Harry Heft's Ecological Psychology in Context is an important book in many ways. For one thing, it adds considerably to our understanding of the historical background of J.J. Gibson's thought. But more than that, Heft aims to place ecological psychology not just historically, but philosophically. He says "This volume shows that radical empiricism stands at the heart of Gibson's ecological program, and it can usefully be employed as the conceptual centerpiece for ecological psychology more broadly construed" (p. xvi). (...) While I was impressed with Harry's argument to this effect, I'm not yet entirely persuaded. In these brief remarks I'll try to explain why. (shrink)

A widely cited roadblock to bridging ecological psychology and enactivism is that the former identifies with realism and the latter identifies with constructivism, which critics charge is subjectivist. A pragmatic reading, however, suggests non-mental forms of constructivism that simultaneously fit core tenets of enactivism and ecological realism. After advancing a pragmatic version of enactive constructivism that does not obviate realism, I reinforce the position with an empirical illustration: Physarum polycephalum (a slime mold), a communal unicellular organism that leaves slime trails (...) that form chemical barriers that it avoids in foraging explorations. Here, environmental building and sensorimotor engagement are part of the same process with P. polycephalum coordinating around self-created, affordance-bearing geographies, which nonetheless exist independently in ways described by ecological realists. For ecological psychologists, affordances are values, meaning values are external to the perceiver. I argue that agent-enacted values have the same status and thus do not obviate ecological realism or generate subjectivism. The constructivist-realist debate organizes around the emphasis that enactivists and ecological theorists respectively place on the inner constitution of organisms vs. the structure of environments. Building on alimentary themes introduced in the P. polycephalum example and also in Gibson’s work, I go on to consider how environment, brain, visceral systems, and even bacteria within them enter perceptual loops. This highlights almost unfathomable degrees of mutually modulating internal and external synchronization. It also shows instances in which internal conditions alter worldly configurations and invert values, in Gibson’s sense of the term, albeit without implying subjectivism. My aim is to cut across the somatic focus of enactive constructivism and the external environment-oriented emphasis of ecological realism and show that enactivism can enrich ecological accounts of value. (shrink)

There are important structural similarities in the way that animals and humans engage in unreflective activities, including unreflective social interactions in the case of higher animals. Firstly, it is a form of unreflective embodied intelligence that is ‘motivated’ by the situation. Secondly, both humans and non-human animals are responsive to ‘affordances’ (Gibson 1979); to possibilities for action offered by an environment. Thirdly, both humans and animals are selectively responsive to one affordance rather than another. Social affordances are a subcategory (...) of affordances, namely possibilities for social interaction offered by an environment: a friend’s sad face invites comforting behavior, a person waiting for a coffee machine can afford a conversation, and an extended hand affords a handshake. I will review recent insights in the nature of the bodily intentionality characteristic of unreflective action. Such ‘motor intentionality’ can be characterized as “our direct bodily inclination to act in a situated, environmental context” (Kelly 2005, p. 106). Standard interpretations of bodily intentionality see grasping an object as the paradigmatic example of motor intentionality. I will discuss the implications of another, novel perspective that emphasizes the importance of unreflective switches from one activity to another (Rietveld 2004) and understands bodily intentionality in terms of adequate responsiveness to a field of relevant affordances. In the final section I will discuss some implications for cognitive neuroscientists who use empirical findings related to the ‘mirror neuron system’ as a starting point for a theory of motor intentionality and social cognition. (shrink)

This paper raises a slightly uncomfortable question: are some delusional subjects responsible for their delusions? This question is uncomfortable because we typically think that the answer is pretty clearly just ‘no’. However, we also accept that self-deception is paradigmatically intentional behavior for which the self-deceiver is prima facie blameworthy. Thus, if there is overlap between self-deception and delusion, this will put pressure on our initial answer. This paper argues that there is indeed such overlap by offering a novel philosophical account (...) of self-deception. The account offered is independently plausible and avoids the main problems that plague other views. It also yields the result that some delusional subjects are self-deceived. The conclusion is not, however, that those subjects are blameworthy. Rather, a distinction is made between blameworthiness and ‘attributability’. States or actions can be significantly attributable to a subject—in the sense that they are expressions of their wills—without it being the case that the subject is blameworthy, if the subject has an appropriate excuse. Understanding delusions within this framework of responsibility and excuses not only illuminates the ways in which the processes of delusional belief formation and maintenance are continuous with ‘ordinary’ processes of belief formation and maintenance, it also provides a way of understanding the innocence of the delusional subject that does not involve the denial of agency. (shrink)

Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism.

What is the relation between works of fiction and the acquisition of knowledge?

A viable theory of literary humanism must do justice to the idea that literature offers cognitive rewards to the careful reader. There are, however, powerful arguments to the effect that literature is at best only capable of offering idle visions of a world already well known. In this essay I argue that there is a form of cognitive awareness left unmentioned in the traditional vocabulary of knowledge acquisition, a form of awareness literature is particularly capable of offering. Thus even if (...) it is the case that literature has nothing interesting to give us in the way of knowledge, the literary humanist can consistently maintain that literary experience is thoroughly cognitive. (shrink)

The chapter presents Anselm’s incompatibilist account of human freedom within the context of his theodicy and presents two arguments against his account. Both arguments aim to show there is a genuine conflict between his account of freedom and the role of God’s grace in making agents just. The first argument, the problem of harmonization, highlights the conflict within the soteriological context where an agent changes from being unjust to being just. The second argument, the problem of just creation, highlights the (...) conflict within the context of the creation of agents prior to the presence of evil. Holding fixed his incompatibilist account and the necessity of divine grace, the upshot of both arguments is that Anselm must endorse a version of Pelagianism. (shrink)

It is often assumed that literary meaning is essentially linguistic in nature and that literary interpretation is therefore a purely linguistic affair. This essay identifies a variety of literary meaning that cannot be reduced to linguistic meaning. Meaning of this sort is generated not by a communicative act so much as through a creative one: the construction of a fictional world. The way in which a fictional world can bear meaning turns out to be strikingly unlike the way a sentence (...) can, and this, I argue, has important implications for the theory of interpretation. (shrink)

Philosophers of literature do not take much of an interest in autobiography.1 In one sense this is not surprising. As a certain prejudice has it, autobiography is, along with biography, the preferred reading of people who do not really like to read. The very words can conjure up images of what one finds on bookshelves in Florida retirement communities and in underfunded public libraries, books with titles like Under the Rainbow: The Real Liza Minnelli or Me: Stories of My Life (...) (Katharine Hepburn).2 Hardly rousing material, at least from the philosophical point of view. But on a moment’s reflection, it becomes clear that the initial prejudice is unfounded. Never mind the fact that there are obviously .. (shrink)

This is a transcript of a conversation between P F Strawson and Gareth Evans in 1973, filmed for The Open University. Under the title 'Truth', Strawson and Evans discuss the question as to whether the distinction between genuinely fact-stating uses of language and other uses can be grounded on a theory of truth, especially a 'thin' notion of truth in the tradition of F P Ramsey.

This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary imagination’s (...) complementary power of cultural articulation in this fictional activity. The suggestion is that we should conceive of the literary imagination as expressing its interests in culture not mimetically but by producing a certain kind of meaning. This meaning is irreducibly narratological, and understanding it helps us to see the role of narrative in bringing into harmony the literary imagination’s interests in both the imaginary and the real. (shrink)

There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...) broadly, how can there be works of art whose very success requires the experience of boredom? Our goal in this paper is threefold. After offering a brief survey of kinds of boring art, we: i) derive a set of questions that we argue constitutes the philosophical problem of boring art; ii) elaborate an empirically informed theory of boredom that furnishes the philosophical problem with a deeper sense of the affect at the heart of the phenomenon; and iii) conclude by offering and defending a solution to the problem that explains why and how artworks might wish to make the experience of boredom key to their aesthetic and artistic success. (shrink)

Philosophers ask just whose expression, if anyone’s, we hear in lyric poetry. Walton provides a novel possibility: it’s the reader who “uses” the poem (just as a speech giver uses a speech) who makes the language expressive. But worries arise once we consider poems in particular social or political settings, those which require a strong self-other distinction, or those with expressions that should not be disassociated from the subjects whose experience they draw from. One way to meet this challenge is (...) to consider the poem expressive of a plural subject, which frees us from looking for a particular individual whose voice we hear in the work, whether she be fictional or actual. Some lyrics give voice to a group whose experience is attended to in the work. This may be done through a posited fictional speaker, but the ontology of the speaker is shown to be less important. Attending to a group whose concerns are voiced allows us to explain how poems can manage to address our-worldly concerns even when lacking actual persons whose expressions we encounter in the poems. (shrink)

Pada musim semi, entah kenapa, tidak banyak ikan. Karena tangkapannya sangat tidak stabil, Pekakak mulai berpikir. Lalu membuat beberapa rencana. Dengan otoritas komandonya, dia memanggil Bangau: – Ini adalah musim penangkapan ikan yang sangat sulit. Jika kita ingin kenyang, kita harus membuat usaha patungan. Bangau mengangguk, menambahkan: - Saya setuju; mari kita beternak ikan kakap putih dan ikan mas krusia. Jenis ini berumur panjang dan sangat produktif. Pekakak dan Bangau sepakat untuk berbagi tugas beternak, dan tidak ada diskriminasi yang diizinkan. (...) Namun imbalannya berbeda: Pekakak bertanggung jawab untuk ikan kakap putih dan, dengan demikian, dapat memiliki lebih banyak ikan kakap putih, sedangkan Bangau mendapat ikan mas krusia. Siapapun yang memelihara ikan mana yang lebih banyak akan menikmati 80% dari panen akhir ikan tersebut. Keduanya akan mengevaluasi dan membagi produk ternak pada akhir musim beternak. Ini berarti mengantongi sendiri ikan hasil usaha patungan untuk diri sendiri itu dilarang. (shrink)

Suatu pagi di musim panas, desa burung diselimuti keheningan. Semua orang sibuk mendengarkan pengembara baru. Burung pengembara ini berasal dari keluarga yang tidak jelas; bulunya berwarna-warni, gerak-geriknya lucu, dan ilmunya baru. Dia bercerita seolah-olah sedang memberi ceramah, tepat sekali, warga desa memanggilnya burung Guru – orang yang menjawab setiap pertanyaan aneh warga desa yang rajin belajar. Burung pelatuk telah belajar menangkap cacing di sore hari, sehingga mereka tidak perlu bangun pagi. Burung pipit sekarang tahu cara mencuri beras dari gudang saat (...) sawah mulai kering. Bulbul, sementara itu, telah mengambil kesempatan berkumpul untuk memamerkan kecantikan dan fashion mereka… . (shrink)

Definitions of terms that are central to a theoretical understanding of the Royal Government of Bhutan's policy of Gross National Happiness.

If two theory formulations are merely different expressions of the same theory, then any problem of choosing between them cannot be due to the underdetermination of theories by data. So one might suspect that we need to be able to tell distinct theories from mere alternate formulations before we can say anything substantive about underdetermination, that we need to solve the problem of identical rivals before addressing the problem of underdetermination. Here I consider two possible solutions: Quine proposes that we (...) call two theories identical if they are equivalent under a reconstrual of predicates, but this would mishandle important cases. Another proposal is to defer to the particular judgements of actual scientists. Consideration of an historical episodethe alleged equivalence of wave and matrix mechanicsshows that this second proposal also fails. Nevertheless, I suggest, the original suspicion is wrong; there are ways to enquire into underdetermination without having solved the problem of identical rivals. (shrink)

Thomas Reid is often misread as defending common sense, if at all, only by relying on illicit premises about God or our natural faculties. On these theological or reliabilist misreadings, Reid makes common sense assertions where he cannot give arguments. This paper attempts to untangle Reid's defense of common sense by distinguishing four arguments: (a) the argument from madness, (b) the argument from natural faculties, (c) the argument from impotence, and (d) the argument from practical commitment. Of these, (a) and (...) (c) do rely on problematic premises that are no more secure than claims of common sense itself. Yet (b) and (d) do not. This conclusion can be established directly by considering the arguments informally, but one might still worry that there is an implicit premise in them. In order to address this concern, I reconstruct the arguments in the framework of subjective Bayesianism. The worry becomes this: Do the arguments rely on specific values for the prior probability of some premises? Reid's appeals to our prior cognitive and practical commitments do not. Rather than relying on specific probability assignments, they draw on things that are part of the Bayesian framework itself, such as the nature of observation and the connection between belief and action. Contra the theological or reliabilist readings, the defense of common sense does not require indefensible premises. (shrink)

Some philosophers understand natural kinds to be the categories which are constraints on enquiry. In order to elaborate the metaphysics appropriate to such an account, I consider the complicated history of scurvy, citrus, and vitamin C. It may be tempting to understand these categories in a shallow way (as mere property clusters) or in a deep way (as fundamental properties). Neither approach is adequate, and the case instead calls for middle-range ontology: starting from categories which we identify in the world (...) and elaborating their structure, but not pretending to jump ahead to a complete story about fundamental being. (shrink)

Pekakak selama ini tinggal di gua galiannya sendiri di tepi kolam, tapi sekarang dia memutuskan bahwa dia membutuhkan rumah baru. Dia melakukan tur keliling desa untuk melihat bagaimana burung-burung lain membangun rumah mereka. Dia mengunjungi Tuan Pipit, yang tinggal di pohon pinus yang bersiul. Bagian depan bangunannya tampak indah, dan lokasinya yang tinggi memberikan ventilasi yang baik. Tapi, semakin lama dia menginap, dia jadi semakin pusing. Hembusan angin apa pun yang menerpa membuat seluruh struktur bangunan bergetar seolah-olah akan hancur berantakan.

This is the first book-length attempt to find the answer, by one author, since Sartre in his 1948 book with the same title.

The problem considered in this chapter emerges from the tension we find when looking at the design and architecture of chatbots on the one hand and their conversational aptitude on the other. In the way that LLM chatbots are designed and built, we have good reason to suppose they don't possess second-order capacities such as intention, belief or knowledge. Yet theories of conversation make great use of second-order capacities of speakers and their audiences to explain how aspects of interaction succeed. (...) As we can all bear witness to now though, at the point of use chatbots appear capable of performing language tasks at a level close to that of humans. This creates a tension when we consider something like, for example, the classic Gricean theory of implicature. On a broad summary of this type of account, to utter p and implicate q requires the reflexive occurrence of an audience supposing a speaker believes that q, and the speaker believing that their audience can determine they believe it when they utter p. So taken at face value, if a chatbot doesn’t have the capacity for belief, then either in their role as speaker or audience, they would not seem capable of either generating or comprehending implicatures. Yet on the surface it does seem that chatbots are capable of dealing with (some) implicatures, and as such it raises questions about how we should then correlate this with what we think occurs in cases of implicature with chatbots. (shrink)

William James’ argument against William Clifford in The Will to Believe is often understood in terms of doxastic efficacy, the power of belief to influence an outcome. Although that is one strand of James’ argument, there is another which is driven by ampliative risk. The second strand of James’ argument, when applied to scientific cases, is tantamount to what is now called the Argument from Inductive Risk. Either strand of James’ argument is sufficient to rebut Clifford's strong evidentialism and show (...) that it is sometimes permissible to believe in the absence of compelling evidence. However, the two considerations have different scope and force. Doxastic efficacy applies in only some cases but allows any values to play a role in determining belief; risk applies in all cases but only allows particular conditional values to play a role. (shrink)

Although some authors hold that natural kinds are necessarily relative to disciplinary domains, many authors presume that natural kinds must be absolute, categorical features of the reality —often assuming that without even mentioning the alternative. Recognizing both possibilities, one may ask whether the difference especially matters. I argue that it does. Looking at recent arguments about natural kind realism, I argue that we can best make sense of the realism question by thinking of natural kindness as a relation that holds (...) between a category and a domain. (shrink)

Christy Mag Uidhir has recently argued (a) that there is no in principle aesthetic difference between a live performance and a recording of that performance, and (b) that the proper aesthetic object is a type which is instantiated by the performance and potentially repeatable when recordings are played back. This paper considers several objections to (a) and finds them lacking. I then consider improvised music, a subject that Mag Uidhir explicitly brackets in his discussion. Improvisation reveals problems with (b), because (...) the performance-event and the performance-type are distinct but equally proper aesthetic objects. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in response to (...) users’ text prompts. Depending on the parameters, the output can resemble specific people or things which are named in the prompt. This resemblance does not depend on the user’s beliefs, so generated images are in this sense like photographs. Given this parallel, how should we think about AI-generated images? (shrink)