Why is there a long-standing debate about paraphrase in poetry? Everyone agrees that paraphrase can be useful; everyone agrees that paraphrase is no substitute for the poem itself. What is there to disagree about? Perhaps this: whether paraphrase can specify everything that counts as a contribution to the meaning of a poem. There are, we say, two ways to take the question; on one way of taking it, the answer is that paraphrase cannot. Does this entail that there is meaning (...) mysteriously locked in a poem, meaning that cannot be represented in any way other than via the poem itself? If that were so it would have profound implications for poetry’s capacity to convey insight. We suggest reasons for thinking that the entailment does not hold. Throughout, we connect the traditional debate over paraphrase, which has largely been conducted within the fields of philosophy and literary theory, with recent empirically oriented thinking about the communicability of meaning, represented by work in pragmatics. We end with a suggestion about what is to count as belonging to meaning, and what as merely among the things that determine meaning. (shrink)

Human aesthetic practices show a sensitivity to the ways that the appearance of an artefact manifests skills and other qualities of the maker. We investigate a possible origin for this kind of sensibility, locating it in the need for co-ordination of skill-transmission in the Acheulean stone tool culture. We argue that our narrative supports the idea that Acheulian agents were aesthetic agents. In line with this we offer what may seem an absurd comparison: between the Acheulian and the Quattrocento. In (...) making it we display some hidden richness in what counts as an aesthetic response to an artefact. We conclude with a brief review of rival explanations—biological and/or cultural—of how this skills-based sensibility became a regular feature of human aesthetic practices. (shrink)

Is there a sensible version of the slogan “Art for art’s sake”? If there is, does it apply to anything? I believe that the answers to these questions are Yes and Yes. A positive answer to the first question alone would not be of interest; an intelligible claim without application does not do us much good. It’s the positive answer to the second question which is, I think, more important and perhaps surprising, since I claim to find art for art’s (...) sake at a time well before most authorities would allow that there was any art at all. But I begin more recently than that. (shrink)

Each of these books offers a richly developed and nuanced account of the nature of fiction. And each poses major challenges to a view about which there is a near-consensus. Catharine Abell draws on a theory of the institutions of fiction to advance a systematic re-envisioning of the metaphysics and epistemology of the contents of stories. Gregory Currie argues that fiction’s relationship to the imagination, and the way stories communicate their contents to readers, seriously undermine fiction’s cognitive values.

I am grateful to Catharine Abell and Gregory Currie for their incisive and productive commentaries on Apt Imaginings. In what follows, I will try to respond to.

Las soluciones a la paradoja de la ficción propuestas por Kendall Walton y Gregory Currie, a pesar de diferir en puntos de detalle importantes, suponen dos movimientos conceptuales comunes para entender la situación de quien está inmerso en una obra de ficción, a través del recurso a la noción de “cuasi-emociones” y de la idea de construcción de escenarios imaginarios. Aquí propondré que sus propuestas fallan en sus dos puntos centrales, a partir de problemas que son, sin embargo, independientes. (...) Por un lado, sus ideas sobre las emociones que sentimos al estar atrapados por una obra de ficción fallan al suponer una versión inaceptable de la tesis cognitivista acerca de las emociones. Por otro, sus ideas sobre la construcción de mundos imaginarios por parte de los “consumidores de ficción” fallan al suponer una dicotomía entre mundos de ficción y realidad. Finalmente, discutiré brevemente el modo en que ambos tipos de problemas repercuten sobre la viabilidad del planteo de la paradoja misma. (shrink)

Este capítulo presenta dos versiones de la teoría según la cual deberíamos centrarnos en ciertas acciones realizadas por los artistas para comprender qué tipo de objetos son las obras de arte: la propuesta de Gregory Currie (An Ontology of Art, 1989) y la de David Davies (Art as Performance, 2004). Si bien estas teorías no están exentas de problemas, es cierto que estas proporcionan una guía completa de algunos de los temas en los que uno debería meditar al evaluar (...) y desarrollar teorías sobre qué son las obras de arte. Además, Currie y Davies presentan algunos de los argumentos más refinados contra los puntos de vista contextualistas y estructuralistas sobre la metafísica de las obras de arte, así como contra el empirismo estético. (shrink)

Nelson Goodman notoriously distinguished between autographic works, whose instances should be identified by taking history of production into account, and allographic works, whose instances can be identified independently of history of production. Scholars such as Jerrold Levinson, Flint Schier, and Gregory Currie have criticized Goodman’s autographic/allographic distinction arguing that all works are such that their instances should be identified by taking history of production into account. I will address this objection by exploiting David Davies’ distinction between e-instances and p-instances (...) of a work, thereby restating the autographic/allographic distinction. Then, I will show that this way of restating this distinction leads us to effective accounts of relevant related phenomena such as forgery, plagiarism, and digital technologies. Finally, I will show the theoretical advantages of my account of the autographic/allographic distinction in comparison with an alternative account recently proposed by Jason D’Cruz and P.D. Magnus. (shrink)

In the debate on our engagement with and appreciation of fiction films, the thesis that the viewer of a fiction film imagines observing fictional events, and the thesis that these events are imagined to be presented by a narrator, are usually taken as two components of one theoretical package, which philosophers such as George Wilson and Jerrold Levison defend, while philosophers such as Gregory Currie and Berys Gaut reject. This paper argues that the two theses can be disentangled and (...) investigates their logical connection. The investigation shows that the second thesis entails the first but there is no entailment the other way around. Endorsing the first thesis is thus compatible with two options, namely endorsing the second thesis or abandoning it. However, the paper argues that if we endorse the first thesis, endorsing the second provides us with a more compelling explanation of our engagement with and appreciation of fiction films. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

This paper’s main thesis is that in virtue of being believable, a believable novel makes an indirect transcendental argument telling us something about the real world of human psychology, action, and society. Three related objections are addressed. First, the Stroud-type objection would be that from believability, the only conclusion that could be licensed concerns how we must think or conceive of the real world. Second, Currie holds that such notions are probably false: the empirical evidence “is all against this (...) idea…that readers’ emotional responses track the real causal relations between things.” Third, responding with a full range of emotions to a novel surely requires that it be believable. Yet since we know the novel is fiction, we do not believe it. So in what does its believability consist? (shrink)

There are propositions constituting the content of fictions—sometimes of the utmost importance to understand them—which are not explicitly presented, but must somehow be inferred. This essay deals with what these inferences tell us about the nature of fiction. I will criticize three well-known proposals in the literature: those by David Lewis, Gregory Currie, and Kendall Walton. I advocate a proposal of my own, which I will claim improves on theirs. Most important for my purposes, I will argue on this (...) basis, against Walton’s objections, for an illocutionary-act account of fiction, inspired in part by some of Lewis’s and Currie’s suggestions, but (perhaps paradoxically) above all by Walton’s deservedly influential views. (shrink)

In May 2017, my book ‘Conversations on Art and Aesthetics’ appeared. It contains conversations with, and photographic portraits of, ten prominent philosophers of art. They are Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. The book has two main aims. One is to provide a broad and accessible overview of what aesthetics as a subfield of philosophy has to offer. The other is to stimulate new work (...) in this area of research. In this brief paper I’d like to say a bit more about this second objective. Current research is rarely conducted or communicated in the form of conversations, so the question arises: how can a book like mine fit with and feed into a research culture which is very much dominated by the format of the journal article? (shrink)

Abstract. On the Direct Reference thesis, proper names are what I call ‘genuine terms’, terms whose sole semantic contributions to the propositions expressed by their use are the terms’ semantic referents. But unless qualified, this thesis implies the false consequence that sentences containing names that fail to refer can never express true or false propositions. (Consider ‘The ancient Greeks worshipped Zeus’, for instance.) I suggest that while names are typically and fundamentally used as genuine terms, there is a small class (...) of names, which I call ‘descriptive names’, whose reference is fixed by commonly associated definite descriptions, and I also suggest that there is an idiom of natural language on which such names can be used as abbreviated definite descriptions in a limited set of sentential contexts, including (1) positive and negative existentials, (2) cognitive ascriptions, and (3) uses of names to talk about myth. Uses of empty descriptive names in such contexts can then be either true or false. Relying on Gregory Currie’s theory of truth in fiction, I also propose an idiom on which fictional names can be used as short for a certain type of description in talk about fiction. Along the way, I provide arguments that names are used as short for descriptions in substantive existential statements as well as in both metamythic and metafictive contexts. I also discuss and criticize alternative views of these matters, including the views of David Braun, Saul Kripke, Peter van Inwagen, and others. (shrink)

The paper examines two possible analyses of fictional names within Pavel Tichý’s Transparent Intensional Logic. The first of them is the analysis actually proposed by Tichý in his (1988) book The Foundations of Frege’s Logic. He analysed fictional names in terms of free variables. I will introduce, explain, and assess this analysis. Subsequently, I will explain Tichý’s notion of individual role (office, thing-to-be). On the basis of this notion, I will outline and defend the second analysis of fictional names. This (...) analysis is close to the approach known in the literature as role realism (the most prominent advocates of this position are Nicholas Wolterstorff, Gregory Currie, and Peter Lamarque). (shrink)

Recenzie: Imre Lakatos, The Methodology of Scientific Research Programmes, Philosophical papers, volumul I, editată de John Worrall și Gregory Currie, Cambridge University Press, 1995, ISBN 0-521-28031-1, paperback Metodologia programelor de cercetare științifică este o colecție de lucrări publicate de-a lungul timpului, în care Imre Lakatos exprimă o revizuire radicală a criteriului de demarcație al lui Popper între știință și neștiință, conducând la o teorie nouă a raționalității științifice.

The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in §2, (...) and show that his focus on the cinematic experience is indicative of the direction the debate should take. §3 demonstrates that the issue is underpinned by the question of the role of reception conditions in the experience of art. In §4 I apply my observations on reception conditions to the problem of cinematic motion and conclude that Kania’s objections are unsuccessful due to his failure to acknowledge the necessary conditions for cinematic experience. (shrink)

I defend the claim that fictional narratives provide cognitive benefits to readers in virtue of helping them to understand character. Fictions allow readers to rehearse the skill of selecting and organizing into narratives those episodes of a life that reflect traits or values. Two further benefits follow: first, fictional narratives provide character models that we can apply to real-life individuals (including ourselves), and second, fictional narratives help readers to reflect on the value priorities that constitute character. I defend the plausibility (...) of these cognitive benefits against certain worries raised by Gregory Currie and Peter Goldie. (shrink)

This article argues that we ought to reject Gregory Currie’s “Trace Account” of documentary film. According to the Trace Account, a film is a documentary so long the majority of its constitutive images are traces of the film’s subject matter. The argument proceeds by considering how proponents of the Trace Account could respond to Noel Carroll’s charge that their analysis is radically revisionary. I argue that the only responses available are either implausible or show that a fully worked out (...) version of the Trace Account collapses into Carroll’s own, rival definition of documentary. I then consider how advocates of the Trace Account might attempt to rescue the theory by reframing it as an account of a genre or as a theory of evaluation and argue that neither attempt would succeed. Given this, we ought to embrace Carroll’s own account of documentary, according to which a film is documentary if and only if it is a film of presumptive assertion. (shrink)

Évaluation: Imre Lakatos, The Methodology of Scientific Research Programmes, Philosophical papers, volume I, edité par John Worrall et Gregory Currie, Cambridge University Press, 1995, ISBN 0-521-28031-1, paperback La méthodologie des programmes de recherche scientifique est une collection d'articles publiés au fil du temps, dans laquelle Imre Lakatos exprime une révision radicale du critère de démarcation de Popper entre science et non-science, conduisant à une nouvelle théorie de la rationalité scientifique. -/- Mots-clés: Imre Lakatos, science, méthodologie, programmes de recherche, heuristique (...) -/- DOI: 10.13140/RG.2.2.25516.31364 . (shrink)

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...) stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

A well-known theory about under which circumstances a statement is true in a fiction is The Reality Principle, which originate in the work of David Lewis: (RP) Where p1... pn are the primary fictional truths of a fiction F , it is true in F that q iff the following holds: were p1 ... pn the case, q would have been the case (Walton 1990: 44). RP has been subjected to a number of counterexamples, up to a point where, in (...) the words of Stacie Friend “it is widely recognized that the Reality Principle […] cannot be a universal inference rule for implied story-truths” (Friend 2017: 33). This chapter argues that the strength of these counterexamples is widely overestimated, and that they do not, on closer scrutiny, constitute reasons for rejecting RP. (shrink)

Can fictional narration yield knowledge in a way that depends crucially on its being fictional? This is the hard question of literary cognitivism. It is unexceptional that knowledge can be gained from fictional literature in ways that are not dependent on its fictionality (e.g., the science in science fiction). Sometimes fictional narratives are taken to exhibit the structure of suppositional argument, sometimes analogical argument. Of course, neither structure is unique to narratives. The thesis of literary cognitivism would be supported if (...) some novels exhibit a cogent and special argument structure restricted to fictional narratives. I contend that this is the case for a kind of transcendental argument. The reason is the inclusion and pattern of occurrence of the predicate ‘believable’ in the schema. Believability with respect to fictional stories is quite a different thing than it is with respect to nonfictional stories or anything else. (shrink)

The ontology of visual artworks might be thought comparable to the ontology of other sorts of artifacts: a work of painting seems to be materially constituted by a particular canvas with paint on it, just as a spoon is constituted by a particular piece of metal. But recent developments have complicated the situation, requiring a new account of the ontology of contemporary art. These developments also shed light on the ontology of works from earlier historical eras. This article discusses Artworks (...) as Events, Artworks as Abstract Entities, and Artworks and Norms. (shrink)

Emotions are an integral part of human cognition and they guide not only our understanding of the world but also our actions within it. As such, whether we soothe or flame an emotion is not inconsequential. Recent work in conversational AI has focused on responding empathetically to users, validating and soothing their emotions without a real basis. This AI-aided emotional regulation can have negative consequences for users and society, tending towards a one-noted happiness defined as only the absence of "negative" (...) emotions. We argue that we must carefully consider whether and how to respond to users' emotions. (shrink)

This article reconsiders the relationship between interpretivism about belief and normative standards. Interpretivists have traditionally taken beliefs to be fixed in relation to norms of interpretation. However, recent work by philosophers and psychologists reveals that human belief attribution practices are governed by a rich diversity of normative standards. Interpretivists thus face a dilemma: either give up on the idea that belief is constitutively normative or countenance a context-sensitive disjunction of norms that constitute belief. Either way, interpretivists should embrace the intersubjective (...) indeterminacy of belief. (shrink)

In Go Set a Watchman, Harper Lee reveals that American man of integrity Atticus Finch harbors deep-seated racist beliefs. Bob Ewell, Finch's nemesis in To Kill a Mockingbird, harbors the same beliefs. But the two men live out their shared racist beliefs in dramatically different fashions. This article argues that extant dispositionalist accounts of belief lack the tools to accommodate Finch and Ewell's divergent styles of believing. It then draws on literary and philosophical character studies to construct the required tools.

Many psychologists studying lay belief attribution and behavior explanation cite Donald Davidson in support of their assumption that people construe beliefs as inner causes. But Davidson’s influential argument is unsound; there are no objective grounds for the intuition that the folk construe beliefs as inner causes that produce behavior. Indeed, recent experimental work by Ian Apperly, Bertram Malle, Henry Wellman, and Tania Lombrozo provides an empirical framework that accords well with Gilbert Ryle’s alternative thesis that the folk construe beliefs as (...) patterns of living that contextualize behavior. (shrink)

The idea that fictions may educate us is an old one, as is the view that they distort the truth and mislead us. While there is a long tradition of passionate assertion in this debate, systematic arguments are a recent development, and the idea of empirically testing is particularly novel. Our aim in this chapter is to provide clarity about what is at stake in this debate, what the options are, and how empirical work does or might bear on its (...) resolution. We distinguish between merely influencing people’s opinions and providing genuine learning, where the latter requires that the source of the change in opinion should be reliable. Other important ideas here are the extent to which authors of fiction may be considered to provide testimony, or something like it, and the possibility of recognizing an unstated purpose in the project of the fictional work. We ask whether fictions can furnish us not merely with ideas but with reasons for believing them, perhaps by constituting thought experiments. We consider whether the focus should be on understanding rather than on knowledge, and whether fictions can inform us about the qualities of another’s experiences. We briefly describe some experimental work of recent decades and suggest that the evidence for learning from fiction is currently meagre. (shrink)

In this article, I explore how researchers’ metaphysical commitments can be conducive—or unconducive—to progress in animal cognition research. The methodological dictum known as Morgan’s Canon exhorts comparative psychologists to countenance the least mentalistic fair interpretation of animal actions. This exhortation has frequently been misread as a blanket condemnation of mentalistic interpretations of animal behaviors that could be interpreted behavioristically. But Morgan meant to demand only that researchers refrain from accepting default interpretations of (apparent) actions until other fair interpretations have been (...) duly considered. The Canon backfired largely because of Morgan’s background metaphysical commitment to a univocal, hierarchical, and anthropocentric account of cognitive architecture. I make the case that, going forward, comparative psychologists would do well to pair judicious use of Morgan’s Canon with an openness to the existence of non-humanlike animal minds comprising phenomena belonging to distinct cognitive and folk psychological ontologies. And I argue that this case gives us pragmatic reason to reconcile deep—e.g., psychofunctionalist—and superficial—e.g., dispositionalist—approaches to the metaphysics of belief. (shrink)

I have proposed wedding the theories of belief known as dispositionalism and interpretivism. Krzysztof Poslajko objects that dispositionalism does just fine on its own and, moreover, is better off without interpretivism’s metaphysical baggage. I argue that Poslajko is wrong: in order to secure a principled criterion for individuating beliefs, dispositionalism must either collapse into psychofunctionalism (or some other non-superficial theory) or accept interpretivism’s hand in marriage.

This article offers an interpretation of Descartes’s method of doubt. It wields an examination of Descartes’s pedagogy—as exemplified by The Search for Truth as well as the Meditations—to make the case for the sincerity (as opposed to artificiality) of the doubts engendered by the First Meditation. Descartes was vigilant about balancing the need to use his method of doubt to achieve absolute certainty with the need to compensate for the various foibles of his scholastic and unschooled readers. Nevertheless, Descartes endeavored (...) to instill willful, context-independent, universal doubt across his readership. If all goes well, readers of the Meditations are like method actors; the Meditator is the character they are meant to bring to life, via the method of meditating on reasons for doubt. The article concludes with the suggestion that Descartes was the same kind of skeptic as the early Academic skeptics Arcesilaus and Carneades. (shrink)

In this paper it is argued that we should amend the traditional understanding of the view known as the guise of the good. The guise of the good is traditionally understood as the view that we only want to act in ways that we believe to be good in some way. But it is argued that a more plausible view is that we only want to act in ways that we believe we have normative reason to act in. This change (...) – from formulating the view in terms of goodness to formulating it in terms of reasons – is significant because the revised view avoids various old and new counterexamples to the traditional view, because the revised view is better motivated than the traditional view, and because the revised view is better placed to explain certain features of desire than the traditional view. The paper finishes by showing that the conclusions reached are compatible with theories such as the buck passing account of value. (shrink)

In a recent article in this journal, Krzysztof Poslajko reconstructs—and endorses as probative—a dilemma for interpretivism first posed by Alex Byrne. On the first horn of the dilemma, the interpretivist takes attitudes to emerge in relation to an ideal interpreter (and thus loses any connection with actual folk psychological practices). On the second horn, the interpretivist takes attitudes to emerge in relation to individuals’ judgements (and thus denies the possibility of error). I show that this is a false dilemma. By (...) taking a model-theoretic approach to folk psychology, and marrying interpretivism with dispositionalism, interpretivists can viably reject the notion of an ideal (or canonical) interpreter—and relativize attitudes to actual lay interpreters—without taking on board the unacceptable epistemological consequences of allowing that attitudes are judgement-dependent. (shrink)

Philosophers of mind (from eliminative materialists to psychofunctionalists to interpretivists) generally assume that a normative ideal delimits which mental phenomena exist (though they disagree about how to characterize the ideal in question). This assumption is dubious. A comprehensive ontology of mind includes some mental phenomena that are neither (a) explanatorily fecund posits in any branch of cognitive science that aims to unveil the mechanistic structure of cognitive systems nor (b) ideal (nor even progressively closer to ideal) posits in any given (...) folk psychological practice. Indeed, one major function of scientific psychology has been (and will be) to introduce just such (normatively suboptimal but real) mental phenomena into folk psychological taxonomies. The development and public dissemination of IQ research over the course of the 20th century is a case in point. (shrink)

Double dissociations between perceivable colors and physical properties of colored objects have led many philosophers to endorse relationalist accounts of color. I argue that there are analogous double dissociations between attitudes of belief—the beliefs that people attribute to each other in everyday life—and intrinsic cognitive states of belief—the beliefs that some cognitive scientists posit as cogs in cognitive systems—pitched at every level of psychological explanation. These dissociations provide good reason to refrain from conflating attitudes of belief with intrinsic cognitive states (...) of belief. I suggest that interpretivism provides an attractive account of the former. Like colors, attitudes of belief evolved to be ecological signifiers, not cogs in cognitive systems. (shrink)

The mind and brain sciences influence how human beings understand one another. Histories of the concepts of repression, implicit bias, ADHD, IQ, and personhood reveal that scientific psychology has played a role, not just in shaping people's thinking about minds, but also (and thereby) in shaping minds themselves. These case studies may thus be seen as supporting the contentious thesis that science aids in the social construction of minds. Three considerations are relevant to determining how seriously we should take that (...) contention: (1) to what extent was it inevitable that socially sophisticated animals would come to describe minds in the ways that 21st century humans do?; (2) to what extent do human sociocognitive practices accurately describe the inherent structure of the mind?; (3) to what extent can historical stability in descriptions of minds be chalked up to the fact that people are accurately describing the structure of the mind? (shrink)

A pluralistic approach to folk psychology must countenance the evaluative, regulatory, predictive, and explanatory roles played by attributions of intelligence in social practices across cultures. Building off of the work of the psychologist Robert Sternberg and the philosophers Gilbert Ryle and Daniel Dennett, I argue that a relativistic interpretivism best accounts for the many varieties of intelligence that emerge from folk discourse. To be intelligent is to be comparatively good at solving intellectual problems that an interpreter deems worth solving.

Introductory but opinionated essay on what (and why) minds are.

Intersectionality has utilized various feminist theories that continue subculture of violence thinking about Black men and boys. While intersectional feminists often claim that intersectionality leads to a clearer social analysis of power and hierarchies throughout society and within groups, the categories and claims of intersectionality fail to distinguish themselves from previously racist theories that sought to explain race, class, and gender, based on subcultural values. This article is the first to interrogate the theories used to construct the gendered categories and (...) the assumptions behind Black male positionality under intersectional analyses. Contrary to its promises for more liberated Black identities, intersectionality merely replicates the pseudo-science of racist criminology and presents decades old theories as cutting-edge gender analyses. In short, while intersectionality has allowed Black women to create nuanced experiences and epistemological accounts of Black womanhood, the very same theory has confined Black male experience to the perpetration of violence and defined Black manhood as lesser—merely the exemplification of white masculinity’s pathological excess. (shrink)

Psychometric g—a statistical factor capturing intercorrelations between scores on different IQ tests—is of theoretical interest despite being a low-fidelity model of both folk psychological intelligence and its cognitive/neural underpinnings. Psychometric g idealizes away from those aspects of cognitive/neural mechanisms that are not explanatory of the relevant variety of folk psychological intelligence, and it idealizes away from those varieties of folk psychological intelligence that are not generated by the relevant cognitive/neural substrate. In this manner, g constitutes a high-fidelity bridge model of (...) the relationship between its two targets and, thereby, helps demystify the relationship between folk and scientific psychology. (shrink)

Philosophy of technology was not initially considered a consolidated field of inquiry. However, under the influence of sociology and pragmatist philosophy, something resembling a consensus has emerged in a field previously marked by a lack of agreement amongst its practitioners. This has given the field a greater sense of structure and yielded interesting research. However, the loss of the earlier “messy” state has resulted in a limitation of the field’s scope and methodology that precludes an encompassing view of the problematic (...) issues inherent in the question of technology. It is argued that the heterodox disunity and diversity of earlier philosophy of technology was not a mark of theoretical immaturity but was necessitated by the field’s complex subject matter. It is further argued that philosophy of technology should return to its pluralistic role as a meta-analytical structure linking insights from different fields of research. (shrink)

Duncan Pritchard has argued that luck is fundamentally a modal notion: an event is lucky when it occurs in the actual world, but does not occur in more than half of the relevant nearby possible worlds. Jennifer Lackey has provided counterexamples to accounts which, like Pritchard’s, only allow for the existence of improbable lucky events. Neil Levy has responded to Lackey by offering a modal account of luck which attempts to respect the intuition that some lucky events occur in more (...) than half of the relevant nearby possible worlds. But his account rejects that events which are as likely as those in Lackey’s examples are lucky. Instead, they are merely fortunate. I argue that Levy’s argument to this effect fails. I then offer a substitute account of the improbability condition which respects this intuition. This condition says that the relevant notion of probability for luck is epistemic. (shrink)

A defense of the value of studying what Aristotle, in the Politics, refers to as useless things, and thereby a defense of the 'uselessness' of the study of the liberal arts.

Descartes held the following view of declarative memory: to remember is to reconstruct an idea that you intellectually recognize as a reconstruction. Descartes countenanced two overarching varieties of declarative memory. To have an intellectual memory is to intellectually reconstruct a universal idea that you recognize as a reconstruction, and to have a sensory memory is to neurophysiologically reconstruct a particular idea that you recognize as a reconstruction. Sensory remembering is thus a capacity of neither ghosts nor machines, but only of (...) human beings qua mind-body unions. This interpretation unifies Descartes’s various remarks (and conspicuous silences) about remembering, from the 1628 Rules for the Direction of the Mind through the suppressed-in-1633 Treatise of Man to the 1649 Passions of the Soul. It also rebuts a prevailing thesis in the current secondary literature—that Cartesian critters can remember—while incorporating the textual evidence for that thesis—Descartes’s detailed descriptions of the corporeal mechanisms that construct sensory memories. (shrink)

I argue against the Primary Sound Account of Echoes (PSAE) – the view that an echo of a sound just is that sound. I then argue that if my case against PSAE is successful, distal theories of sound are false. The upshot of my arguments, if they succeed, is that distal theories are false. Towards the end, I show how some distal theories can be modified to avoid this conclusion and note some open questions to which the modified theories give (...) rise. (shrink)

This paper argues that Carnap both did not view and should not have viewed Frege's project in the foundations of mathematics as misguided metaphysics. The reason for this is that Frege's project was to give an explication of number in a very Carnapian sense — something that was not lost on Carnap. Furthermore, Frege gives pragmatic justification for the basic features of his system, especially where there are ontological considerations. It will be argued that even on the question of the (...) independent existence of abstract objects, Frege and Carnap held remarkably similar views. I close with a discussion of why, despite all this, Frege would not accept the principle of tolerance. (shrink)

The desirable gambles framework offers the most comprehensive foundations for the theory of lower pre- visions, which in turn affords the most general ac- count of imprecise probabilities. Nevertheless, for all its generality, the theory of lower previsions rests on the notion of linear utility. This commitment to linearity is clearest in the coherence axioms for sets of desirable gambles. This paper considers two routes to relaxing this commitment. The first preserves the additive structure of the desirable gambles framework and (...) the machinery for coherent inference but detaches the interpretation of desirability from the multiplicative scale invariance axiom. The second strays from the additive combination axiom to accommodate repeated gambles that return rewards by a non-stationary processes that is not necessarily additive. Unlike the first approach, which is a conservative amendment to the desirable gambles framework, the second is a rad- ical departure. Yet, common to both is a method for describing rewards called discounted utility. (shrink)

This book chapter represents one of the engagements between Catholic and Wesleyan philosophers at the 2008 Wesleyan Philosophy Society. The issue of what precisely "Wesleyan philosophy" would mean and comprise can be usefully illuminated by comparison with the positions and issues that were raised and discussed by Catholic scholars during the 1930s Christian philosophy debates in France, which included Etienne Gilson, Maurice Blondel, Jacques Maritain, and Gabriel Marcel. We also discuss how the thought on a contemporary Catholic philosopher Adriaan Peperzack, (...) specifically on affectivity, can be brought into comparison with that important theme in Wesleyan philosophy. (shrink)