The mind-body problem is a perennial philosophical problem that seeks to uncover the relationship or causal interaction that exists between the corporeal and incorporeal aspects of the human person. It thrives under the assumption that the human person is made up of two distinct entities, that is, mind and body, which explains their assumed causal relation. As attractive as this may seem, not all philosophers agree to this feigned idea of interaction and bifurcation of the human person. One philosopher of (...) note, who sorts to address this problem in the 17th century, is René Descartes. For Descartes, minds and bodies are distinct kinds of substance, where bodies are spatially extended substances (a res extensa) and minds are unexpended substances characterised primarily by thought (a res cogitans). But, if minds and bodies are radically dissimilar, how could they causally interact? This paper therefore attempts to examine the philosophical foundations of Cartesian dualism. It also articulates the major arguments adopted by Descartes through his methodic doubts to address the mind-body problem. The paper concludes by highlighting some fundamental criticisms of Cartesian Interactionism in the light of recent trends in parapsychology and neuro-scientific research. (shrink)

Demonstratives seem to have posed a severe difficulty for Frege’s philosophy of language, to which his doctrine of incommunicable senses was a reaction. In “The Thought,” Frege briefly discusses sentences containing such demonstratives as “today,” “here,” and “yesterday,” and then turns to certain questions that he says are raised by the occurrence of “I” in sentences (T, 24-26). He is led to say that, when one thinks about oneself, one grasps thoughts that others cannot grasp, that cannot be communicated. However, (...) nothing could be more out of the spirit of Frege’s account of sense and thought than an incommunicable, private thought. In the first part of the paper, I explain the problem demonstratives pose for Frege, and explore three ways he might have dealt with it. I argue that none of these ways provides Frege with a solution to his problem consistent with his philosophy of language. The first two are plausible as solutions, but contradict his identification of the sense expressed by a sentence with a thought. The third preserves the identification, but is implausible. In the second part, I suggest that Frege was led to his doctrine of incommunicable senses as a result of some appreciation of the difficulties his account of demonstratives faces, for these come quickly to the surface when we think about “I.” I argue that incommunicable senses won’t help. I end by trying to identify the central problem with Frege’s approach, and sketching an alternative. (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)

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.

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)

The problem of downward causation is that an intuitive response to an intuitive picture leads to counterintuitive results. Suppose a mental event, m1, causes another mental event, m2. Unless the mental and the physical are completely independent, there will be a physical event in your brain or your body or the physical world as a whole that underlies this event. The mental event occurs at least partly in virtue of the physical event’s occurring. And the same goes for m2 [2] (...) and p2. Let’s not worry about what exactly “underlying” or “in virtue of” means here. Here’s the picture. m1 -----> m2 | | p1 -----> p2 The horizontal arrows represent causation, and the vertical lines represent underlying, whatever that may be. There’s some reason to think that the only way m1 can bring about m2 is by bringing about p2. You can’t convince someone of something through mental telepathy. You need to interact with the physical world, perhaps by saying something and so making some noise, or by pointing and getting them to turn their head and see. What goes for the case of two people goes for the case of one person as well. Superstition aside, there is no purely mental energy that floats free of the merely physical workings of the brain. If m1 brings about m2 by bringing about p2, then m1 brings about p2. This is downward causation. But wait. Doesn’t p1 bring about p2? Isn’t that what the bottom arrow represents? Maybe m1 and p1 work together to bring about p2. There are little holes in the physical causal structure that need to be filled by mental events. You don’t need a sweeping metaphysical thesis about the causal closure of the physical to find this implausible. Maybe p2 is overdetermined. (shrink)

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.

Certain passages in Kaplan’s ‘Demonstratives’ are often taken to show that non-vacuous sentential operators associated with a certain parameter of sentential truth require a corresponding relativism concerning assertoric contents: namely, their truth values also must vary with that parameter. Thus, for example, the non-vacuity of a temporal sentential operator ‘always’ would require some of its operands to have contents that have different truth values at different times. While making no claims about Kaplan’s intentions, we provide several reconstructions of how such (...) an argument might go, focusing on the case of time and temporal operators as an illustration. What we regard as the most plausible reconstruction of the argument establishes a conclusion similar enough to that attributed to Kaplan. However, the argument overgenerates, leading to absurd consequences. We conclude that we must distinguish assertoric contents from compositional semantic values, and argue that once they are distinguished, the argument fails to establish any substantial conclusions. We also briefly discuss a related argument commonly attributed to Lewis, and a recent variant due to Weber. (shrink)

Prior Analytics by the Greek philosopher Aristotle (384 – 322 BCE) and Laws of Thought by the English mathematician George Boole (1815 – 1864) are the two most important surviving original logical works from before the advent of modern logic. This article has a single goal: to compare Aristotle’s system with the system that Boole constructed over twenty-two centuries later intending to extend and perfect what Aristotle had started. This comparison merits an article itself. Accordingly, this article does not discuss (...) many other historically and philosophically important aspects of Boole’s book, e.g. his confused attempt to apply differential calculus to logic, his misguided effort to make his system of ‘class logic’ serve as a kind of ‘truth-functional logic’, his now almost forgotten foray into probability theory, or his blindness to the fact that a truth-functional combination of equations that follows from a given truth-functional combination of equations need not follow truth-functionally. One of the main conclusions is that Boole’s contribution widened logic and changed its nature to such an extent that he fully deserves to share with Aristotle the status of being a founding figure in logic. By setting forth in clear and systematic fashion the basic methods for establishing validity and for establishing invalidity, Aristotle became the founder of logic as formal epistemology. By making the first unmistakable steps toward opening logic to the study of ‘laws of thought’—tautologies and laws such as excluded middle and non-contradiction—Boole became the founder of logic as formal ontology. (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)

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)

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

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)

Infinitists argue that their view outshines foundationalism because infinitism can, whereas foundationalism cannot, explain two of epistemic justification’s crucial features: it comes in degrees and it can be complete. I present four different ways that foundationalists could make sense of those two features of justification, thereby undermining the case for infinitism.

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)

In discussions of practical reason we often encounter the view that a fact is a reason for an agent to act only if the fact is capable of moving the agent to act. This view figures centrally in many philosophical controversies, and while taken for granted by some, it is vigorously disputed by others. In this essay I show that if the disputed position is correctly interpreted, it is well armored against stock objections and implied by a premise that is (...) not only plausible, but generally accepted by the position's critics. (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)

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)

1. The restless mind[1] Like us, early modern philosophers, both natural and moral, didn’t always understand the springs of their own actions. They didn’t want to feel everything they felt, and couldn’t trace the sources of all their thoughts and imaginings. Events from past experience come to mind again unwilled: abstract thought is interrupted by fantastical images, like the ‘winged horses, fiery dragons, and monstrous giants’ by which Hume exemplified ‘the liberty of the imagination’[2]. Then, as now, a failure to (...) keep a train of thought on track could be blamed for both personal and social ills, for wasted lives and erratic policies. The ongoing struggle to distinguish the deliverances of reason from what Hume called ‘the loose and indolent reveries of a castle-builder’ (1739/ 1978, p.624) thus required scrutiny of daydream and fancy as much as belief and knowledge (see also Tierney- Hynes 2007 on the ‘castle-builder’). The mind’s tendencies to float and to roam were of great interest to early modern philosophers as well as to others concerned with medicine, mental health, morals, education, and taste. This paper sketches one local line of thinking and theorizing about ‘mind-wandering’ and its bodily causes in British philosophy over the first decades of the 18th century, as a small exemplar of a form of cognitive history intended to illuminate independent historical and contemporary concerns about our understanding of mental life. The dual aim is to see problems in our historical material that we might otherwise miss, and to use history to explore phenomena more or less marginalized by modern psychology[3]. (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)

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)

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)

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)

Some central epistemological notions are expressed by sentential operators O that entail the possibility of knowledge in the sense that 'Op' entails 'It is possible to know that p'. We call these modal-epistemological notions. Using apriority and being in a position to know as case studies, we argue that the logics of modal epistemological notions are extremely weak. In particular, their logics are not normal and do not include any closure principles.

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)

An encyclopedic article on epistemic supervenience in Blackwell companion to epistemology, 2 ed.

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)

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)

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)

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)

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)

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)

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 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)

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)

If the term "relativism" is understood as relativists take it, everyone is a relativist. If, on the other hand, one understands "relativism" as absolutists do, no one really could consistently be a relativist, despite what they might think. As I hope to show, however, much of this positioning of persons and philosophies is foolish. It misses much that is important in philosophical discussion and focuses attention in directions that lead to dead ends.

In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...) and potentially comprehensively explain these difficult cases. (shrink)

Knowledge entails the truth of the proposition known; that which is merely believed may be false. If I have beliefs about your beliefs, then I may believe that some of your beliefs are false. I may believe, for example, that you mistakenly believe that it is now raining outside. This is a coherent belief for me, though not for you. You cannot coherently believe that you believe falsely that it is raining, and this despite the fact that your having that (...) false belief is clearly a logical possibility. The proposition is, for you, a kind of doxastic blindspot. (shrink)

The naturalistic voluntary control (VC) theory explains free will and consciousness in terms of each other. It is central to free voluntary control of action that one can control both what one is conscious of, and also what one is not conscious of. Furthermore, the specific cognitive ability or skill involved in voluntarily controlling whether information is processed consciously or unconsciously can itself be used to explain consciousness. In functional terms, it is whatever kind of cognitive processing occurs when a (...) conscious state is voluntarily chosen. This leads to a bivalent view of cognitive processing in which there is voluntary choice either of non-routine (conscious) or routine (unconscious) kinds of processing. On this VC account, consciousness could not exist without its being possible to voluntarily choose a non-routine kind of processing. (shrink)

A picture provides both configurational content concerning its design features, and recognitional content about its external subject. But how is this possible, since all that a viewer can actually see is the picture's own design? I argue that the most plausible explanation is that a picture's design has a dual function. It both encodes artistically relevant design content, and in turn that design content encodes the subject content of the picture--producing overall a double content structure. Also, it is highly desirable (...) that a resulting double content theory for pictures should be closely integrated with a related double content account of perceptual content generally, so as to avoid suspicions of ad hoc theorizing that would apply only to pictorial content. The resulting theory should also be able to explain the inevitable ambiguities involved in abstracting two levels of visual content from a single visible surface, as well as explaining the systematic relations between the two kinds of content. I provide an orientational theory--based on a recently developed spatial logic of orientational concepts--for this purpose, and show how depictive and perceptual content in general can be usefully explained in these orientational terms. This account of picturing also integrates well with a previously developed, more generic double content theory of art, and it is also plausible in cognitive science terms. (shrink)

Memory is a set of cognitive capacities by which humans and other animals retain information and reconstruct past experiences, usually for present purposes. Philosophical investigation into memory is in part continuous with the development of cognitive scientific theories, but includes related inquiries into metaphysics and personal identity.

The most important voices concerning the changes now occurring in Central and Eastem Europe are those that come from within, for those voices are informed not only by indifferent data and objective reports, but by personal hopes, fears, desires and needs. Without careful consideration of what such voices say, judgment can only be sterile. Furthermore, policy decisions made without the benefit of the intemal perspective are likely to be flawed, and ineffectual. Policies won’t work if they do not take into (...) account the point of view of those who are supposed to be affected by them. There nevertheless remains an important role for outsiders to play in the discussion of the impact of political change on the future of philosophical thought, especially if the outside perspective can serve as a test of the internal view. (shrink)

While I strongly agree with Patrick Grim that abstract relationships are real, and that it is possible to get them right, the danger that we will get them wrong is just as real. The use of visual representation of abstract phenomena, precisely because of our predilection to see patterns in everything and because we don't have to think so hard about visible representations generally, may lead us to see things that aren't there.

A strategy for investigating consciousness that has proven very productive has focused on comparing brain processes that are accompanied by consciousness with processes that are not. But comparatively little attention has been given to a related strategy that promises to be even more fertile. This strategy exploits the fact that as individuals develop, new classes of brain processes can transition from operating ‘in the dark’ to becoming conscious. It has been suggested that these transitions occur when a new class of (...) brain processes becomes object to a new, emergent, higher-level subject. Similar transitions are likely to have occurred during evolution. An evolutionary/developmental research strategy sets out to identify the nature of the transitions in brain processes that shift them from operating in the dark to ‘lighting up’. The paper begins the application of this strategy by extrapolating the sequence of transitions back towards its origin. The goal is to reconstruct a minimally-complex, subject-object subsystem that would be capable of giving rise to consciousness and providing adaptive benefits. By focusing on reconstructing a subsystem that is simple and understandable, this approach avoids the homunculus fallacy. The reconstruction suggests that the emergence of such a minimally-complex subsystem was driven by its capacity to coordinate body-environment interactions in real time e.g. hand-eye coordination. Conscious processing emerged initially because of its central role in organising real-time sensorimotor coordination. The paper goes on to identify and examine a number of subsequent major transitions in consciousness, including the emergence of capacities for conscious mental modelling. Each transition is driven by its potential to solve adaptive challenges that cannot be overcome at lower levels. The paper argues that mental modelling arose out of a pre-existing capacity to use simulations of motor actions to anticipate the consequences of the actions. As the capacity developed, elements of the simulations could be changed, and the consequences of these changes could be ‘thought through’ consciously. This enabled alternative motor responses to be evaluated. The paper goes on to predict significant new major transitions in consciousness. (shrink)

Actual situations where folk philosophy might have predicted precognition effects were studied and dealt with experimentally and theoretically. Extremely strong experimental results were obtained but the findings supported not precognition but the Many Bubble Interpretation, which uses at this time dynamical systems theory as applied to the physics of the brain. Further experiments and theoretical work were discussed.

The idea of dreams being mere internal artifacts of the mind does not seem to be essential to externalism and extended mind theories, which seem as if they would function as well without this additional assumption. The Many Bubble Interpretation could allow a simpler rationale to externalist theories, which may be even simpler if the assumption that dreams have no worthwhile content outside the mind is omitted.

John Clarke of Hull, one of the eighteenth century's staunchest proponents of psychological egoism, defended that theory in his Foundation of Morality in Theory and Practice. He did so mainly by opposing the objections to egoism in the first two editions of Francis Hutcheson's Inquiry into Virtue. But Clarke also produced a challenging, direct argument for egoism which, regrettably, has received virtually no scholarly attention. In this paper I give it some of the attention it merits. In addition to (...) reconstructing it and addressing interpretive issues about it, I show that it withstands a tempting objection. I also show that although Clarke's argument ultimately fails, to study it is instructive. It illuminates, for example, Hutcheson's likely intentions in a passage relevant to egoism. (shrink)