arguments: that they are objectionably question-begging, rely on categorizing some facts as “Moorean Facts”, and that reports of one’s credence in a proposition bears no interesting relation to that proposition’s credibility. (shrink)

Inquiry, Volume 57, Issue 1, Page 55-96, February 2014.

“What is the structure of thought?” is as central a question as any in cognitive science. A classic answer to this question has appealed to a Language of Thought (LoT). We point to emerging research from disparate branches of the field that supports the LoT hypothesis, but also uncovers diversity in LoTs across cognitive systems, stages of development, and species. Our letter formulates open research questions for cognitive science concerning the varieties of rules and representations that underwrite various LoT-based systems (...) and how these variations can help researchers taxonomize cognitive systems. (shrink)

Most agree that believing a proposition normally or ideally results in believing that one believes it, at least if one considers the question of whether one believes it. I defend a much stronger thesis. It is impossible to believe without knowledge of one's belief. I argue, roughly, as follows. Believing that p entails that one is able to honestly assert that p. But anyone who is able to honestly assert that p is also able to just say – i.e., authoritatively, (...) yet not on the basis of evidence – that she believes that p. And anyone who is able to just say that she believes that p is able to act in light of the fact that she holds that belief. This ability to act, in turn, constitutes knowledge of the psychological fact. However, without a broader theory of belief to help us make sense of this result, this conclusion will be hard to accept. Why should being in a particular mental state by itself necessitate an awareness of being in that state? I sketch a theory that helps to answer this question: believing is a matter of viewing a proposition as what one ought to believe. I show how this theory explains the thesis that to believe is to know that you believe. (shrink)

There is a prevalent notion among cognitive scientists and philosophers of mind that computers are merely formal symbol manipulators, performing the actions they do solely on the basis of the syntactic properties of the symbols they manipulate. This view of computers has allowed some philosophers to divorce semantics from computational explanations. Semantic content, then, becomes something one adds to computational explanations to get psychological explanations. Other philosophers, such as Stephen Stich, have taken a stronger view, advocating doing away with semantics (...) entirely. This paper argues that a correct account of computation requires us to attribute content to computational processes in order to explain which functions are being computed. This entails that computational psychology must countenance mental representations. Since anti-semantic positions are incompatible with computational psychology thus construed, they ought to be rejected. Lastly, I argue that in an important sense, computers are not formal symbol manipulators. (shrink)

I follow standard mathematical practice and theory to argue that the natural numbers are the finite von Neumann ordinals. I present the reasons standardly given for identifying the natural numbers with the finite von Neumann's (e.g., recursiveness; well-ordering principles; continuity at transfinite limits; minimality; and identification of n with the set of all numbers less than n). I give a detailed mathematical demonstration that 0 is { } and for every natural number n, n is the set of all natural (...) numbers less than n. Natural numbers are sets. They are the finite von Neumann ordinals. (shrink)

I argue that Smith proposed a new kind of imperialism, which we would describe as a species of ‘federalism,’ and that his plan influenced Bentham and Kant in their federal projects, although they seem to have been unaware of each other’s proposals. In what follows, I outline Smith’s position. I then describe Kant’s and Bentham’s debts to Smith in turn. This will also allow for greater clarity about the nature of early liberalism.

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

Some key political challenges today, e.g. climate change, are future oriented. The intergenerational setting differs in some notable ways from the intragenerational one, creating obstacles to theorizing about intergenerational justice. One concern is that as the circumstances of justice do not pertain intergenerationally, intergenerational justice is not meaningful. In this paper, I scrutinize this worry by analysing the presentations of the doctrine of the circumstances of justice by David Hume and John Rawls. I argue that we should accept the upshot (...) of their idea, that justice is context sensitive, even if this at first sight seems to invalidate intergenerational justice. On the basis of moral constructivism, I subsequently provide a fresh reading of the doctrine according to which it conveys the idea that justice is the solution to a practical problem. However, as the problem background is evolving, we need to properly characterize the relevant practical problem in order to make ethical theorizing relevant. Contrary to what has been claimed, the circumstances of justice do not then clash with intergenerational justice, but are the necessary presuppositions for its advancement. (shrink)

In some recent works, Crupi and Iacona have outlined an analysis of ‘if’ based on Chrysippus’ idea that a conditional holds whenever the negation of its consequent is incompatible with its antecedent. This paper presents a sound and complete system of conditional logic that accommodates their analysis. The soundness and completeness proofs that will be provided rely on a general method elaborated by Raidl, which applies to a wide range of systems of conditional logic.

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

In his work on following a rule Wittgenstein discerned principles of interpretation that apply to commonsense psychology and psychoanalysis. We can use these to assess the cogency of psychoanalytic reasoning.

A Bayesian mind is, at its core, a rational mind. Bayesianism is thus well-suited to predict and explain mental processes that best exemplify our ability to be rational. However, evidence from belief acquisition and change appears to show that we do not acquire and update information in a Bayesian way. Instead, the principles of belief acquisition and updating seem grounded in maintaining a psychological immune system rather than in approximating a Bayesian processor.