In this paper, we offer a brief, critical survey of contemporary work on truth. We begin by reflecting on the distinction between substantivist and deflationary truth theories. We then turn to three new kinds of truth theory—Kevin Scharp's replacement theory, John MacFarlane's relativism, and the alethic pluralism pioneered by Michael Lynch and Crispin Wright. We argue that despite their considerable differences, these theories exhibit a common "pluralizing tendency" with respect to truth. In the final section, we look at (...) the underinvestigated interface between metaphysical and formal truth theories, pointing to several promising questions that arise here. (shrink)

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)

This paper argues that the role of knowledge in the explanation and production of intentional action is as indispensable as the roles of belief and desire. If we are interested in explaining intentional actions rather than intentions or attempts, we need to make reference to more than the agent’s beliefs and desires. It is easy to see how the truth of your beliefs, or perhaps, facts about a setting will be involved in the explanation of an action. If you believe (...) you can stop your car by pressing a pedal, then, if your belief is true, you will stop. If it is false, you will not. By considering cases of unintentional actions, actions involving luck and cases of deviant causal chains, I show why knowledge is required. By looking at the notion of causal relevance, I argue that the connection between knowledge and action is causal and not merely conceptual. (shrink)

I argue against the orthodox view of the relationship between propositional and doxastic justification. The view under criticism is: if p is propositionally justified for S in virtue of S's having reason R, and S believes p on the basis of R, then S's belief that p is doxastically justified. I then propose and evaluate alternative accounts of the relationship between propositional and doxastic justification, and conclude that we should explain propositional justification in terms of doxastic justification. If correct, this (...) proposal would constitute a significant advance in our understanding of the sources of epistemic justification. (shrink)

This paper is an engagement with Equality by John Baker, Kathleen Lynch, Judy Walsh and Sara Cantillon. It identifies a dilemma for educational egalitarians, which arises within their theory of equality, arguing that sometimes there may be a conflict between advancing equality of opportunity and providing equality of respect and recognition, and equality of love care and solidarity. It argues that the latter values may have more weight in deciding what to do than traditional educational egalitarians have usually (...) thought. (shrink)

Epistemic reasons are mental states. They are not propositions or non-mental facts. The discussion proceeds as follows. Section 1 introduces the topic. Section 2 gives two concrete examples of how our topic directly affects the internalism/externalism debate in normative epistemology. Section 3 responds to an argument against the view that reasons are mental states. Section 4 presents two problems for the view that reasons are propositions. Section 5 presents two problems for the view that reasons are non-mental facts. Section 6 (...) argues that reasons are mental states. Section 7 responds to objections. (shrink)

In this essay I show how to reconcile epistemic invariantism with the knowledge account of assertion. My basic proposal is that we can comfortably combine invariantism with the knowledge account of assertion by endorsing contextualism about speech acts. My demonstration takes place against the backdrop of recent contextualist attempts to usurp the knowledge account of assertion, most notably Keith DeRose's influential argument that the knowledge account of assertion spells doom for invariantism and enables contextualism's ascendancy.

A viable theory of literary humanism must do justice to the idea that literature offers cognitive rewards to the careful reader. There are, however, powerful arguments to the effect that literature is at best only capable of offering idle visions of a world already well known. In this essay I argue that there is a form of cognitive awareness left unmentioned in the traditional vocabulary of knowledge acquisition, a form of awareness literature is particularly capable of offering. Thus even if (...) it is the case that literature has nothing interesting to give us in the way of knowledge, the literary humanist can consistently maintain that literary experience is thoroughly cognitive. (shrink)

Conceptualism is the thesis that, for any perceptual experience E, (i) E has a Fregean proposition as its content and (ii) a subject of E must possess a concept for each item represented by E. We advance a framework within which conceptualism may be defended against its most serious objections (e.g., Richard Heck's argument from nonveridical experience). The framework is of independent interest for the philosophy of mind and epistemology given its implications for debates regarding transparency, relationalism and representationalism, demonstrative (...) thought, phenomenal character, and the speckled hen objection to modest foundationalism. (shrink)

Does self?knowledge help? A rationalist, presumably, thinks that it does: both that self?knowledge is possible and that, if gained through appropriate channels, it is desirable. Descartes notoriously claimed that, with appropriate methods of enquiry, each of his readers could become an expert on herself or himself. As well as the direct, first?person knowledge of self to which we are led in the Meditationes , we can also seek knowledge of our own bodies, and of the union of our minds and (...) our bodies: the latter forms of self?knowledge are inevitably imperfect, but are no less important in guiding our conduct in the search after truth. (shrink)

One fairly common view about practical reason has it that whether you have a reason to act is not determined by what you know, or believe, or are justified in believing. Your reasons are determined by the facts. Perhaps there are two kinds of reasons, and however it goes with motivating reasons, normative reasons are determined by the facts, not your take on the facts. One fairly common version of this view has it that what's reasonable for you to do (...) is determined by what you know or believe. Any view that drives this kind of wedge between reasons and rationality is inherently unstable. I argue against this view, criticize the arguments typically presented in its favor, and sketch an alternative. (shrink)

It is often assumed that literary meaning is essentially linguistic in nature and that literary interpretation is therefore a purely linguistic affair. This essay identifies a variety of literary meaning that cannot be reduced to linguistic meaning. Meaning of this sort is generated not by a communicative act so much as through a creative one: the construction of a fictional world. The way in which a fictional world can bear meaning turns out to be strikingly unlike the way a sentence (...) can, and this, I argue, has important implications for the theory of interpretation. (shrink)

This article accomplishes two closely connected things. First, it refutes an influential view about the relationship between perception and knowledge. In particular, it demonstrates that perceiving does not entail knowing. Second, it leverages that refutation to demonstrate that knowledge is not the most general factive propositional attitude.

I argue that you can have a priori knowledge of propositions that neither are nor appear necessarily true. You can know a priori contingent propositions that you recognize as such. This overturns a standard view in contemporary epistemology and the traditional view of the a priori, which restrict a priori knowledge to necessary truths, or at least to truths that appear necessary.

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 critically evaluates the regress argument for infinitism. The dialectic is essentially this. Peter Klein argues that only an infinitist can, without being dogmatic, enhance the credibility of a questioned non-evident proposition. In response, I demonstrate that a foundationalist can do this equally well. Furthermore, I explain how foundationalism can provide for infinite chains of justification. I conclude that the regress argument for infinitism should not convince us.

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 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)

Thirteen meanings of 'implication' are described and compared. Among them are relations that have been called: logical implication, material implication,deductive implication, formal implication, enthymemic implication, and factual implication. In a given context, implication is the homogeneous two-place relation expressed by the relation verb 'implies'. For heuristic and expository reasons this article skirts many crucial issues including use-mention, the nature of the entities that imply and are implied, and the processes by which knowledge of these relations are achieved. This paper is (...) better thought of as an early stage of a dialogue than as a definitive treatise. (shrink)

Kevin Lynch's books are the classic underpinnings of modern urban planning and design, yet they are only a part of his rich legacy of ideas about human purposes and values in built form. City Sense and City Design brings together Lynch's remaining work, including professional design and planning projects that show how he translated many of his ideas and theories into practice. An invaluable sourcebook of design knowledge, City Sense and City Design completes the record of one of (...) the foremost environmental design theorists of our time and leads to a deeper understanding of his distinctively humanistic philosophy. The editors, both former students of Lynch, provide a cogent summary of his career and of the role he played in shaping and transforming the American urban design profession during the 1950s, the 1960s, and the 1970s. Each of the seven thematic groupings of writings and projects that follow begins with a short introduction explaining their content and their background. The essays in part I focus on the premises of Lynch's work: his novel reading of large-scale built environments and the notion that the design of an urban landscape should be as meaningful and intimate as the natural landscape. In part II, excerpts from Lynch's travel journals reveal his early ideas on how people perceive and interpret their surroundings—ideas that culminated in his seminal work, The Image of the City. This part of the book also presents Lynch's experiments with children and his assessment of environmental-perception research. The examples of both small-scale and large-scale analysis of visual form in part III are followed by three parts on city design. These include Lynch's more theoretical works on complex planning decisions involving both functional (spatial and structural organization) and normative (how the city works in human terms) approaches, articles discussing the principles that guided Lynch's teaching and practice of city design, and descriptions of Lynch's own projects in the Boston area and elsewhere. The book concludes with essays written late in Lynch's career, fantasy pieces describing utopias and offering new design freedoms and scenarios warning of horrifying "cacotopias.". (shrink)

C. I. Lewis (I883-I964) was the first major figure in history and philosophy of logic—-a field that has come to be recognized as a separate specialty after years of work by Ivor Grattan-Guinness and others (Dawson 2003, 257).Lewis was among the earliest to accept the challenges offered by this field; he was the first who had the philosophical and mathematical talent, the philosophical, logical, and historical background, and the patience and dedication to objectivity needed to excel. He was blessed with (...) many fortunate circumstances, not least of which was entering the field when mathematical logic, after only six decades of toil, had just reaped one of its most important harvests with publication of the monumental Principia Mathematica. It was a time of joyful optimism which demanded an historical account and a sober philosophical critique. Lewis was one of the first to apply to mathematical logic the Aristotelian dictum that we do not understand a living institution until we see it growing from its birth. (shrink)

The most cursory examination of the history of artificial intelligence highlights numerous egregious claims of its researchers, especially in relation to a populist form of ‘strong’ computationalism which holds that any suitably programmed computer instantiates genuine conscious mental states purely in virtue of carrying out a specific series of computations. The argument presented herein is a simple development of that originally presented in Putnam’s (Representation & Reality, Bradford Books, Cambridge in 1988 ) monograph, “Representation & Reality”, which if correct, has (...) important implications for turing machine functionalism and the prospect of ‘conscious’ machines. In the paper, instead of seeking to develop Putnam’s claim that, “everything implements every finite state automata”, I will try to establish the weaker result that, “everything implements the specific machine Q on a particular input set ( x )”. Then, equating Q ( x ) to any putative AI program, I will show that conceding the ‘strong AI’ thesis for Q (crediting it with mental states and consciousness) opens the door to a vicious form of panpsychism whereby all open systems, (e.g. grass, rocks etc.), must instantiate conscious experience and hence that disembodied minds lurk everywhere. (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)

What is the relation between works of fiction and the acquisition of knowledge?

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)

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)

While there are numerous differences between the approaches taken by Maurice Merleau-Ponty and James J. Gibson, the basic motivation of the two thinkers, as well as the internal logic of their respective views, is extraordinarily close. Both were guided throughout their lives by an attempt to overcome the dualism of subject and object, and both devoted considerable attention to their "Gestaltist" predecessors. There can be no doubt but that it is largely because of this common cause that the subsequent development (...) of their ideas is so similar. It is not my objective in what follows merely to demonstrate a similarity between two lines of thought. Instead, I will try to show that each approach gains considerably from attention to the other. There are numerous ways to begin such a project, each about as arbitrary as the next. For present purposes, I shall take as of central importance the question of the character of the perceived world, both in relation to the traditionally opposed mental and material "substances", and in relation to its identification and individuation of things vis a vis one another and vis a vis ourselves. This will implicate especially Gibson's "affordances" and Merleau-Ponty's thesis concerning the "materiality of meaning.". (shrink)

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)

Worrall argued that structural realism provides a ‘synthesis’ of the main pro-realist argument – the ‘No Miracles Argument’, and the main anti-realist argument – the ‘Pessimistic Induction’. More recently, however, it has been claimed that each of these arguments is an instance of the same probabilistic fallacy – sometimes called the ‘base-rate fallacy’. If correct, this clearly seems to undermine structural realism and Magnus and Callender have indeed claimed that both arguments are fallacious and ‘without [them] we lose the rationale (...) for … structural realism ’. I here argue that what have been shown to be fallacious are simply misguided formalisations of ‘the’ arguments and that when they are properly construed they continue to provide powerful motivation for favouring structural realism. (shrink)

thesis as to the inseparability of the perception of a picture and the perception of its subject matter, making use of a recently developed ‘interpretive’ theory of pictorial representation, according to which a picture is represented by its physical vehicle, so that a picture is itself part of the representational content of the vehicle—which picture in turn interpretively represents its subject matter. I also show how Richard Wollheim's own twofoldness thesis, along with related views of his, might be vindicated by (...) reinterpretation along similar lines, and conclude by showing that Ernst Gombrich too may be protected from some standard criticisms of his views—which views are also consistent with those of Wollheim as thus reinterpreted. (shrink)

In this paper I shall argue that the relations between metaphorical and literal kinds of language may be illuminated and clarified by comparison with corresponding differences and similarities between representing and represented objects. A kind of "picture theory" of metaphorical language will be proposed (though one which draws more on Wittgenstein's Investigations than on the Tractatus), in which successful metaphorical phrases are taken as being about things which are capable (in context) of being seen or recognized as representing or depicting (...) that which the words ordinarily refer to or describe when being used literally. (shrink)

Ridley’s overall strategy, in bare outline form, seems to be this. Collingwood's points about the close connections between artistic expression and physical involvement with a medium are so good that anything else he says must be reinterpreted so as to be consistent with these Expression insights. In particular his overall theory of art, usually interpreted as an "Ideal theory" (according to which a work of art is somehow "in the head", perhaps as the content of a mental imaginative act of (...) expression) must be charitably reinterpreted to remove any apparent references to such mental entities. I spell out two related puzzlements with this strategy. (shrink)

Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...) token. The investigation also raises some significant issues concerning artistic printmaking, and strongly suggests in addition that two new concepts of interpretation--of identifying and constitutive interpretation--are required to adequately explain the artistic phenomena that are uncovered. (shrink)

Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for (...) plays and for the related performing art of music as well. (shrink)

One question about the role of the mental in the determination of practical reason concerns the pro-attitudes: can any set of beliefs, without the help of a desire, rationalize or make reasonable a desire, intention, attempt, or intentional action? After criticizing Michael Smith’s argument for a negative answer to this question, I present two arguments in favor of a positive answer. Another question about the role of the mental in the determination of practical reason concerns belief: what gives you a (...) reason to go to the store, the fact that you’re out of milk or the belief that you’re out of milk? The two questions about the mental are connected. I argue that if we give a positive answer to the first question and reject the Humean Theory of Motivation, we cannot accept the currently favored conception of normative reasons as determined by the facts. For the anti-Humean, normative reasons must be determined by the agent’s perspective. (shrink)

Reasoning about mental states and processes is important in various subareas of the legal domain. A trial lawyer might need to reason and the beliefs, reasoning and other mental states and processes of members of a jury; a police officer might need to reason about the conjectured beliefs and reasoning of perpetrators; a judge may need to consider a defendant's mental states and processes for the purposes of sentencing and so on. Further, the mental states in question may themselves be (...) about the mental states and processes of other people. Therefore, if AI systems are to assist with reasoning tasks in law, they may need to be able to reason about mental states and processes. Such reasoning is riddled with uncertainty, and this is true in particular in the legal domain. The article discusses how various different types of uncertainty arise, and shows how they greatly complicate the task of reasoning about mental states and processes. The article concentrates on the special case of states of belief and processes of reasoning, and sketches an implemented, prototype computer program (ATT-Meta) that copes with the various types of uncertainty in reasoning about beliefs and reasoning. In particular, the article outlines the system's facilities for handling conflict between different lines of argument, especially when these lie within the reasoning of different people. The system's approach is illustrated by application to a real-life mugging example. [NB: The date on the archived preprint avail via this Phil* page has an incorrect date, 2011, on it. The correct date is 2001.]. (shrink)

In Anarchy, State and Utopia, Robert Nozick argues, first, that free-market anarchism is unstable -that it will inevitably lead back to the state; and, second, that without a certain "redistributive" proviso, the model is unjust. If either of these things is the case, the model defeats itself, for its justification purports to be that it provides a morally acceptable alternative to government (and therefore to the state). I argue, against Nozick's contention, that his "dominant protection agency" neither meets his monopoly (...) condition for statehood nor need run afowl of his redistributive requirement. This being the case, his argument against free market anarchism fails. (shrink)

This paper clarifies and evaluates a premise of William Alston’s argument in Perceiving God. The premise in question: if it is practically rational to engage in a doxastic practice, then it is epistemically rational to suppose that said practice is reliable. I first provide the background needed to understand how this premise fits into Alston’s main argument. I then present Alston’s main argument, and proceed to clarify, criticize, modify, and ultimately reject Alston’s argument for the premise in question. Without this (...) premise, Alston’s main argument fails. (shrink)

In this paper, I challenge a familiar argument -- a composite of arguments in the literature -- for the view that “Why be moral?” is a pseudo-question. I do so by refuting a component of that argument, a component that is not only crucial to the argument but important in its own right. That component concerns the status of moral reasons in replies to “Why be moral?”; consequently, this paper concerns reasons and rationality no less than it concerns morality. The (...) work I devote to those topics shows not only that the argument I address is unsound, but that the conclusion of that argument is false. “Why be moral?” is no pseudo-question. (shrink)

In this article, seven strategies for dealing with cross-cultural ethical conflict are described. Conflict situations are classified on the basis of centrality and consensus on the values involved, influence of the decision maker, and urgency. A contingency model suggests appropriate strategies for different situations. The model is applied to representative cases of cross-cultural ethical conflict.

The key problem for normative (or moral) cultural relativism arises as soon as we try to formulate it. It resists formulations that are (1) clear, precise, and intelligible; (2) plausible enough to warrant serious attention; and (3) faithful to the aims of leading cultural relativists, one such aim being to produce an important alternative to moral universalism. Meeting one or two of these conditions is easy; meeting all three is not. I discuss twenty-four candidates for the label "cultural relativism," showing (...) that not one meets all three conditions. In the end I conclude that cultural relativists have produced nothing that threatens universalism. (shrink)

There is a problem regarding God and perception right at the heart of Berkeley ’s metaphysics. With respect to this problem, I will argue for : It is intractable. Berkeley has no solution to this problem, and neither can we hope to offer one on his behalf. However, I will also argue for : The truth of need not be seen as threatening the viability of Berkeley ’s metaphysics. In fact, it may even be seen as speaking in its favor.

Distributed Cognition and Integrational Linguistics have much in common. Both approaches see communicative activity and intelligent behaviour in general as strongly con- text-dependent and action-oriented, and brains as permeated by history. But there is some ten- sion between the two frameworks on three important issues. The majority of theorists of distributed cognition want to maintain some notions of mental representation and computa- tion, and to seek generalizations and patterns in the various ways in which creatures like us couple with technologies, (...) media, and other agents; many also want to offer explanations at subpersonal levels which may undercut the autonomy of personal-level accounts. In contrast, dominant views in integrational linguistics reject all invocation of representation, resist the explanatory search for similarity across contexts and moments, and see linguistics as a lay dis- cipline which should not offer explanations in terms alien to ordinary agents. On each of these issues, I argue that integrationists could move closer to the distributed cognition frame- work without losing the most important aspects of their view: integrationist criticisms of mainstream or classical theories can be respected while alliances with revised cognitivist views about representation, context, and explanation are developed. Ó 2004 Elsevier Ltd. All rights reserved. (shrink)

Nuestro interés en el contenido mental no-conceptual es, principalmente, la articulación de una versión sustantiva (no-trivial) de esta clase de contenido en la experiencia perceptual. El debate acerca del contenido no-conceptual ha girado, en su mayor parte, alrededor de su existencia; y los argumentos que se han ofrecido en su favor abogan por una versión no sustantiva según la cual el contenido no-conceptual es aquel que no satisface ciertos requisitos conceptuales. Así, para desarrollar una versión sustantiva del contenido mental no-conceptual (...) hemos apelado a la versión de la experiencia perceptual de propiedades espaciales ofrecida por Evans (1982 cap. 6). A partir de esto desarrollamos un nuevo argumento a favor del contenido no-conceptual de la experiencia perceptual que lo vincula a la actividad característica de la experiencia perceptual. Por último, exponemos uno de los ataques de McDowell (1996) a la noción de contenido no-conceptual y presentamos nuestras réplicas a este ataque, mostrando su insuficiencia. Al mostrar que la crítica de McDowell no es exitosa, consideramos que podríamos tener una versión del contenido no-conceptual de la experiencia que es inmune a esta línea de argumentación. (shrink)

I respond to an objection against satisficing consequentialism, due to Tim Mulgan.

Remembering seems, to philosophers and scientists, one of the most mystifying of human activities. Yet natural language users have no problem understanding what is meant by ‘memory’. Memory is simply the ability to recall personally experienced events and certain kinds of information such as facts, names, or faces; or how to perform certain actions, like riding a bike or playing chess. It is on this basis that people sometimes make claims about themselves or others having a good or bad memory, (...) especially for things like names, numbers, or faces. Why then is memory such a mystery? Because, firstly, of its diversity: memory enables us to perform a plethora of different tasks, including the continuous interpretation of every moment of consciousness. Secondly, different forms of memory have different standards of accuracy, and often dramatically different criteria for success. (shrink)

A counterfactual is a conditional statement in the subjunctive mood. For example: If Suzy hadn’t thrown the rock, then the bottle wouldn’t have shattered. The philosophical importance of counterfactuals stems from the fact that they seem to be closely connected to the concept of causation. Thus it seems that the truth of the above conditional is just what is required for Suzy’s throw to count as a cause of the bottle’s shattering. If philosophers were reluctant to exploit this idea prior (...) to 1970, it was because of a widespread feeling that the truth-conditions of the counterfactual conditional were not sufficiently well understood. The development of a formal semantics for counterfactuals by Robert Stalnaker [1968] and David Lewis [1973b] stands as a major recent achievement in philosophical logic. (shrink)

Nanotechnology, as with many technologies before it, places a strain on existing legislation and poses a challenge to all administrative agencies tasked with regulating technology-based products. It is easy to see how statutory schemes become outdated, as our ability to understand and affect the world progresses. In this article, we address the regulatory problems that nanotechnology posses for the Food and Drug Administration’s (FDA) classification structure for ‘‘drugs’’ and ‘‘devices.’’ The last major modification to these terms was in 1976, with (...) the enactment of the Medical Device Amendments. There are serious practical differences for a classification as a drug or device in terms of time to market and research. Drugs are classified, primarily, as acting by ‘‘chemical action.’’ We lay out some legal, philosophic, and scientific tools that serve to provide a useful, as well as legally and scientifically faithful, distinction between drugs and devices for the purpose of regulatory classification. These issues we raise are worth the consideration of anyone who is interested in the regulation of nano-products or other novel technologies. (shrink)