The nineteenth century English Jesuit poet, Gerard Manley Hopkins struggled throughout his life with desolation over what he saw as a spiritually, intellectually and artistically unproductive life. During these periods, he experienced God’s absence in a particularly intense way. As he wrote in one sonnet, “my lament / Is cries countless, cries like dead letters sent / To dearest him that lives alas! away.” What Hopkins faced was the existential problem of suffering and hiddenness, a problem (...) widely recognized by analytic philosophers to be left relatively untouched by conceptual explanations. In this essay, I argue that Hopkins’ poems themselves fill this gap left by conceptual approaches by articulating the existential crisis faced by those who feel the searing pain of suffering and the numbing, leaden echo of silence. His lyric speaks into existential suffering in ways akin to biblical laments and, as such, creates a space in which those who suffer can meet God, even if only to contend. Understood within Hopkins’ view of the incarnation and passion, these poems also suggest a way to identify with Christ in the experience of hiddenness, thereby making God present even in divine absence. (shrink)

As one commentator notes, Spinoza’s conception of “the third kind of knowledge”—intuition, has been “regarded as exceptionally obscure. Some writers regard it as a kind of mystic vision; others regard it as simply unintelligible.” For Spinoza, the first kind of knowledge, which he calls “imagination,” is a kind of sense-experience of particulars; the second kind, which he calls “understanding,” involves the rational grasp of universals, and the third, in his words, “proceeds from an adequate idea of the formal essence of (...) some of the attributes of God to an adequate knowledge of the essence of things.” In this essay I will attempt to show, through an explication of Spinoza’s concept of intuition, how a prime example of intuition can be found in the art of poetry. More specifically, I will examine resonances between the work of the poet Gerard Manley Hopkins (1844–1889) and Baruch de Spinoza (1632–1677) by exploring the ways in which Hopkins’ poetry can work as both (1) an exemplar of poetry qua Spinozistic intuition, and (2) an intuition-based access to Spinoza’s thought. The upshot of this essay, then, is that there is a kind of knowledge, and by implication a kind of education (through which to acquire that knowledge) which—even for a philosopher as mathematically rigorous as Spinoza—may require recourse to the art of poetry. (shrink)

Gerard Manley Hopkins is best remembered for his celebratory 'nature sonnets'— 'Pied Beauty', 'God's Grandeur', and 'The Windhover'. Less than a year before his death, however, Hopkins drew on ideas associated with the ancient Greek thinker Heraclitus of Ephesus to express a darker view of nature. In 'That Nature is a Heraclitean Fire and of the Comfort of the Resurrection’ Hopkins offers a vision of nature and human existence marked by dissolution and destruction. But the (...) poet rejects that apocalyptic vision in favor of the Christian promise of salvation: ‘in a flash, at a trumpet crash/ I am all at once what Christ is…’ In articulating his dark vision of nature Hopkins followed Heraclitus’ fragment B 30: ‘this cosmos…a fire.’ However, Heraclitus’ cosmos ‘always was, is, and will be, an ever-living fire, kindled in measures and extinguished in measures.’ It was not, therefore, the one-way descent to destruction Hopkins described. (shrink)

Research is increasing becoming AI dependent and is being done for fulfilment of various academic requirements. Researchers are spending a lot of time 'reinventing the wheel' and use word-padding to trick themselves and their examiners/peers happy. Often bibligraphies are longer than the research papers just to impress others. Often researchers do not know how to cita and rely solely on machine-created bibliographies which are insufficient bibligraphies. They tend to follow the letter of the law, discarding the spirit of the law. (...) While discussing research, the author comments on the Kathleen O'Connor; Graham Greene, Dracula, Hamlet, Blake, Plato and Augistine of Hippo. And Hannah Arendt. Some of his observations in this essay are unique; like he asks Levinas scholars to interrogate certain lines of thoughts which have hitherto not considered. In short, he teaches how to connect the dots. Here and in the Herald he has pointed out the contributions of Fr. Adrian Van Kaam, these need to be worked on by others in the field. An entire section is on Hindu religious research in terms of the Anuttara Trika. Another section is on Gerard Manley Hokins and sprung rhytm. A very interesting observation which he touches on is Samkhya and Plato. Through these and many more examples this essay tries to cleanse the research process of blah and abracadabra. (shrink)

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

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)

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.

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.

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

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)

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

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

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)

This paper argues that recent work in the 'free energy' program in neuroscience enables us better to understand both consciousness and the Freudian unconscious, including the role of the superego and the id. This work also accords with research in developmental psychology (particularly attachment theory) and with evolutionary considerations bearing on emotional conflict. This argument is carried forward in various ways in the work that follows, including 'Understanding and Healing', 'The Significance of Consilience', 'Psychoanalysis, Philosophical Issues', and 'Kantian Neuroscience and (...) Radical Interpretation', and the discussion of conscious extends that of both 'The Problem of Consciousness and the Innerness of the Mind' and 'Psychoanalysis, Metaphor, and the Concept of Mind'. (shrink)

We provide an overview of the meta-ontological position known as "Quantifier Variance".

Our commonsense understanding of meaning and motive is realized via the semantic encoding of causal role. Appreciating this together with other features of semantic theories enables us to see that methodological critiques of psychoanalysis, such as those by Popper and Grunbaum, systematically fail to take account of empirical data, and if taken seriously would render commonsense understanding of mind and language void. This is particularly problematic if we consider much of what we regard ourselves as knowing is registered in language, (...) or understood through our use of it, since this includes science itself. (shrink)

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

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)

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)

Freud's account of dreams can be understood via interpretive patterns that span language and action, enabling an extension of common sense psychology that is potentially cogent, cumulative, and radical.

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

Whilst media and political rhetoric in Britain is sceptical and often outright damning of the (presumed) morals and behaviours of the White marginalized poor, our aim is to explore the conditions under which successful communities are nevertheless built. Specifically, we examine the features of community and stress its importance both for belonging and bonding around shared norms and practices and for fostering the necessary bridging essential for interacting and cooperating with others. In considering what it means to foster a community (...) that acts as a breakwater against the tides of stigma or disadvantage, we pay special attention to what we will call enabling conditions – essential features that communities either can or should be able to provide or that exist independent of communities and are indispensable for accessing opportunities in the wider society. We detail the dynamics of White poverty and exclusion before turning our attention to possible responses to these challenges. In searching for viable responses to stigma and disadvantage, we compare some different typologies of community presently available to the White poor in Britain and examine whether these are sufficient to satisfy the enabling conditions associated with more robust forms of group membership. (shrink)

In order to understand both consciousness and the Freudian unconscious we need to understand the notion of innerness that we apply to the mind. We can partly do so via the use of the theory of conceptual metaphor, and this casts light on a number of related topics.

What is 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)

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

Wittgenstein's arguments about rule-following and private language turn both on interpretation and what he called our 'pictures' of the mind. His remarks about these can be understood in terms of the conceptual metaphor of the mind as a container, and enable us to give a better account of physicalism.

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.

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)

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

This paper considers clinical psychoanalysis together with developmental psychology (particularly attachment theory), evolution, and neuroscience in the context a Bayesian account of confirmation and disconfrimation. -/- In it I argue that these converging sources of support indicate that the combination of relatively low predictive power and broad explanatory scope that characterise the theories of both Freud and Darwin suggest that Freud's theory, like Darwin's, may strike deeply into natural phenomena. -/- The same argument, however, suggests that conclusive confirmation for Freudian (...) hypotheses, as in the case of Darwin's, will come from outside the original domain of explanation sketched out by Freud. As in Darwin's case conclusive confirmation came from understanding the physical mechanisms or reproduction, in Freud's case it will come from understanding the neural mechanisms that realise the phenomena described in psychoanalysis. (shrink)

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

What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop the views of Susanne (...) Langer. Sculpture organizes the surrounding space when we see that space as defined by the potential for action of the sculpted object. (shrink)

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

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)

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

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)

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)

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)

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

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

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

Understanding the notion of innerness that we ascribe to mental items is central to understanding the problem of consciousness, and we can do so in evolutionary and physical terms.

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)

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

Darwin's and Freud's theories cohere in explaining human group conflict.