Shepherd appears to endorse something like the following biconditonal regarding qualities and objects. □(An object, O, exists ↔ Some bundle of qualities, Q1, Q2, … Qn exists). There is a growing consensus in the secondary literature that she also takes the right side of this biconditional to ground the left side. I.e. Shepherd is a bundle theorist who takes an object to be nothing but a mass of qualities, or causal powers. I argue here that despite appearances, this interpretation reverses (...) Shepherd's actual view. I.e. I argue that for Shepherd qualities, or causal powers, are grounded in the intrinsic constitutions of objects. In the case of "external objects", these intrinsic constitutions are unknowable to us; in the case of "internal objects", we have direct knowledge of them. (shrink)

Lady Mary Shepherd holds that the relation of cause and effect consists of the combination of two objects to create a third object. She also holds that this account implies that causes are synchronous with their effects. There is a single instant in which the objects that are causes combine to create the object which is their effect. Hume argues that cause and effect cannot be synchronous because if they were then the entire chain of successive causes and effects would (...) all collapse into a single moment, and succession would not be possible. I argue that Shepherd has a ready, although implicit response, to Hume’s argument. Since causation is combination on Shepherd’s view, she is free to hold that there are times in between those instants in which combinations occur, during which times other, non-combinatory changes occur, which changes account for succession. (shrink)

Each of us is not just a set of actions, experiences, and plans but also a set of traits, capacities, and attitudes; we are as much our character as our life. And while story form can help unify a messy life, when it comes to a messy character, we may need something like the form of a poem. Could we model our self-conception, then, on a work like Sonnet 35? In finding deep-going unity—and even bittersweet beauty—beneath surface-level ambivalence, Sonnet 35 (...) arguably offers a perfect formal model, pointing the way to a transfiguration, through art, of intractable internal conflict. (shrink)

For Shepherd, how many things exist? On the one hand, it looks like the answer is going to be many. It is a central tent of Shepherd's philosophical system that causation is a relation whereby two or more objects combine to create a third. Since there are many instances of this causal relation, there must be many objects in the world. On the other hand, there are several moments throughout her writing where Shepherd indicates that the distinction between causes and (...) effects is in some sense unreal, and that while the world appears to us to consist of many distinct objects interacting causally, really there is just one thing and its merely nominally distinct parts. I argue that Shepherd is an ontological pluralist, and the texts that appear to express a commitment to ontological monism are best understood as expressing ontological holism instead. (shrink)

Shepherd argues that we can know that there exists a universe external to the mind because that universe is the only possible cause of our sensations. As a part of that argument, Shepherd eliminates the possibility that sensations might be caused by other sensations on the grounds that sensations are merely momentary existences and so not capable of standing in causal relations with each other. And yet she claims that sensations do stand in causal relations to other objects, both as (...) the effects of the combination of the external world, our organs of sense, and our minds, and as the partial causes of other sensations. These claims together generate a puzzle. If sensations are too fleeting to stand in causal relations with each other, how are they nonetheless capable of standing in causal relations to other objects? I suggest that because sensations exist only for a moment, to stand in synchronous causal relations with other sensations would require that the two sensations exist at precisely the same moment. But since cause and effect are identical during the moment in which they are combined, any two sensations that exist for only the moment of their combination are identical. Nothing can be its own cause, so sensations cannot be the sole cause of other sensations. Sensations can be the partial cause or effect of other objects, though, so long as those objects endure for more than a single moment. For example, external objects, organs of sense, and the mind, all exist both before and after the moments in which they combine to form a sensation. So, while their combination is identical to that sensation in that moment, all of these other objects exist outside of that moment, and that combination as well. (shrink)

There is an apparent tension in Shepherd’s accounts of space and time. Firstly, Shepherd explicitly claims that we know that the space and time of the unperceived world exist because they cause our phenomenal experience of them. Secondly, Shepherd emphasizes that empty space and time do not have the power to effect any change in the world. My proposal is that for Shepherd time has exactly one causal power: to provide for the continued existence of self-same or changing objects. Because (...) Shepherd takes causation to be a relation whereby two objects combine to form a third, their effect, whenever we perceive a continually existing object, since time is a proper part of such objects, our perception of time is caused by time itself. Likewise, space’s causal power is to provide for the possibility of the motion or rest of objects, and so when we perceive objects with space as a proper part, we come into causal contact with space. (shrink)

“A Nation of Madame Bovarys” rebuts the notion that literature is improves its readers morally, whether (1) by imparting instruction, (2) by eliciting empathy for non-parochial groups, or (3) by forcibly fine-tuning our capacity to navigate difficult ethical waters. Taking Geoffrey Chaucer’s Nun’s Priest’s Tale as its test case, it argues that the positions taken by Nussbaum, Booth, Rorty, et al.—also including the “imaginative resistance” position—are vastly overblown; that empathy is unreliable as a guide to moral behavior; that readers tend (...) only to “learn” what they already believed going in; and that it is dangerous to expect otherwise, there being a risk, if the contemporary consensus were to hold, of the populace degenerating into a nation of Madame Bovarys. Accordingly, a view of literary engagement as primarily an opportunity for clarification may be not only more accurate but also, in the end, more salutary. (shrink)

Responding to a set of essays by Walter Benn Michaels, this paper argues that we can solve some interesting puzzles about intention in photography without the need for any fancy Anscombian footwork. Three distinctions are enough to do the job. First, with Alexander Nehamas, we should separate the empirical photographer from the postulated artist. Next we should mark off generic intentions (such as the intention to make a work of art) from specific intentions (such as the intention to critique capitalism). (...) And finally we should draw a line between intention at time of conception and intention at time of display. A good interpretation, then, will attribute *specific* intentions to the *postulated* artist at the time of *display*. Problem solved? The postulated author of this essay thought so, at least, at the moment when he hit "send.". (shrink)

Scholars working on Kant’s Anticipations of Perception generally attribute to him an argument that invalidly infers that objects have degrees of intensive magnitude from the premise that sensations do. I argue that this rests on an incorrect disambiguation of Kant’s use of Empfindung as referring to the mental states that are our sensings, rather than the objects that are thereby sensed. Kant’s real argument runs as follows. The difference between a representation of an empty region of space and/or time and (...) a representation of that same region as occupied by an object entails that, in addition to their extensive magnitude, objects must be represented as having a matter variable in intensive magnitude. Since it is the presence of sensation in a cognition that marks the difference between representing only the extensive magnitude of the object and the object as a whole, it is sensation that represents its intensive magnitude. (shrink)

This chapter presents Gustave Flaubert’s Madame Bovary and Samuel Beckett’s Trilogy as modern fictions with ancient-skeptical ambitions. Whether in the affective domain (Flaubert) or in the cognitive (Beckett), the aim is to help the reader achieve a position of studied neutrality—ataraxia, époché—thanks not to an a priori decision but to the mutual cancellation of opposing tendencies. Understanding Flaubert and Beckett in this way allows us, first, to enrich our sense of what “catharsis” may involve; second, to see why the apparently (...) odious Charles, in Madame Bovary, suddenly becomes a deeply touching figure; and third, to recognize the severe limitations of empathy-based moralist theories of fiction. (shrink)

Kant’s argument in the First Analogy for the permanence of substance has been cast as consisting of a simple quantifierscope mistake. Kant is portrayed as illicitly moving from a premise such as (1) at all times, there must exist some substance, to a conclusion such as (2) some particular substance must exist at all times. Examples meant to show that Kant makes this mistake feature substances coming into and out of existence, but doing so at overlapping times. I argue that (...) Kant offers an argument against this kind of example in the following passage. Kant’s claim is that, were substances to be created and destroyed as in the example, the appearances would then be related to two different times, in which existence flowed side by side, which is absurd. For there is only one time, in which all different times must not be placed simultaneously but only one after another (A188–9/B231–32). (shrink)

The paper argues that it is the rise of Artificial Intelligence as a concrete possibility (the idea of a thinking machine) that favoured the growth of interest in Cognitive Science within the academic community. This puts the history and the definition of AI in a different light, as it can be seen and understood as "a continuation of Philosophy by other means" (Landi, 2020) and not merely as a technology or a sum of technologies.

Philosophy of Mind is usualy seen as the theoretical field in which theories about the functioning of the mind are elaborated, to be afterwards empirically tested through Artificial Intelligence. But this empirical approach does not fit the human mind which is not simply a machine. It is therefore possible to see Philosophy of Mind as a necessary creation to empty AI of its philosophical charge.

Some infamous memoirs have turned out to be chock-full of fibs. Should we care? Why not say—as many have—that all autobiography is fiction, that accurate memory is impossible, that we start lying as soon as we start narrating, and that it doesn’t matter anyway, since made-up stories are just as good as true ones? Because, well, every part of that is misleading. First, we don’t misremember absolutely everything; second, we have other sources to draw on; third, story form affects only (...) significance, not facts; fourth, fiction and nonfiction offer different affordances, benefits, and delights. And since we need both kinds of writing, we have to insist on honesty in memoir; we have to stop saying that everything is invention and that fibs don’t matter. If memoirs could never be trusted, who would still read them? In a world without truth, what exactly would we speak to power? (shrink)

I read René Girard so you don't have to.

Scholars have rejected Wilfrid Sellars’ argument for an ontology of absolute processes on the grounds that it relies on a dubious and dogmatic appeal to the homogeneity of color. Borrowing from Rosenthal’s recent defense, but ultimate rejection of homogeneity, I defend this claim of on Sellarsian/Kantian transcendental grounds, and reconstruct the remainder of his argument. I argue that Sellars has good reason to suppose that homogeneity is a necessary condition of any possible experience, including indirect experience of theoretical-explanatory posits, and (...) therefore good reason to hold that Reductive Materialism, as he conceives it, is an untenable account of color. The remainder of his argument aims to answer the question of what the metaphysical relation is between the state of an experiencing subject that we take color to be and the colorless microphysical particles that we take to constitute that subject. After rejecting Substance Dualism, Epiphenomenalism, and Wholistic or Emergent Materialism as explanatorily inadequate, Sellars proposes that both color-states and micro-physical particles should be understood as manifestations of an underlying ontology on absolute processes. (shrink)

Roland Barthes' famous essay "The Death of the Author" packs an astonishing number of logical howlers into its blessedly few pages. How did it become so firmly entrenched in the canon of literary theory?

This essay argues that literature is neither an intrinsic good (like oxygen) nor a constructed good (like a teddy-bear) but instead a conditional good, like a blueprint. It has immense potential value, but that potential can be actualized only if readers do a certain kind of work; and readers are likely to do that work only if, as a culture, we retain an understanding of what novels and poems both need from us and can give us. This means we need (...) to be wary of theories that are excessively deflationary (all literature is mere entertainment), cynical (all literature is a vehicle for state ideology), or over-optimistic (all literature makes us more altruistic) and instead embrace a pluralism of effect. Some fictions, like The Wire, invite us to reflect on our own beliefs; some, like Plato’s dialogues, help us fine-tune our mental capacities; some, like Toni Morrison’s Song of Solomon, offer us a choice of genres; some help us feel our feelings; some offer formal models for the shape of a life. Literature can continue to matter in all of these ways—but only as long as we allow it to. (shrink)

While it is often assumed that fictions must be informative or morally improving in order to be of any real benefit to us, certain texts defy this assumption by functioning as training grounds for the capacities: in engaging with them, we stand to become not more knowledgeable or more virtuous but more skilled, whether at rational thinking, at maintaining necessary illusions, at achieving tranquility of mind, or even at religious faith. Instead of offering us propositional knowledge, these texts yield know-how; (...) rather than attempting to instruct by means of their content, they hone capacities by means of their form; far from seducing with the promise of instantaneous transformation, they recognize, with Aristotle, that change is a matter of sustained and patient practice. (shrink)

We are living in an age that is narratively obsessed: both in the academy and in popular culture, temporally articulated phenomena currently exert a vice-like grip over the collective imagination. Under such conditions, how may non-narrative sources of aesthetic power be made available once again to human observers? Charlie Kaufman’s response, in Adaptation, takes the form not of statements but of actions, of “philosophical therapy” for our insatiable narrative hunger. It leaves us, in the end, with two phenomena that have (...) (in the full sense of the word) no history at all: the beauty of flowers and the intricacy of a human soul. (shrink)

Despite its superficial similarities with Rousseau's _Confessions_, Constant's _Adolphe_ functions in fact as a devastating critique from within of the entire autobiographical project. Proceeding from the threefold assumption that the soul is irremediably divided, self-opaque, and untranslatable into language, it interrogates the very feasibility of autobiography, implicitly presenting its protagonist's maxims (which only appear to be the fruits of experience altruistically shared) and his claim never to have loved (which only appears to be brutally honest, but is a curious act (...) of self-slander) as desperate attempts to produce the illusion of unity. Behind everything stands the spectre of the French Revolution, its excess of liberty engendering relentless, paralyzing doubt – a thoroughly modern species of self-division from which it is difficult, if not impossible, to recover. (shrink)

In Kant, Science, and Human Nature, Robert Hanna argues against a version of scientific realism founded on the Kripke/Putnam theory of reference, and defends a Kant-inspired manifest realism in its place. I reject Kriple/Putnam for different reasons than Hanna does, and argue that what should replace it is not manifest realism, but Kant‘s own scientific realism, which rests on a radically different theory of reference. Kant holds that we picture manifest objects by uniting manifolds of sensation using concepts-qua-inferential-rules. When these (...) rules are demonstrated to be invalid, we replace the picture of the macroscopic world with a picture of the microscopic entities of theoretical science that unites the very same manifolds using different rules of inference. Thus, we refer to "unobservable" theoretical entities in the same way that we do manifest ones: by specifying both their determinate location in space and time and the concepts by which they are understood. (shrink)

[Proofs; please cite published version] In recent years, some prominent scholars have been making a surprising claim: examining literary texts for hidden depths is overblown, misguided, or indeed downright dangerous. Such examination, they’ve warned us, may lead to the loss of world Heidegger warned of (Gumbrecht), to the world-denying metaphysics Nietzsche warned of (Nehamas), or to the suspicious form of hermeneutics Ricoeur warned of (Best, Marcus, Moi). This paper seeks to suggest that, though the concerns are understandable, there’s ultimately nothing (...) to worry about. The fact that Nietzsche himself happily used metaphors of surface and depth suggests that they are not, in fact, metaphysically fraught. The fact that it’s possible to appreciate surfaces at the same time as depths means that there’s no real danger of losing the world. And as for depth-talk turning us into suspicious hermeneuts, that would happen only if we made two fallacious assumptions: first, that all depths are meanings; second, that all hidden features are in a text by accident. But since plenty of authors hide things deliberately, and since what’s hidden often has nothing to do with propositional content, both assumptions are profoundly mistaken. Meanwhile, the surface/depth metaphor is the only thing that adequately captures the phenomenology of reading, especially when it comes to misdirection-based, hermetic, enigmatic, ironic, or satirical texts, where special activity on our part prompts a sudden leap to a radically different mode of understanding. And unlike its rivals, the surface/depth metaphor reflects a real asymmetry: depths explain surfaces, but not vice versa; surfaces are available without depths, but not the other way around. We need the metaphor, and we need to stay open to hidden depths as we read. As long as we don’t come in with terrible assumptions, nothing bad will happen to us, and plenty of good things will. It’s perfectly safe to go back in the water. (shrink)

Drawing on what we know about priming effects, informational encapsulation, lucid dreaming, imaginative practice, and the “mirror box” illusion, this article argues that self-reflexive fictions may enhance our capacity for simultaneous belief and disbelief, a capacity of surprising importance for human flourishing.

This essay argues not just that literature can corrupt its readers—if literature can improve, it can also corrupt—but that some of that is our fault: by telling people to extract moral lessons from fictions, we’ve set them up to be led astray by writers like Ayn Rand. A global attitude of message-mining sets readers up to be misled, confused, or complacent (because they “gave at the office”), as well as to reject some excellent books. Ironically, the best way to make (...) sure that literature sometimes corrupts is to pretend that it always improves. So maybe we should be more careful about ascribing universal moral value to literature, whether via empathy, training, or propositional content. We should be equally wary of a second kind of aesthetic corruption, one that leads people to judge ideas true merely because they are delightful. Aesthetic Pollyannas subscribe to optimistic theories because they're beautiful (literature always improves! how lovely!); aesthetic Eeyores subscribe to pessimistic theories because they're sublime (literature always fails! how cool!). Our only hope of getting it right about literature depends on us all resisting aestheticized cognition. As we saw above, there may be real-world consequences if we don't. (shrink)

What is the epistemological status of Big Data? Is there really place for them in a scientific search for new empirical laws?

What is so appealing about the figure of the master criminal? The answer lies in the kind of solution he provides to the problem of suffering. Rather than just accounting for affliction—as, for example, does Leibniz’s theodicy—such a figure enchants it, transforming mundane objects into actual or potential clues, everyday incidents into moves in a cosmic conflict, random misery into a purposeful pattern. The master criminal (the shadowy villain of _The Usual Suspects_, say) thus constitutes a secular replacement for the (...) Devil, making possible a negative reenchantment of the world. (shrink)

Some philosophical considerations over Yann LeCun’s position paper “A Path Towards Autonomous Machine Intelligence”.

This chapter presents the core challenge before Hamlet as that of achieving authenticity in the face of inner multiplicity. Authenticity—which this chapter will take to mean (1) acting on the (2) knowledge of (3) what one truly is, beneath one’s various masks and social roles—becomes a particularly pressing need under conditions of (early) modernity, when traditional forms of action-guidance are at least halfway off the table. But authenticity is highly problematic when the self that is discovered turns out to be (...) multiple. Which self, exactly, should one be true to? Hamlet’s solution, this chapter suggests, is an “actor’s ethos,” in which each of his aspects is given its day in the sun, granted full commitment by means of what we now call “method acting.” That is what Hamlet learns from the players—and that too is what we stand to learn from _Hamlet_: not an idea but a method. (shrink)

The aim of this paper is to present an interpretation of Shepherd’s account of our most fundamental cognitive powers, most especially the faculty that Shepherd calls perception, which she claims is a unity of contributions from the understanding and the senses. I find that Shepherd is what we would nowadays call a meaning holist: she holds that the meaning of any natural-kind term is constituted by its place in a system of definitions, which system specifies the causal roles of the (...) objects its terms name. Such an account of meaning raises questions about the contact that such a system of definitions, or conceptual scheme, makes with the world. The natural place to seek answers to these questions is in Shepherd’s account of perception, which I argue Shepherd takes to be our most fundamental cognitive faculty. Our cognitive lives begin with perceptions, representations of objects as the cause of those very perceptions of them. With this interpretation in hand, I draw a contrast between it and Boyle’s and Lolordo’s recent work on Shepherd’s theory of meaning. I argue that for Shepherd truths about the causal powers of objects are analytic, and that the relevant empirical questions answered by science concern whether our conceptual scheme accurately represents the world. Finally, I provide additional support for this interpretation by showing that it comports with Shepherd’s criticism of her philosophical opponents, Berkeley, Hume, and Reid. (shrink)

The discussion and debates around Ethical AI cannot simply ignore the fact that ethics is not a self-standing discipline by is part of Philosophy and can only be approached as such.

In his bold and excellent book on Hume's scientific methodology, David Landy positions himself between the "Deductive-Nomological" reading, which explains particular phenomena in terms of empirical regularities, and the "New Hume" position, which considers empirical regularities to be the explananda and unknowable essences the explanans. Landy sides with the New Humeans, except that for him the essences, or "theoretical posits," are knowable. These essences become knowable, despite their being in principle unobservable, through the tool of "perceptible models." Landy argues that (...) "theoretical posits are only possible via the deployment of a perceptible model," and he explains that perceptual models allow us to... (shrink)

A very common view of Hume’s distinction between impressions and ideas is that it is based on their intrinsic properties; specifically, their force and vivacity. Some interpreters have challenged this,one being David Landy (Landy 2006). He argues that for Hume the difference lies instead in the fact that impressions are not copies of anything, while ideas are copies of impressions. I regard this view as unsatisfactory, not because it is fundamentally mistaken but because (to put it in Humean terms) it (...) “…it discovers not all the truth” (Treatise 1.3.7.4). I will argue that Hume was a functionalist about (some)mental kinds, individuating impressions, ideas, and beliefs (and possibly other mental phenomena) in terms of their causal role in our mental economy. The distinction between impressions and ideas involves the fact that ideas are copies and impressions are not, but also more than that. I will also argue that interpreting Hume as a functionalist enables one to make sense of a passage that is impossible to explain on the force-and-vivacity view, and that it does so more readily than Landy’s view.Furthermore, I think this interpretation makes better sense of Hume’s “missing shade of blue” than Landy’s does. (shrink)

The question of whether perception can be penetrated by cognition is in the limelight again. The reason this question keeps coming up is that there is so much at stake: Is it possible to have theory-neutral observation? Is it possible to study perception without recourse to expectations, context, and beliefs? What are the boundaries between perception, memory, and inference (and do they even exist)? Are findings from neuroscience that paint a picture of perception as an inherently bidirectional and interactive process (...) relevant for understanding the relationship between cognition and perception? We have assembled a group of philosophers and psychologists who have been considering the thesis of cognitive (im)penetrability in light of these questions (Abdel Rahman & Sommer, 2008; Goldstone, Landy, & Brunel, 2011; Lupyan, Thompson-Schill, & Swingley, 2010; Macpherson, 2012; Stokes, 2011). Rather than rehashing previous arguments which appear, in retrospect, to have been somewhat ill-posed (Pylyshyn, 1999), this symposium will present a thesis of cognitive (im)penetrability that is at once philosophically satisfying, empirically testable, and relevant to the questions that cognitive scientists find most interesting. (shrink)

In men and women sexual arousal culminates in orgasm, with female orgasm solely from sexual intercourse often regarded as a unique feature of human sexuality. However, orgasm from sexual intercourse occurs more reliably in men than in women, likely reflecting the different types of physical stimulation men and women require for orgasm. In men, orgasms are under strong selective pressure as orgasms are coupled with ejaculation and thus contribute to male reproductive success. By contrast, women's orgasms in intercourse are highly (...) variable and are under little selective pressure as they are not a reproductive necessity. The proximal mechanisms producing variability in women's orgasms are little understood. In 1924 Marie Bonaparte proposed that a shorter distance between a woman's clitoris and her urethral meatus (CUMD) increased her likelihood of experiencing orgasm in intercourse. She based this on her published data that were never statistically analyzed. In 1940 Landis and colleagues published similar data suggesting the same relationship, but these data too were never fully analyzed. We analyzed raw data from these two studies and found that both demonstrate a strong inverse relationship between CUMD and orgasm during intercourse. Unresolved is whether this increased likelihood of orgasm with shorter CUMD reflects increased penile–clitoral contact during sexual intercourse or increased penile stimulation of internal aspects of the clitoris. CUMD likely reflects prenatal androgen exposure, with higher androgen levels producing larger distances. Thus these results suggest that women exposed to lower levels of prenatal androgens are more likely to experience orgasm during sexual intercourse. . (shrink)

In our initial paper discussing plausible steps toward workable warp drive machines. The following article express our view on this debate. While there are still objections toward existing warp drive proposals, such as by G. Landis, Harold White etc., because they are all based on GTR, nonetheless we think it is possible by starting to see if it is possible to deviate from Newton's third law. And we discuss possible a propulsion method based on negative masses, and discuss how optical (...) diameter drive can be first step for realistic lab-scale version of negative mass propulsion. (shrink)