Most traditional epistemologists see trust and knowledge as deeply antithetical: we cannot know by trusting in the opinions of others; knowledge must be based on evidence, not mere trust. I argue that this is badly mistaken. Modern knowers cannot be independent and self-reliant. In most disciplines, those who do not trust cannot know. Trust is thus often more epistemically basic than empirical evidence or logical argument, for the evidence and the argument are available only through trust. Finally, since the reliability (...) of testimonial evidence depends on the trustworthiness of the testifier, this implies that knowledge often rests on a foundation of ethics. The rationality of many of our beliefs depends not only on our own character, but on the character of others. (shrink)

In Tulving’s initial characterization, episodic memory was one of multiple memory systems. It was postulated, in pursuit of explanatory depth, as displaying proprietary operations, representations, and substrates such as to explain a range of cognitive, behavioural, and experiential phenomena. Yet the subsequent development of this research program has, paradoxically, introduced surprising doubts about the nature, and indeed existence, of episodic memory. On dominant versions of the ‘common system’ view, on which a single simulation system underlies both remembering and imagining, there (...) are no processes unique to memory to support robust generalizations with inductive potential. Eliminativism about episodic memory seems to follow from the claim that it has no dedicated neurocognitive system of its own. After identifying this under-noticed threat, we push back against modern eliminativists by surveying recent evidence that still indicates specialized mechanisms, computations, and representations that are distinctly mnemic in character. We argue that contemporary realists about episodic memory can retain lessons of the common system approach while resisting the further move to eliminativism. (shrink)

There is a concern that the widespread deployment of autonomous machines will open up a number of ‘responsibility gaps’ throughout society. Various articulations of such techno-responsibility gaps have been proposed over the years, along with several potential solutions. Most of these solutions focus on ‘plugging’ or ‘dissolving’ the gaps. This paper offers an alternative perspective. It argues that techno-responsibility gaps are, sometimes, to be welcomed and that one of the advantages of autonomous machines is that they enable us to embrace (...) certain kinds of responsibility gap. The argument is based on the idea that human morality is often tragic. We frequently confront situations in which competing moral considerations pull in different directions and it is impossible to perfectly balance these considerations. This heightens the burden of responsibility associated with our choices. We cope with the tragedy of moral choice in different ways. Sometimes we delude ourselves into thinking the choices we make were not tragic ; sometimes we delegate the tragic choice to others ; sometimes we make the choice ourselves and bear the psychological consequences. Each of these strategies has its benefits and costs. One potential advantage of autonomous machines is that they enable a reduced cost form of delegation. However, we only gain the advantage of this reduced cost if we accept that some techno-responsibility gaps are virtuous. (shrink)

Philosophers have often noted a contrast between practical and theoretical reasons when it comes to cases involving equally balanced reasons. When there are strong practical reasons for A-ing, and equally strong practical reasons for some incompatible option, B-ing, the agent is permitted to make an arbitrary choice between them, having sufficient reason to A and sufficient reason to B. But when there is strong evidence for P and equally strong evidence for ~ P, one isn’t permitted to simply believe one (...) or the other. Instead, one must withhold belief, neither believing that P nor believing that ~ P. This paper examines what explains this contrast, focusing in particular on a proposal recently developed by Mark Schroeder across several papers. Schroeder aims to explain the contrast by an appeal to non-evidential, epistemic reasons against belief. But, I argue, it’s not clear exactly what those reasons are, nor how those reasons are to be weighed against evidential reasons. Despite these challenges, I argue that there are grounds for optimism that the contrast can be explained within the broad framework Schroeder provides, and I aim to provide resources to meet the aforementioned challenges. (shrink)

According to QBism, quantum states, unitary evolutions, and measurement operators are all understood as personal judgments of the agent using the formalism. Meanwhile, quantum measurement outcomes are understood as the personal experiences of the same agent. Wigner’s conundrum of the friend, in which two agents ostensibly have different accounts of whether or not there is a measurement outcome, thus poses no paradox for QBism. Indeed the resolution of Wigner’s original thought experiment was central to the development of QBist thinking. The (...) focus of this paper concerns two very instructive modifications to Wigner’s puzzle: One, a recent no-go theorem by Frauchiger and Renner, and the other a thought experiment by Baumann and Brukner. We show that the paradoxical features emphasized in these works disappear once both friend and Wigner are understood as agents on an equal footing with regard to their individual uses of quantum theory. Wigner’s action on his friend then becomes, from the friend’s perspective, an action the friend takes on Wigner. Our analysis rests on a kind of quantum Copernican principle: When two agents take actions on each other, each agent has a dual role as a physical system for the other agent. No user of quantum theory is more privileged than any other. In contrast to the sentiment of Wigner’s original paper, neither agent should be considered as in “suspended animation.” In this light, QBism brings an entirely new perspective to understanding Wigner’s friend thought experiments. (shrink)

Rigorous proof is supposed to guarantee that the premises invoked imply the conclusion reached, and the problem of rigor may be described as that of bringing together the perspectives of formal logic and mathematical practice on how this is to be achieved. This problem has recently raised a lot of discussion among philosophers of mathematics. We survey some possible solutions and argue that failure to understand its terms properly has led to misunderstandings in the literature.

This paper calls for a re-appraisal of McGee's analysis of the semantics, logic and probabilities of indicative conditionals presented in his 1989 paper Conditional probabilities and compounds of conditionals. The probabilistic measures introduced by McGee are given a new axiomatisation built on the principle that the antecedent of a conditional is probabilistically independent of the conditional and a more transparent method of constructing such measures is provided. McGee's Dutch book argument is restructured to more clearly reveal that it introduces a (...) novel contribution to the epistemology of semantic indeterminacy, and shows that its more controversial implications are unavoidable if we want to maintain the Ramsey Test along with the standard laws of probability. Importantly, it is shown that the counterexamples that have been levelled at McGee's analysis|generating a rather wide consensus that it yields `unintuitive' or `wrong' probabilities for compounds |fail to strike at their intended target; for to honour the intuitions of the counterexamples one must either give up the Ramsey Test or the standard laws of probability. It will be argued that we need to give up neither if we take the counterexamples as further evidence that the indicative conditional sometimes allows for a non-epistemic `causal' interpretation alongside its usual epistemic interpretation. (shrink)

Sobre Filosofia clinica e Reflexões sobre o que é o humano.

The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...) theory across the arts and to a variety of issues, demonstrating that it has far-reaching implications for our philosophical understanding of the nature of art.” - Stephen Davies, Associate Professor of Philosophy, University of Auckland.. (shrink)

Frege’s claim that proper names have senses has come to seem untenable following Kripke’s argument that names are rigid designators. It is commonly thought that if names had senses, their referents would vary with circumstances of evaluation. The article defends Frege’s claim by arguing that names have word-reflexive senses. This analysis of names’ senses does not violate Kripke’s noncircularity condition, and it differs crucially from related views of Bach and Katz. That names have reflexive senses confirms Frege’s own solution to (...) his puzzle about the content of identity sentences, solves Kripke’s Pierre and Peter puzzles about belief ascription, and entails that bearerless names have meanings. Furthermore, names’ having reflexive senses explains why they designate rigidly. (shrink)

In this paper I discuss critically Richard Swinburne’s concept of God, which I find to be incoherent, and his understanding of Christianity, which I find to be based on a precritical use of the New Testament.

Causal theories of perception typically have problems in explaining deviant causal chains. They also have difficulty with other unusual putative cases of perception involving prosthetic aids, defective perception, scientifically extended cases of perception, and so on. But I show how a more adequate reflexive causal theory, in which objects or properties X cause a perceiver to acquire X-related dispositions toward that very same item X, can provide a plausible and principled perceptual explanation of all of these kinds of cases. A (...) critical discussion of David Lewis's perceptual descriptivist views is also provided, including a defense of the logical possibility of systematic misperception or perceptual error for a perceiver, in spite of its empirical improbability. (shrink)

Elijah Chudnoff’s case for irreducible cognitive phenomenology hinges on seeming to see the truth of a mathematical proposition (Chudnoff 2015). In the following, I develop an augmented version of Chudnoff’s case, not based on seeming to see, or intuition, but based on being in a state with presentational phenomenology of high-level content. In contrast to other cases for cognitive phenomenology, those based on Strawson’s case (Strawson 2011), I argue that the case presented here is able to withstand counterarguments, which attempt (...) to reduce cognitive phenomenology to sensory phenomenology. To support my argument, I present findings from Bowden and Jung-Beeman’s experiments with the Aha! Experience (Bowden & Jung-Beeman 2004), and argue that the Aha! Experience is a species of the experience of understanding presented here. I interpret the results of these experiments to provide further evidence for irreducible cognitive phenomenology. (shrink)

The outlines of a novel, fully naturalistic theory of perception are provided, that can explain perception of an object X by organism Z in terms of reflexive causality. On the reflexive view proposed, organism Z perceives object or property X just in case X causes Z to acquire causal dispositions reflexively directed back upon X itself. This broadly functionalist theory is potentially capable of explaining both perceptual representation and perceptual content in purely causal terms, making no use of informational concepts. (...) However, such a reflexive, naturalistic causal theory must compete with well entrenched, supposedly equally naturalistic theories of perception that are based on some concept of information, so the paper also includes some basic logical, naturalistic and explanatory criticisms of such informational views. (shrink)

ABSTRACT: The Reflexive Theory of Perception (RTP) claims that perception of an object or property X by an organism Z consists in Z being caused by X to acquire some disposition D toward X itself. This broadly behavioral perceptual theory explains perceptual intentionality and correct versus incorrect, plus successful versus unsuccessful, perception in a plausible evolutionary framework. The theory also undermines cognitive and perceptual modularity assumptions, including informational or purely epistemic views of perception in that, according to the RTP, any (...) X-caused and X-directed dispositions are genuinely perceptual—including affective, attitudinal, and immediately activated purely action-directed behavioral dispositions. Thus the RTP has the potential to provide the foundations for a broadly behavioral counter-revolution in cognitive science. (shrink)

This paper will investigate the basic question of the nature of perception, as theoretically approached from a purely naturalistic standpoint. An adequate theory must not only have clear application to a world full of pre-existing biological examples of perception of all kinds, from unicellular perception to conscious human perception, but it must also satisfy a series of theoretical or philosophical constraints, as enumerated and discussed in Section 1 below. A perceptual theory invoking _reflexive dispositions_--that is, dispositions directed toward the very (...) same worldly perceived objects or properties that caused them--will be defended as one legitimate such naturalistic theory. (shrink)

The artefacts produced by artists during their creation of works of art are very various: paintings, writings, musical scores, and so on. I have a general thesis to offer about the relations of artefacts and artworks, but within the confines of this article I shall mainly discuss cases drawn from the art of painting, central specimens of which seem to be autographic in Nelson Goodman's sense, namely such that even the most exact duplication of them does not count as producing (...) the same work of art. My view will be that an artwork (such as a painting) and its associated artefact are not identical, and nor is the artefact in any sense part of the painting in question,2 but that nevertheless it is still possible to maintain the view that paintings are autographic (which view I shall call l the autographic thesis). I shall proceed initially through presentation of some counter-examples to common assumptions as to the relations of artefacts and artworks, and then present an alternative 'representational' theory of their relations. (shrink)

This paper explores the possibility that causal decision theory can be formulated in terms of probabilities of conditionals. It is argued that a generalized Stalnaker semantics in combination with an underlying branching time structure not only provides the basis for a plausible account of the semantics of indicative conditionals, but also that the resulting conditionals have properties that make them well-suited as a basis for formulating causal decision theory. Decision theory (at least if we omit the frills) is not an (...) esoteric science, however unfamiliar it may seem to an outsider. Rather it is a systematic exposition of the consequences of certain well-chosen platitudes about belief, desire, preference and choice. It is the very core of our common-sense theory of persons, dissected out and elegantly systematized. (David Lewis, Synthese 23:331–344, 1974, p. 337). A small distortion in the analysis of the conditional may create spurious problems with the analysis of other concepts. So if the facts about usage favor one among a number of subtly different theories, it may be important to determine which one it is. (Robert Stalnaker, A Defense of Conditional Excluded Middle, pp. 87–104, 1980, p. 87). (shrink)

I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, (...) for which reason I call this kind of content medium content (or medium-related content). (shrink)

The appearance of negative terms in quasiprobability representations of quantum theory is known to be inevitable, and, due to its equivalence with the onset of contextuality, of central interest in quantum computation and information. Until recently, however, nothing has been known about how much negativity is necessary in a quasiprobability representation. Zhu :120404, 2016) proved that the upper and lower bounds with respect to one type of negativity measure are saturated by quasiprobability representations which are in one-to-one correspondence with the (...) elusive symmetric informationally complete quantum measurements. We define a family of negativity measures which includes Zhu’s as a special case and consider another member of the family which we call “sum negativity.” We prove a sufficient condition for local maxima in sum negativity and find exact global maxima in dimensions 3 and 4. Notably, we find that Zhu’s result on the SICs does not generally extend to sum negativity, although the analogous result does hold in dimension 4. Finally, the Hoggar lines in dimension 8 make an appearance in a conjecture on sum negativity. (shrink)

The field of machine perception is based on standard informational and computational approaches to perception. But naturalistic informational theories are widely regarded as being inadequate, while purely syntactic computational approaches give no account of perceptual content. Thus there is a significant need for a novel, purely naturalistic perceptual theory not based on informational or computational concepts, which could provide a new paradigm for mechanistic perception. Now specifically evolutionary naturalistic approaches to perception have been—perhaps surprisingly—almost completely neglected for this purpose. Arguably (...) perceptual mechanisms enhance evolutionary fitness by facilitating sensorily mediated causal interactions between an organism Z and items X in its environment. A ‘reflexive’ theory of perception of this kind is outlined, according to which an organism Z perceives an item X just in case X causes a sensory organ zi of Z to cause Z to acquire a disposition toward the very same item X that caused the perception. The rest of the paper shows how an intuitively plausible account of mechanistic perception can be developed and defended in terms of the reflexive theory. Also, a compatibilist option is provided for those who wish to preserve a distinct informational concept of perception. (shrink)

In Languages of Art, Nelson Goodman presents a general theory of symbolic notation. However, I show that his theory could not adequately explain possible cases of natural language notational uses, and argue that this outcome undermines, not only Goodman's own theory, but any broadly type versus token based account of notational structure.Given this failure, an alternative representational theory is proposed, in which different visual or perceptual aspects of a given physical inscription each represent a different letter, word, or other notational (...) item. Such a view is strongly supported by the completely conventional relation between inscriptions and notation, as shown by encryption techniques etc. (shrink)

Clearly we can perceive both objects, and various aspects or appearances of those objects. But how should that complexity of perceptual content be explained or analyzed? I argue that perceptual representations normally have a double or two level nested structure of content, so as to adequately incorporate information both about contextual aspects Y(X) of an object X, and about the object X itself. On this double content (DC) view, perceptual processing starts with aspectual data Y?(X?) as a higher level of (...) content, which data does not itself provide lower level X-related content, but only an aspectually encoded form of such data. Hence the relevant perceptual data Y?(X?) must be. (shrink)

Some moral disagreements are so persistent that we suspect they are deep : we would disagree even when we have all relevant information and no one makes any mistakes. The possibility of deep disagreement is thought to drive cognitivists toward relativism, but most cognitivists reject relativism. There is an alternative. According to divergentism, cognitivists can reject relativism while allowing for deep disagreement. This view has rarely been defended at length, but many philosophers have implicitly endorsed its elements. I will defend (...) it. (shrink)

How can it be true that one sees a lake when looking at a picture of a lake, since one's gaze is directed upon a flat dry surface covered in paint? An adequate contemporary explanation cannot avoid taking a theoretical stand on some fundamental cognitive science issues concerning the nature of perception, of pictorial content, and of perceptual reference to items that, strictly speaking, have no physical existence. A solution is proposed that invokes a broadly functionalist, naturalistic theory of perception, (...) plus a double content analysis of perceptual interpretation, which permits non-supervenient, culturally autonomous modes of reference to be generated and artistically exploited even in a purely physical world. In addition, a functionalist concept of broad or 'spread' reference replaces the traditional precise intentional concept of reference, which previously made reference to non-existent items theoretically intractable. (shrink)

Realistic uses of Virtual Reality technology closely integrate user training on virtual objects with VR-assisted user interactions with real objects. This paper shows how the Interactive Theory of Perception may be extended to cover such cases. Virtual objects are explained as concrete models that have an inner generation mechanism, and the ITP is used to explain how VR users can both perceive such local CMs, and perceptually represent remote real objects. Also, concepts of modeling and representation are distinguished. The paper (...) concludes with suggestions as to how the ITP methodology developed here could be extended to iconic external representations and models generally. (shrink)

It is generally accepted that Picasso might have used a different canvas as the vehicle for his painting Guernica, and also that the artwork Guernica itself necessarily represents a certain historical episode—rather than, say, a bowl of fruit. I argue that such a conjunctive acceptance entails a broadly propositional view of the nature of representational artworks. In addition, I argue—via a comprehensive examination of possible alternatives—that, perhaps surprisingly, there simply is no other available conjunctive view of the nature of representational (...) artworks in general. CiteULike Connotea Del.icio.us What's this? (shrink)

A novel semantic naturalization program is proposed. Its three main differences from informational semantics approaches are as follows. First, it makes use of a perceptually based, four-factor interactive causal relation in place of a simple nomic covariance relation. Second, it does not attempt to globally naturalize all semantic concepts, but instead it appeals to a broadly realist interpretation of natural science, in which the concept of propositional truth is off-limits to naturalization attempts. And third, it treats all semantic concepts as (...) being purely abstract, so that concrete cognitive states are only indexed by them rather than instantiating them. (shrink)

A dilemma exists when a doctor is faced with a child or young person who refuses medically indicated treatment. The Gillick case has been interpreted by many to mean that a child of sufficient age and intelligence could validly consent or refuse consent to treatment. Recent decisions of the Court of Appeal on a child's refusal of medical treatment have clouded the issue and undermined the spirit of the Gillick decision and the Children Act 1989. It is now the case (...) that a child patient whose competence is in doubt will be found rational if he or she accepts the proposal to treat but may be found incompetent if he or she disagrees. Practitioners are alerted to the anomalies now exhibited by the law on the issue of children's consent and refusal. The impact of the decisions from the perspectives of medicine, ethics, and the law are examined. Practitioners should review each case of child care carefully and in cases of doubt seek legal advice. (shrink)

The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...) or plays, performances of which are naturally regarded as involving, or evoking, a “fictional world” whose fictional characters and events are what the work in question is about. Another reason for initially focusing on such narrative plays is because performances of them provide a rich source of epistemic issues about evidence for artistic authenticity or correctness of artworks, which will turn out to be of integral importance to my fictionalist account of plays. (shrink)

The general area of business and professional ethics is full of vexing and confusing problems. For example, questions concerning the im portance of ethical standards, whether ethics is unnecessary given appropriate legal enforcement, whether it is imperative to teach ethical behavior in professional education, and similar questions are all controversial. The specific ethical problems to be found in the areas of accounting and finance are at least as difficult as those in other areas. However, there is one kind of ethical (...) problem which is unusually prominent in finance and accounting, which deserves to be recognized more widely in ethics as a significant kind of issue. This is the problem of conflicts of interest. (shrink)

What is the relation between a perceptual experience of an object X as being red, and one's belief, if any, as to the nature of that experience? A traditional Cartesian view would be that, if indeed object X does seem to be red to oneself, then one's resulting introspective belief about it could only be a _conforming _belief, i.e., a belief that X perceptually seems to be _red _to oneself--rather than, for instance, a belief that X perceptually seems to be (...) green to oneself instead. On such a Cartesian view, our introspective certainly about our own thoughts extends also to our perceptual experiences as to how things seem to be to us, so that our resulting introspective beliefs about our phenomenal states also count as knowledge of them. (shrink)

The representational content or subject matter of a picture is normally distinguished from various non-representational components of meaning involved in artworks, such as expressive, stylistic or intentional factors. However, I show how such non subject matter components may themselves be analyzed in content terms, if two different categories of representation are recognized--aspect indication for stylistic etc. factors, and normal representation for subject matter content. On the account given, the relevant kinds of content are hierarchically structured, with relatively unconceptualized lower level (...) aspectual contents encoding or symbolizing higher level conceptualized representational subject matter. Such an account is strongly supported by the latest findings of cognitive science regarding levels of conceptualization. The paper also demonstrates how the account given is compatible with the actual pictorial competence of normal viewers of visual artworks. (shrink)

I argue that perceptual content involves representations both of aspects of objects, and of objects themselves, whether at the level of conscious perception, or of low-level perceptual processing - a double content structure. I present an 'orientational' theory of the relations of the two kinds of perceptual content, which can accommodate both the general semantic possibility of perceptual misrepresentation, and also species of it involving characteristic perceptual confusions of aspectual and intrinsic content. The resulting theoretical structure is argued to be (...) a broadly methodological or logical one, rather than a substantive theory that is open to empirical refutation. (shrink)

This study sought to create a digital game-based physics lesson for seventh-grade students. It sought answers to respondents' least mastered competencies in physics by identifying their preferred game-based learning activity and determining their level of critical thinking, creative thinking, and problem-solving. A descriptive-developmental design was used in the study of selected learners from 129 grade 7 students, carried out at Bukal Sur National High School in Candelaria, Quezon, during the academic year 2022-2023. The study's findings revealed that the respondents' least (...) mastered competency in Physics was describing an object's motion in terms of distance or displacement, speed or velocity, and acceleration, as well as creating and interpreting visual representations of object motion such as tape charts and motion graphs and inferring that waves carry energy. Respondents prefer to play digital games, particularly puzzle games, on their mobile devices. The respondents' mean pre-test score indicated low critical thinking, creative thinking, and problem-solving, whereas the mean post-test score was very satisfactory. Finally, there is a significant difference between the respondents' pre-test and post-test scores for critical thinking, creative thinking, and problem-solving. (shrink)

FEEL FREE TO CITE - IGNORE IN-PDF REQUEST The eight year gap between the publication of Volume I (1976) of The History of Sexuality and Volumes II and III (1984) has provoked a fair amount of debate within scholarly circles. Does it represent a fundamental rethinking of the analysis of power and knowledge begun in Volume I, or is something else at stake? And what does the shift in emphasis regarding power and resistance after these eight years ultimately entail? James (...) Miller’s influential, if often flawed, biography of Foucault has provided one of the leading interpretations of this gap in Foucault’s publishing career. On Miller’s account, the turn towards governmentality and technologies of the self represents something of a tacit admission of failure on Foucault’s part regarding his Volume I rendering of power and resistance.1 Now, it seems to me that there is something right about this reading – we can map a shift in Foucault’s consideration of power and resistance in this period, culminating in the 1982 essay, “The Subject and Power,” which it seems to me can be read as a perverse re-writing of the themes of Volume I. However, the idea that this eight year period represents a ‘hard break,’ or an introduction of an incommensurability between resistance as tactical reversal (Volume I) and resistance as.. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a replacement of (...) the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (shrink)

Representationalists who hold that phenomenal character can be explained in terms of representational content currently cannot explain counter-examples that involve indeterminate perceptual content, such as in the case of objects seen blurrily by someone with poor eyesight, or objects seen vaguely in misty conditions. But this problem can be resolved via provision of a more sophisticated double content (DC) view, according to which the representational content of perception is structured in two nested levels. I start by outlining the DC view (...) via consideration of four closely related cases of perceptual imprecision. Then, after a demonstration that the DC view can also explain imprecise photographic content, inadequacies in the more standard single content (SC) view are demonstrated. The results are then generalized so as to apply to the content of any kinds of non-conventional representation. The paper continues with evidence that a DC account provides a moderate rather than extreme realist account of perception, and it concludes with an initial analysis of the failure of nomic covariance accounts of information in indeterminacy cases. (shrink)

A concrete proposal is presented as to how semantics should be naturalized. Rather than attempting to naturalize propositions, they are treated as abstract entities that index concrete cognitive states. In turn the relevant concrete cognitive states are identified via perceptual classifications of worldly states, with the aid of an interactive theory of perception. The approach enables a broadly realist theory of propositions, truth and cognitive states to be preserved, with propositions functioning much as abstract mathematical constructs do in the nonsemantic (...) sciences, but with a much more specific propositional indexing scheme than previous naturalistic proposals were able to achieve. (shrink)

A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...) a view, including the following. Content views of linguistic communication are ubiquitous, so why should they not be applicable in artistic cases as well? Also, propositional accounts of language involve two kinds of content (the proposition expressed by a sentence, plus the worldly state of affairs it represents), both of which kinds can be used in explaining artworks. In addition, the differing modal properties of artworks and concrete artefacts can be used to show that artworks could not be, or include, such physical artefacts. (shrink)

This entry considers the question of whether rationality is normative; that is, the question of whether one always ought (or, more weakly, has a reason) to be rational. It first distinguishes substantive from structural rationality, noting how structural rationality presents a more serious challenge to the thesis that rationality is normative. It then considers the plausibility of skepticism about structural rationality, and notes some problems facing such skepticism. However, if we are not skeptics about structural requirements, we face the task (...) of formulating those requirements. But both narrow-scope and wide-scope formulations seem incompatible with the idea that we always ought to be rational. This suggests that we have good reason to think that rationality is not strongly normative. (shrink)

This book is unique because it is the first single-author monograph which applies Bourdieu’s theory to management studies. It takes a theory-driven approach to develop models to describe service innovation. This will give the reader a full understanding of the variety of different theoretical concepts that Bourdieu created and used and how they can be applied to the study of management and innovation. Moreover, it is also the only book that links Bourdieu’s theory to his methodological approach, providing the reader (...) with a toolkit of methods to perform business ethnographies according to Bourdieu’s approach. The book acts as a primer for anyone wanting to learn how to model an organisational system from a Bourdieusian perspective. It contains all the information someone might need to begin to go out in the field and collect data. Consequently, the people that might want to read this publication include post-graduate students looking to learn business anthropology, as well as post-doctoral and other early career researchers. (shrink)

I argue that the concept of representation is ambiguous: a picture of 'a man', when there is no actual man that it depicts, both does, in one sense, and does not, in another sense, represent 'a man'--hence the need for a distinction of internal from external representation. Internal representation is also defended from reductive, non-referential alternative views, and from 'prosthesis' views of picturing, according to which seeing a picture of an actual man just is seeing through the picture to that (...) actual man himself. The view also provides a strong foundation for a theory of reference to fictional entities. (shrink)

In "A Restriction for Pictures and Some Consequences for a Theory of Depiction", Journal of Aesthetics and Art Criticism 61, 4 (2003): 381-394, Michael Newall defended a resemblance view of depiction. He concentrated on pictures X involving a perpendicular view of the physical surface of another picture Y, and argued that the actual restrictions on what picture X can depict of Y's physical surface are best explained by a strict resemblance or similarity view. But I show that there are many (...) problems with his approach, so that overall it is no more successful than more standard resemblance views of depiction. (shrink)

An overview, with links, of original approaches to six significant areas of philosophical concern, including the nature of perception and perceptual content, naturalistic approaches to representation and semantics, a representational explanation of generality, and a dual component theory of propositions. (This file also provides a useful demonstration of how webpage-like features may be simulated in a Word document).

I propose a distinction between design intentions, activities and products, as opposed to artistic intentions, activities and artworks. Examples of design products would include a specific type of car (or any other invention or device) as well as closer relatives of art such as decorative wall designs. In order to distinguish artistic from design intentions, I present an example in which two sculptors independently work on a single object to produce two sculptures, which are distinct just because the artistic intentions (...) of the sculptors are distinct. This case is then contrasted with an attempted parallel example for design intentions, which fails to produce two correspondingly distinct design products in spite of the different design intentions of its designers. I argue that this failure occurs because designs are types, for which any single token of a given type could not simultaneously be a token of some other type of the same general kind; whereas the possibility of my sculptural 'double artwork' example shows that such artworks cannot be types. I then further investigate the concept of a design, and conclude by arguing that an extension of my sculptural example shows that literary artworks also cannot be types. (shrink)

There is some intuitive plausibility to the idea that composers create musical works by indicating sonic types in a historical context. But the idea is technically indefensible as it stands, requiring a thorough representational reform that also eliminates the type-theoretic commitments of current versions. On the reformed account, musical 'indication' is an operation of high level representational interpretation of concrete sounds, that can both explain the creativity of composers, and the often successful interpretations of their listeners. This approach also bypasses (...) contentious issues regarding the status of both indicated and 'initiated' types, as extensively discussed in the BJA. (shrink)

On a traditional or default view of the grasping or understanding of a singular proposition by an individual, it is assumed to be a unitary or holistic activity. However, naturalistic views of cognition plausibly could analyze propositional thinking in terms of more than one distinctive functional stage of cognitive processing, suggesting at least the potential legitimacy of a non-unitary analysis of propositional grasping. We outline a novel dual-component view of this kind, and show that it is well supported by current (...) cognitive science research. (shrink)