Our approach aims at accounting for causal claims in terms of how the physical states of the underlying dynamical system evolve with time. Causal claims assert connections between two sets of physicals states—their truth depends on whether the two sets in question are genuinely connected by time evolution such that physical states from one set evolve with time into the states of the other set. We demonstrate the virtues of our approach by showing how it is able to account for (...) typical causes, causally relevant factors, being ‘the’ cause, and cases of overdetermination and causation by absences. (shrink)

Natural Pedagogy refers to social learning based on ostensive communication between adults and infants which results in rapid and efficient transmission of cultural information. The theory predicts that children are able to recognize communicative intention when adults address them using ostensive signals. Furthermore, natural pedagogy predicts that infants ascribe the knowledge they have acquired to others according to what is called the “assumption of universality”. In other words, infants are able to ascribe informative contents to others even when they are (...) outside the bounds of the learning context. Although Csibra and Gergely have so far denied any type of relationship between natural pedagogy and mindreading capacities, I suggest that early mindreading capacities are components of the natural pedagogy system, as recent experimental findings on early Theory of Mind abilities appear to show. (shrink)

One striking feature of pornographic images is that they emphasize what is depicted and underplay the way it is depicted: the experience of pornography rarely involves awareness of the picture’s composition or of visual rhyme. There are various ways of making this distinction between what is depicted in a picture and the way the depicted object is depicted in it. Following Richard Wollheim, I call these two aspects, the ‘what’ and ‘how’ of pictorial representation ‘recognitional’ and ‘configurational’, respectively. Some pictures (...) emphasize one of these aspects while underplaying the other. Pornographic pictures try to trigger as little attention to the ‘configurational’ aspect as possible. Instead of examining pornography, where the ‘configurational’ aspect of experience is underplayed, I focus on a historical attempt to create images of the female body where the ‘recognigional’ element is the one that is underplayed and the ‘configurational’ elements of the picture form an essential part of our experience. The pictures I have in mind are André Kertész’s series of photographs from 1933, called Distortions. I argue that Kertész’s Distortions are in this respect the counterpoint of pornography: they may be the least pornographic representations of the female nude. Instead of ignoring the ‘configurational aspects of the picture, making the picture transparent and fully at the service of showing the female body and thus to trigger arousal, Kertész aims to achieve the exact opposite. His photographs strip the female body of all its sexual connotations and draw our attention to the formal features of the picture – which is quite a feat in the light of the subject matter of these pictures that normally draw our attention away from the formal features of pictures. (shrink)