This paper will be concerned with the role acquaintance plays in contemporary theories of introspection. Traditionally, the relation of acquaintance has been conceived in analytic epistemology and philosophy of mind as being only epistemically relevant inasmuch as it causes, or enables, or justifies a peculiar kind of propositional knowledge, i.e., knowledge by acquaintance. However, in recent years a novel account of the role of acquaintance in our introspective knowledge has been offered. According to this novel constitutive approach, acquaintance is, in (...) itself, a sui generis—i.e., non-propositional—kind of knowledge. As we will suggest, a stalemate between David Chalmers’ account of direct phenomenal concepts—as a prototypical example of a causal view—and Anna Giustina’s account of primitive introspection—as a prototypical example of a constitutive view—is looming in the current controversy between the two families of theories. Towards the end of the essay, we will point to some possible ways for a constitutive theorist to break the stalemate. (shrink)

While the debate on values in science focuses on normative questions on the level of the individual (e.g. should researchers try to make their work as value free as possible?), comparatively little attention has been paid to the institutional and professional norms that researchers are expected to follow. To address this knowledge gap, we conduct a content analysis of leading national codes of conduct for research integrity of European countries, and structure our analysis around the question: do these documents allow (...) for researchers to be influenced by “non-epistemic” (moral, cultural, commercial, political, etc.) values or do they prohibit such influence in compliance with the value-free ideal (VFI) of science? Our results return a complex picture. On the one hand, codes of conduct consider many non-epistemic values to be a legitimate influence on the decision-making of researchers. On the other, most of these documents include what we call _VFI-like positions_: passages claiming that researchers should be free and independent from any external influence. This shows that while many research integrity documents do not fully endorse the VFI, they do not reject it and continue to be implicitly influenced by it. This results in internal tensions and underdetermined guidance on non-epistemic values that may limit some of the uses of research integrity codes, especially for purposes of ethical self-regulation. While codes of conduct cannot be expected to decide how researchers should act in every instance, we do suggest that they acknowledge the challenges of how to integrate non-epistemic values in research in a more explicit fashion. (shrink)

In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the predictive processing (PP) framework. This convergence has so far proven fruitful for both sides: while PP is increasingly adopted as a framework for understanding aesthetic phenomena, the arts and aesthetics, examined under the lens of PP, are starting to be seen as important windows (...) into our mental functioning. The result is a vast and fast-growing research programme that promises to deliver important insights into our aesthetic encounters as well as a wide range of psychological phenomena of general interest. Here, we present this developing research programme, describing its grounds and highlighting its prospects. We start by clarifying how the study of the arts and aesthetics encounters the PP picture of mental functioning (§1). We then go on to outline the prospects of this encounter for the fields involved: philosophy and history of art (§2), psychology of aesthetics and neuroaesthetics (§3) and psychology and neuroscience more generally (§4). The upshot is an ambitious but well-defined framework within which aesthetics and cognitive science can partner up to illuminate crucial aspects of the human mind. -/- This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’. -/- . (shrink)

Recent works in epistemology have defended the existence of acquaintance knowledge - a non-propositional form of knowledge constituted by the subject's acquaintance with particulars. A significant obstacle to the epistemic legitimacy of acquaintance knowledge lies in the fact that acquaintance is a descriptive psychological phenomenon, whereas knowledge is a normative one. In this paper, I aim to address this challenge by arguing that introspective acquaintance knowledge - the subject's knowledge of their own experiences constituted by acquaintance with them - exhibits (...) a normative dimension. My argument critically hinges on the role of conscious introspective attention. Based on the idea that a distinctive manifestation of the presence of epistemic normativity has to do (at least) with the possibility for a piece of knowledge to be epistemically better or worse, I will argue that we can have epistemically better or worse introspective acquaintance knowledge and that this depends on the degree of attention that is involved in it. By assuming that possibly being epistemically better or worse implies for a piece of knowledge to possibly instantiate different degrees of epistemic goodness, and that conscious introspective attention comes in degrees, I will argue that conscious attention plays a gradual epistemic role in acquaintance knowledge. The paper aims to strengthen the case for introspective acquaintance knowledge as a genuine form of epistemic achievement, governed by attention-based normative standards. (shrink)

In this article, I argue that consciousness is a unique way of processing information, in that: it produces information, rather than purely transmitting it; the information it produces is meaningful for us; the meaning it has is always individuated. This uniqueness allows us to process information on the basis of our personal needs and ever-changing interactions with the environment, and consequently to act autonomously. Three main basic cognitive processes contribute to realize this unique way of information processing: the self, attention (...) and working memory. The self, which is primarily expressed via the central and peripheral nervous systems, maps our body, the environment, and our relations with the environment. It is the primary means by which the complexity inherent to our composite structure is reduced into the “single voice” of a unique individual. It provides a reference system that (albeit evolving) is sufficiently stable to define the variations that will be used as the raw material for the construction of conscious information. Attention allows for the selection of those variations in the state of the self that are most relevant in the given situation. Attention originates and is deployed from a single locus inside our body, which represents the center of the self, around which all our conscious experiences are organized. Whatever is focused by attention appears in our consciousness as possessing a spatial quality defined by this center and the direction toward which attention is focused. In addition, attention determines two other features of conscious experience: periodicity and phenomenal quality. Self and attention are necessary but not sufficient for conscious information to be produced. Complex forms of conscious experiences, such as the various modes of givenness of conscious experience and the stream of consciousness, need a working memory mechanism to assemble the basic pieces of information selected by attention. (shrink)

Even if the “value-free ideal of science” (VFI) were an unattainable goal, one could ask: can it be a useful fiction, one that is beneficial for the research community and society? This question is particularly crucial for scholars and institutions concerned with research integrity (RI), as one cannot offer normative guidance to researchers without making some assumptions about what ideal scientific research looks like. Despite the insofar little interaction between scholars studying RI and those working on values in science, the (...) overlap of topics and interests make collaboration between the two fields promising for understanding research and its ethics. Here, we identify—for the use of RI scholars—the non-epistemic reasons (societal, political, professional) for and against the VFI considered in the literature. All of these are concerned with the beneficial or detrimental consequences that endorsing the VFI would have on society, policy-making, or the scientific community, with some authors appealing to the same principles to argue for opposite positions. Though most of the reviewed articles do not endorse the VFI, it is generally agreed that some constraints have to be put on the use of non-epistemic values. Disagreement on the utility of the VFI lies both on the different epistemic-descriptive positions taken by different authors, and on the scarcity of relevant empirical studies. Engaging critically with the reasons here identified and more in general with the values in science debate will help the RI community decide whether the VFI should be included in future codes of conduct. (shrink)

This work investigates one of the most widespread yet elusive ideas about our experience of art: the idea that there is something cognitively valuable in engaging with great artworks, or, in other words, that we learn from them. This claim and the age-old controversy that surrounds it are reconsidered in light of the psychological and neuroscientific literature on learning, in one of the first systematic efforts to bridge the gap between philosophical and scientific inquiries on the topic. The work has (...) five chapters. Chapter 1 lays down its conceptual bases: it explains what learning is taken to be in the current philosophical debate and it points out how Bayesian cognitive science (particularly in its predictive processing formulations) might be well-suited to capture the kind of learning involved in our engagement with the arts. The following chapters test this latter hypothesis with respect to particular art forms, namely literature and literary language (Chapter 2), narrative (Chapter 3), and visual art, music and motor activities (Chapter 4). The fine-grained discussions conducted in each of these areas will enable us to see that the relationship between art and learning is indeed fundamental and pervasive. The final chapter (Chapter 5) examines the consequences of this fact for our understanding of the role of art in our epistemic practices, its ultimate usefulness and value, and its place in the interdisciplinary study of the human mind. The upshot is a novel and wide-ranging picture, both philosophically informed and empirically sound, that bypasses many of the problems and dead ends of the current philosophical debate on the topic and captures the deep sense in which art and learning are interrelated. (shrink)

In The Aesthetics of Virtual Reality (2022), Grant Tavinor claims that VR is a technologically fancy kind of picturing and, more specifically, that VR headsets elicit proper seeing-in experiences. According to Tavinor, seeing a virtual environment through a stereoscopic headset elicits the same twofold experience as ordinary pictures: users simultaneously perceive the three-dimensional depicted scene – the virtual environment – and the bidimensional surface responsible for displaying such a scene. In this critical note, I argue that this is a wrong (...) characterization of the visual experience VR stereoscopic headsets elicit. I maintain that VR visual experiences are not twofold, but onefold. When using a VR headset, we do not perceive the configuration as an organizational structure; our visual system does not represent, even unconsciously, the properties of the configuration as such. My argument proceeds in two directions: first, through a phenomenological analysis of VR experience, and, second, by corroborating these phenomenological observations with evidence from perceptual psychology. I conclude that, if VR environments are to be considered bona fide pictures, it is not because they elicit a twofold seeing-in experience. (shrink)

In this paper, we use antecedent-final conditionals to formulate two problems for parsing-based theories of presupposition projection and triviality of the kind given in Schlenker 2009. We show that, when it comes to antecedent-final conditionals, parsing-based theories predict filtering of presuppositions where there is in fact projection, and triviality judgments for sentences which are in fact felicitous. More concretely, these theories predict that presuppositions triggered in the antecedent of antecedent-final conditionals will be filtered (i.e. will not project) if the negation (...) of the consequent entails the presupposition. But this is wrong: John isn’t in Paris, if he regrets being in France intuitively presupposes that John is in France, contrary to this prediction. Likewise, parsing-based approaches to triviality predict that material entailed by the negation of the consequent will be redundant in the antecedent of the conditional; but John isn’t in Paris, if he’s in France and Mary is with him is intuitively felicitous, contrary to these predictions. Importantly, given that the trigger appears in sentence-final position, both incremental (left-to-right) and symmetric versions of such theories make the same predictions. These data constitute a challenge to the idea that presupposition projection and triviality should be computed on the basis of parsing. This issue is important because it relates to the more general question as to whether presupposition and triviality calculation should be thought of as a pragmatic post-compositional phenomenon or as part of compositional semantics (as in the more traditional dynamic approaches). We discuss a solution which allows us to maintain the parsing-based pragmatic approach; it is based on an analysis of conditionals which incorporates a presupposition that their antecedent is compatible with the context, together with a modification to Schlenker’s (2009) algorithm for calculating local contexts so that it takes into account presupposed material. As we will discuss, this solution works within a framework broadly similar to that of Schlenker’s (2009), but it doesn’t extend in an obvious way to other parsing-based accounts (e.g. parsing-based trivalent approaches). We conclude that a parsing-based theory can be maintained, but only if we adopt a substantial change of perspective on the framework. (shrink)

Alberto Voltolini (2021) has recently claimed that mirrors are bona fide pictures, for they are grasped via what he identifies as the defining characteristic of a picture: a certain seeing-in experience. Voltolini refines the somewhat elusive concept of seeing-in, originally described by Wollheim, and then demonstrates its applicability to mirror experience. However, in this paper, I contend that Voltolini's improved version of seeing-in does not aptly describe the experience of viewing mirrors. In fact, according to the first aspect of Voltolini’s (...) reconceived seeing-in, the configurational fold of a seeing-in experience must be an enriched perception of the picture’s vehicle that grasps how the vehicle’s elements are perceptually arranged. But, contra Voltolini, I argue that this does not hold true for the experience of looking at mirrors. Indeed, when looking at mirrors, we don't perceive the configuration as an organizational structure; our visual system does not represent, even unconsciously, the properties of the mirror’s configuration as such. Mirror experience does not include an enriched perception of the picture’s vehicle; it does not grasp how the vehicle’s elements are perceptually arranged. My argument proceeds in two directions: firstly, through a phenomenological analysis of mirror experience and secondly, by corroborating these phenomenological observations with evidence from perceptual psychology. Thus, I conclude that if mirrors are to be considered bona fide pictures, it is not because they elicit a (reconceived) seeing-in experience. (shrink)

Questo articolo si confronta con la seguente domanda: possono le menti degli altri animali essere oggetti legittimi di apprezzamento estetico? Nel rispondere, sostengo (a) che la mente di altre specie animali è qualcosa che possiamo effettivamente apprezzare; (b) che oggetto dell’apprezzamento in questi casi è duplice: da un lato, apprezziamo l’idoneità alla funzione (fitness for function), le peculiarità, le differenze e le sottigliezze del funzionamento delle altre menti e, dall’altro, apprezziamo l’attività immaginativa attraverso la quale cerchiamo di metterci nella prospettiva (...) dell’altro animale; e (c) che, come conseguenza di (b), la natura del nostro apprezzamento è anch’essa duplice: da un lato, è un’esperienza delle qualità estetiche che emergono da ciò che sappiamo sul funzionamento delle altre menti e, dall’altro, traiamo piacere dallo sforzo immaginativo in cui ci impegniamo nel cercare di metterci nella prospettiva dell’altro animale. (shrink)

Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in optical illusions of (...) movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (shrink)

Evolutionary aesthetics (EA) investigates the origins and evolution of aesthetic preferences and artistic behaviors, along with the underlying capacities that support these preferences and behaviors. EA is a multidisciplinary approach that intersects various disciplines – e.g. evolutionary psychology, biology, neurosciences, art history, archeology, anthropology, philosophical aesthetics – providing a comprehensive framework for understanding the deep-rooted biological and evolutionary underpinnings of human aesthetic preferences and artistic expressions. Central to EA, in fact, is the exploration of when, how and why aesthetic preferences (...) and artistic behaviors originated in human history, as well as understanding whether these behaviors are evolutionary adaptations, by-products of evolutionary processes, or nonbiological cultural products (Killin 2021; Richards 2022). (shrink)

Pictures are created objects that have the function of generating a perceptual experience. In this sense, they are “experiential artifacts” (Terrone forthcoming). The experience elicited by pictures – usually visual (but for non-visual pictorial experience see e.g. Lopes 1997) – is a composite perceptual experience, in which the “perception” of the depicted scene (which is not in front of us) is generated by and experienced along the perception of the marked surface (the object that is actually in front of us). (...) This experience is usually called a “pictorial experience”. A philosophical analysis of such an experience amounts to answering the following questions: How should we describe the phenomenology of pictorial experience? What is it like to experience pictures? How should the “perception” of the depicted scene be characterized? Is it really a form of perception? How does it relate to the perception of the marked surface? (shrink)

This book presents a comprehensive theoretical framework that explains both human consciousness and meanings through the working of attention. By arguing for a first-person approach to consciousness, this book offers a critical overview of the major theories and empirical findings on consciousness and attention, and exemplifies how one of the most difficult and fundamental conscious experiences to account for, that is, time, can be analyzed by adopting the kind of semantics developed within the presented theoretical framework: Attentional Semantics.

We address an argument by Floridi (Synthese 168(1):151–178, 2009; 2011a), to the effect that digital and analogue are not features of reality, only of modes of presentation of reality. One can therefore have an informational ontology, like Floridi’s Informational Structural Realism, without commitment to a supposedly digital or analogue world. After introducing the topic in Sect. 1, in Sect. 2 we explain what the proposition expressed by the title of our paper means. In Sect. 3, we describe Floridi’s argument. In (...) the following three sections, we raise three difficulties for it, (i) an objection from intuitions: Floridi’s view is not supported by the intuitions embedded in the scientific views he exploits (Sect. 4); (ii) an objection from mereology: the view is incompatible with the world’s having parts (Sect. 5); (iii) an objection from counting: the view entails that the question of how many things there are doesn’t make sense (Sect. 6). In Sect. 7, we outline two possible ways out for Floridi’s position. Such ways out involve tampering with the logical properties of identity, and this may be bothersome enough. Thus, Floridi’s modus ponens will be our (and most ontologists’) modus tollens. (shrink)

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)

This paper proposes a formal account of AI trustworthiness, connecting both intrinsic and perceived trustworthiness in an operational schematization. We argue that trustworthiness extends beyond the inherent capabilities of an AI system to include significant influences from observers' perceptions, such as perceived transparency, agency locus, and human oversight. While the concept of perceived trustworthiness is discussed in the literature, few attempts have been made to connect it with the intrinsic trustworthiness of AI systems. Our analysis introduces a novel schematization to (...) quantify trustworthiness by assessing the discrepancies between expected and observed behaviors and how these affect perceived uncertainty and trust. The paper provides a formalization for measuring trustworthiness, taking into account both perceived and intrinsic characteristics. By detailing the factors that influence trust, this study aims to foster more ethical and widely accepted AI technologies, ensuring they meet both functional and ethical criteria. (shrink)

En este artı́culo se analizarán algunos nudos temáticos desarrollados en la Crı́tica de la razón pura, utilizando las lentes teóricas de Jacques Derrida, con el fin de proponer, sobre algunos conceptos-clave en la filosofı́a transcendental de Kant, una lectura distinta respecto a la que se está acostumbrado estudiar y problematizar. Después de haber puesto en relación la imaginación kantiana con la noción derridiana de différance, se subrayará el aspecto paradójico de la auto-afección, mostrando que ésta, en su misma singularidad, trasciende (...) la oposición entre activo y pasivo, permitiendo mirar al sentido interno como posibilidad de archi-escritura, a partir de las huellas psı́quicas dejadas en su terreno. A continuación, las reflexiones se desplazarán hacia el tema del esquematismo, problematizando cómo y hasta qué medida la actividad productiva de la imaginación, por un lado, y la relación entre imagen y esquema, por otro, podrı́an relacionarse con los conceptos más significativos de la teorı́a derridiana de la escritura. (shrink)

The primary determinant of the self (S) is the conscious experience (CE) we have of it. Therefore, it does not come as a surprise that empirical research on S mainly resorts to the CE (or lack of CE) that subjects have of their S. What comes as a surprise is that empirical research on S does not tackle the problem of how CE contributes to building S. Empirical research investigates how S either biases the cognitive processing of stimuli or is (...) altered through a wide range of means (meditation, hypnosis, etc.). In either case, even for different reasons, considerations of how CE contributes to building S are left unspecified in empirical research. This article analyzes these reasons and proposes a theoretical model of how CE contributes to building S. According to the proposed model, the phenomenal aspect of consciousness is produced by the modulation—engendered by attentional activity—of the energy level of the neural substrate (that is, the organ of attention) that underpins attentional activity. The phenomenal aspect of consciousness supplies the agent with a sense of S and informs the agent on how its S is affected by the agent’s own operations. The phenomenal aspect of consciousness performs its functions through its five main dimensions: qualitative, quantitative, hedonic, temporal, and spatial. Each dimension of the phenomenal aspect of consciousness can be explained by a specific aspect of the modulation of the energy level of the organ of attention. Among other advantages, the model explains the various forms of S as outcomes resulting from the operations of a single mechanism and provides a unifying framework for empirical research on the neural underpinnings of S. (shrink)

This paper is part of a project that is based on the notion of a dialectical system, introduced by Magari as a way of capturing trial and error mathematics. In Amidei et al. (2016, Rev. Symb. Logic, 9, 1–26) and Amidei et al. (2016, Rev. Symb. Logic, 9, 299–324), we investigated the expressive and computational power of dialectical systems, and we compared them to a new class of systems, that of quasi-dialectical systems, that enrich Magari’s systems with a natural mechanism (...) of revision. In the present paper we consider a third class of systems, that of p-dialectical systems, that naturally combine features coming from the two other cases. We prove several results about p-dialectical systems and the sets that they represent. Then we focus on the completions of first-order theories. In doing so, we consider systems with connectives, i.e. systems that encode the rules of classical logic. We show that any consistent system with connectives represents the completion of a given theory. We prove that dialectical and q-dialectical systems coincide with respect to the completions that they can represent. Yet, p-dialectical systems are more powerful; we exhibit a p-dialectical system representing a completion of Peano Arithmetic that is neither dialectical nor q-dialectical. (shrink)

“There’s Plenty of Room at the Bottom”, said the title of Richard Feynman’s 1959 seminal conference at the California Institute of Technology. Fifty years on, nanotechnologies have led computer scientists to pay close attention to the links between physical reality and information processing. Not all the physical requirements of optimal computation are captured by traditional models—one still largely missing is reversibility. The dynamic laws of physics are reversible at microphysical level, distinct initial states of a system leading to distinct final (...) states. On the other hand, as von Neumann already conjectured, irreversible information processing is expensive: to erase a single bit of information costs ~3 × 10−21 joules at room temperature. Information entropy is a thermodynamic cost, to be paid in non-computational energy dissipation. This paper addresses the problem drawing on Edward Fredkin’s Finite Nature hypothesis: the ultimate nature of the universe is discrete and finite, satisfying the axioms of classical, atomistic mereology. The chosen model is a cellular automaton with reversible dynamics, capable of retaining memory of the information present at the beginning of the universe. Such a CA can implement the Boolean logical operations and the other building bricks of computation: it can develop and host all-purpose computers. The model is a candidate for the realization of computational systems, capable of exploiting the resources of the physical world in an efficient way, for they can host logical circuits with negligible internal energy dissipation. (shrink)

Negli ultimi quindici anni la letteratura filosofico-linguistica ha registrato un rinnovato interesse per i meccanismi di implicatura, specialmente del tipo scalare. In buona parte, l’interesse stato suscitato dall’emergere di una prospettiva grammaticale, secondo la quale i fenomeni di implicatura scalare sarebbero conseguenza di un meccanismo interpretativo incassato nella logica delle lingue naturali, e quindi riferibile al componente semantico dell’architettura cognitiva umana. L’obiettivo di questo testo fornire una presentazione di alcuni tra gli argomenti che hanno motivato l’emergere della prospettiva grammaticale. Inizieremo, (...) con una descrizione del fenomeno di implicatura scalare, sostanzialmente condivisa dai fautori delle diverse prospettive. Quindi, approfondiremo la nostra comprensione del fenomeno, pre- sentando alcuni punti fermi della prospettiva pragmaticista, e mostrandone i punti di debolezza individuati dai fautori della prospettiva grammaticale. Infine, presenteremo la prospettiva grammaticale, presentando da una parte i vantaggi che questo approccio presenta rispetto alla prospettiva pragmaticista, e dall’altra discutendo le sfide che attendono questa nuova prospettiva. (shrink)

Compare the following conditionals: 'If John is not in Paris, he is in France' versus 'If John is in France, he is not in Paris.' The second sounds entirely natural, whereas the first sounds quite strange. This contrast is puzzling, because these two conditionals have the same structure at a certain level of logical abstraction, namely 'If ¬p+, then p.' -/- We argue that existing theories of informational oddness do not distinguish between these conditionals. We do not have an account (...) of the divergence in judgments about the two, but we think this is a fascinating puzzle which we pose here in the hope others will be able to solve it. (shrink)

Among the cognitive processes involved in the construction of any kind of meaning, attention is fundamental in determining why, how and what we mean. Attention plays a primary role in the process of learning the meanings of words and more generally of acquiring knowledge; signification, discourse and persuasion; perceiving, representing and (re)framing reality; shaping the attitudes of the audience; conveying values and ideologies. Conversely, the meanings of words and more generally, of signs, convey the condensed instructions for the attentional operations (...) one has to perform in order to consciously experience what is expressed through and by them. Language, by addressing and guiding attention in specific ways, helps to select, amplify and support certain semantic components and concepts, and construct and communicate knowledge and values. This book is the first to present a comprehensive overview of the extant research on the relationships between attention and meaning. The contributions collected here offer an overview of the most prominent theories and models developed so far that aim to explain how attention determines meaning construction. This book will be of interest to students, researchers and teachers in the realm of linguistics, semantics, discourse studies, semiotics, psycholinguistics, computational linguistics, linguistic development, cognitive architectures of language, neuropsychology of linguistic function and social psychology. (shrink)

The G7 should address new, unprecedented and highly disruptive issues that characterize our complex world, rather than well-understood international problems that fit into existing categories. We argue that the G7 can do this by playing to its strengths – informality and like-mindedness in particular – in addressing emerging and transversal issues such as Artificial Intelligence (AI) and cryptocurrencies.

How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an ‘epistemic arc’, consisting of three parts (curiosity, epistemic action and aha experiences), which we (...) cast as aspects of active inference. We then show how epistemic arcs are built and sustained by artworks to provide us with those satisfying experiences that we tend to call ‘aesthetic’. Next, we defuse two key objections to this approach; namely, that it places undue emphasis on the cognitive component of our aesthetic encounters—at the expense of affective aspects—and on closure and uncertainty minimization (order)—at the expense of openness and lingering uncertainty (change). We show that the approach offers crucial resources to account for the open-ended, free and playful behaviour inherent in aesthetic experiences. The upshot is a promising but deflationary approach, both philosophically informed and psychologically sound, that opens new empirical avenues for understanding our aesthetic encounters. -/- This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’. (shrink)

Is the basic mechanism behind presupposition projection fundamentally asymmetric or symmetric? This is a basic question for the theory of presupposition, which also bears on broader issues concerning the source of asymmetries observed in natural language: are these simply rooted in superficial asymmetries of language use— language use unfolds in time, which we experience as fundamentally asymmetric— or can they be, at least in part, directly referenced in linguistic knowledge and representations? In this paper we aim to make progress on (...) these questions by exploring presupposition projection across conjunction, which has typically been taken as a central piece of evidence that presupposition projection is asymmetric. As a number of authors have recently pointed out, however, whether or not this conclusion is warranted is not clear once we take into account independent issues of redundancy. Building on previous work by Chemla & Schlenker (2012) and Schwarz (2015), we approach this question experimentally by using an inference task which controls for redundancy and presupposition suspension. We find strong evidence for left-to-right filtering across conjunctions, but no evidence for right-to-left filtering, suggesting that, at least as a default, presupposition projection across conjunction is indeed asymmetric. (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)

The main aim of Samuel Hartlib was to provide an advancement of learning finalized to the amelioration of the material conditions of men and the pursuit of a religious peace, i.e., the unification of the Protestants. To this aim, inspired by Comenius, he devoted his efforts or gathering knowledge by the creation of a society or office of learned men (in technical fields, philosophy, and theology), and by the establishment of a network of correspondents (the Hartlib Circle). The method of (...) discovery underlying his program of advancement of learning was inspired by Bacon’s Novum Organum and by Jacopo Aconcio’s method of analysis, while the categorization and transmission of knowledge had to be based on commonplace books and artificial languages. His plan of economic improvement, to be fulfilled mainly through the amelioration of husbandry, was motivated by the Puritan Millenarianism to which he adhered. (shrink)

Jacopo Baboni Schilingi’s interactive musical compositions Argo and Terra play with time, space, and material sound to capture a symbiotic relationship between technology and the most intimate process fundamental to life: breathing. Argo reacts to the artist’s respiration in “real time,” generating an “infinite” sequence of diverse musical arrangements that question the relation between the human body and technology and contingency and programming. Noting the egotistical tendencies of artists, Schilingi likens himself to Odysseus, the master of Argo, the name (...) given to his faithful technological invention. This theme of mastery is revisited in Terra where Schilingi’s hands, covered in sensors, manipulate both the musical composition and the dance movements of a female body, a body whose fertile tension both emerges and withdraws in a battle akin to Heidegger’s earth/world strife. This chapter provides a hermeneutic reading of Argo and Terra within a Heideggerian framework that does not, as Luce Irigaray has noted, forget air. Irigaray states, “Air does not show itself. As such, it escapes as (a) being. It allows itself to be forgotten.” Schilingi’s generative music makes air visible and hauntingly audible, as the music can only be stopped when the artist’s life comes to an end. (shrink)

"Subjectivisation of Sense Perception and Two Models of Early Modern Idealism" The distinction between primary and secondary qualities, most famously outlined by Galileo, and subsequently supported, inter alia, by Descartes and by Locke has widely been considered one of the crucial factors in the development of modern idealism. In its contemporary form, the distinction identifies some of the perceived properties as mental phenomena due to their content and structural dependence on the mind. However, this account of the primary/secondary distinction is (...) largely different from its original version developed by the above-mentioned philosophers, within whose work the mental being of the perceived qualities was demonstrated objectively, from the conceptually-derived nature of matter, and not subjectively, by referring to the mind’s participation in the cognitive process. It was only at the next stage of the early modern subjectivisation of sense perception, best exemplified by such philosophers as Arnold Geulincx and Richard Burthogge, that the creative role played by the mind in sensation and, consequently, the mind-dependency of the sensible qualities was recognised – a turn influenced by the reinterpretation of Aristotelian philosophy offered by Jacopo Zabarella and Paduan school as well as by Anti-Aristotelianism of the kind developed in Netherlands. Furthermore, the two different approaches to the primary/secondary distinction can be linked with two main types of post-Cartesian idealism, i.e. Berkeleian and Kantian – a claim for which illustrative evidence from British philosophy, namely from Berkeley’s and Burthogge’s respective theories, can be drawn. (shrink)

How induction was understood took a substantial turn during the Renaissance. At the beginning, induction was understood as it had been throughout the medieval period, as a kind of propositional inference that is stronger the more it approximates deduction. During the Renaissance, an older understanding, one prevalent in antiquity, was rediscovered and adopted. By this understanding, induction identifies defining characteristics using a process of comparing and contrasting. Important participants in the change were Jean Buridan, humanists such as Lorenzo Valla and (...) Rudolph Agricola, Paduan Aristotelians such as Agostino Nifo, Jacopo Zabarella, and members of the medical faculty, writers on philosophy of mind such as the Englishman John Case, writers of reasoning handbooks, and Francis Bacon. (shrink)