This chapter argues that scientific and philosophical progress in our understanding of the living world requires that we abandon a metaphysics of things in favour of one centred on processes. We identify three main empirical motivations for adopting a process ontology in biology: metabolic turnover, life cycles, and ecological interdependence. We show how taking a processual stance in the philosophy of biology enables us to ground existing critiques of essentialism, reductionism, and mechanicism, all of which have traditionally been associated with (...) substance ontology. We illustrate the consequences of embracing an ontology of processes in biology by considering some of its implications for physiology, genetics, evolution, and medicine. And we attempt to locate the subsequent chapters of the book in relation to the position we defend. (shrink)

Do aesthetic reasons have normative authority over us? Could there be anything like an aesthetic ‘ought’ or an aesthetic obligation? I argue that there are no aesthetic obligations. We have reasons to act certain ways regarding various aesthetic objects – most notably, reasons to attend to and appreciate those objects. But, I argue, these reasons never amount to duties. This is because aesthetic reasons are merely evaluative, not deontic. They can only entice us or invite us – they can never (...) compel us. Beauty gives us goods without shoulds. (shrink)

Many policies and ethical guidelines recommend developing “trustworthy AI”. We argue that developing morally trustworthy AI is not only unethical, as it promotes trust in an entity that cannot be trustworthy, but it is also unnecessary for optimal calibration. Instead, we show that reliability, exclusive of moral trust, entails the appropriate normative constraints that enable optimal calibration and mitigate the vulnerability that arises in high-stakes hybrid decision-making environments, without also demanding, as moral trust would, the anthropomorphization of AI and thus (...) epistemically dubious behavior. The normative demands of reliability for inter-agential action are argued to be met by an analogue to procedural metacognitive competence (i.e., the ability to evaluate the quality of one’s own informational states to regulate subsequent action). Drawing on recent empirical findings that suggest providing reliability scores (e.g., F1-scores) to human decision-makers improves calibration in the AI system, we argue that reliability scores provide a good index of competence and enable humans to determine how much they wish to rely on the system. (shrink)

Country music has not gotten much attention in philosophy. I introduce two philosophical issues that country music raises. First, country music is simple. Some people might think that its simplicity makes country music worse; I argue that simplicity is aesthetically valuable. The second issue is country music’s ideal of authenticity; fans and performers think that country should be real or genuine in a particular way. But country music scholars have debunked the idea that country authenticity gets at anything real; widespread (...) ideas about country authenticity are rooted in a racist and fabricated picture of country music. In discussing these two issues, I highlight the importance of community in country music. (shrink)

Time in electromagnetism shares many features with time in other physical theories. But there is one aspect of electromagnetism's relationship with time that has always been controversial, yet has not always attracted the limelight it deserves: the electromagnetic arrow of time. Beginning with a re-analysis of a famous argument between Ritz and Einstein over the origins of the radiation arrow, this chapter frames the debate between modern Einsteinians and neo-Ritzians. It tries to find a clean statement of what the arrow (...) is and then explains how it relates to the cosmological and thermodynamic arrows, representing the most developed and sophisticated attack yet, in either the physics or philosophy literature, on the electromagnetic arrow of time. (shrink)

The relation between body and mind is one of the oldest riddles that has puzzled mankind. That material and mental events may interact is accepted even by the law: our mental capacity to concentrate on the task can be seriously reduced by drugs. Physical and chemical processes may act upon the mind; and when we are writing a difficult letter, our mind acts upon our body and, through a chain of physical events, upon the mind of the recipient of the (...) letter. This is what the authors of this book call the 'interaction of mental and physical events'. We know very little about this interaction; and according to recent philosophical fashions this is explained by the alleged fact that we have brains but no thoughts. The authors of this book stress that they cannot solve the body mind problem; but they hope that they have been able to shed new light on it. Eccles especially with his theory that the brain is a detector and amplifier; a theory that has given rise to important new developments, including new and exciting experiments; and Popper with his highly controversial theory of 'World 3'. They show that certain fashionable solutions which have been offered fail to understand the seriousness of the problems of the emergence of life, or consciousness and of the creativity of our minds. In Part I, Popper discusses the philosophical issue between dualist or even pluralist interaction on the one side, and materialism and parallelism on the other. There is also a historical review of these issues. In Part II, Eccles examines the mind from the neurological standpoint: the structure of the brain and its functional performance under normal as well as abnormal circumstances. The result is a radical and intriguing hypothesis on the interaction between mental events and detailed neurological occurrences in the cerebral cortex. Part III, based on twelve recorded conversations, reflects the exciting exchange between the authors as they attempt to come to terms with their opinions. (shrink)

Stephen Law developed a challenge to theism, known as the evil-god challenge (Law (2010) ). The evil-god challenge to theism is to explain why the theist’s responses to the problem of evil are any better than the diabolist’s – who believes in a supremely evil god – rejoinders to the problem of good, when all the theist’s ploys (theodicy, sceptical theism, etc.) can be parodied by the diabolist. In the first part of this article, I extend the evil-god challenge by (...) showing that additional theist replies to the problem of evil (more theodicies, the privation view of evil, and others) also may be appropriated, with just as much plausibility, in support of the diabolist position. In the second part of the article, I defend the evil-god challenge against several objections. (shrink)

ABSTRACT Drawing inspiration from Fred Dretske, L. S. Carrier, John A. Barker, and Robert Nozick, we develop a tracking analysis of knowing according to which a true belief constitutes knowledge if and only if it is based on reasons that are sensitive to the fact that makes it true, that is, reasons that wouldn’t obtain if the belief weren’t true. We show that our sensitivity analysis handles numerous Gettier-type cases and lottery problems, blocks pathways leading to skepticism, and validates (...) the epistemic closure thesis that correct inferences from known premises yield knowledge of the conclusions. We discuss the plausible views of Ted Warfield and Branden Fitelson regarding cases of knowledge acquired via inference from false premises, and we show how our sensitivity analysis can account for such cases. We present arguments designed to discredit putative counterexamples to sensitivity analyses recently proffered by Tristan Haze, John Williams and Neil Sinhababu, which involve true statements made by untrustworthy informants and strange clocks that sometimes display the correct time while running backwards. Finally, we show that in virtue of employing the paradox-free subjunctive conditionals codified by Relevance Logic theorists instead of the paradox-laden subjunctive conditionals codified by Robert Stalnaker and David Lewis. (shrink)

In a recent very interesting and important challenge to tracking theories of knowledge, Williams & Sinhababu claim to have devised a counter-example to tracking theories of knowledge of a sort that escapes the defense of those theories by Adams & Clarke. In this paper we will explain why this is not true. Tracking theories are not undermined by the example of the backward clock, as interesting as the case is.

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)

One routinely undergoes a noetic feeling (also called “metacognitive feeling” or “epistemic feeling”), the so-called “feeling of knowing”, whenever trying to recall a person’s name. One feels the name is known despite being unable to recall it. Other experiences also fall under this category, e.g., the tip-of-the-tongue experience, the feeling of confidence. A distinguishing characteristic of noetic feelings is how they are crucially related to the facts we know, so much so that the activation of semantic memory can easily result (...) in the production of noetic feelings – a regularity that memory research has often exploited. And yet little is known about the mechanism that produces noetic feelings. Is it solely brain-based or does it depend upon the extracerebral body for its production of feelings? To arrive at an answer, various studies in metamemory research will be analyzed to determine what ought to be made of the mechanism responsible for noetic feelings. I argue that evidence suggests that it relies upon extracerebral processes, in particular cardiovascular processes, the result being support for an embodied view of metacognition. (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)

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 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)

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)

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)

This is an encyclopedia article about epistemic closure principles. The article explains what they are, their various philosophical uses, how they are argued for or against, and provides an overview of the related literature.

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)

The aim of this project to expose the reasons behind the pandemic of misinformation (henceforth, PofM) by examining the enabling conditions of epistemic agency and the emerging technologies that threaten it. I plan to research the emotional origin of epistemic agency, i.e. on the origin of our capacity to acquire justification for belief, as well as on the significance this emotional origin has for our lives as epistemic agents in our so-called Misinformation Age. This project has three objectives. First, I (...) plan to expose the degree to which epistemic agency is made possible by an under-researched species of emotion called epistemic feelings. Perhaps, the most epistemically significant is the feeling of confidence. In particular, epistemic feelings make epistemic agency possible by making errors in reasoning salient or the potential lack thereof. -/- Second, in order to diagnose the reasons for PofM, I will analyze the emotional basis of epistemic agency in the context of emerging technologies. Epistemic feelings ought to be construed as motivators of epistemic acts, specifically acts following exposure to misinformation spread by social media. For example, a recent study found that subjects on YouTube have a 6.3% probability in five clicks to go from watching innocuous videos to misogynistic videos. Accordingly, one prominent view holds that social media algorithms lead subjects down the proverbial rabbit hole, producing content that elicits strong emotional reactions. -/- But under-researched is the degree to which these emotions are intertwined with epistemic feelings, so that subjects are likely to misjudge the information as correct due to being primed to do so by processing the AI's suggested media. Thus, when this technology is used in epistemic practices, the result is invariably epistemically bad behavior because of how this manner of producing content motivates epistemic acts through the production of erroneous feelings of confidence, which result from the perceived ease of cognitive processing: the content is easy to process and so, the subject confidently misjudges, it is true. As of yet, an account of this cognitive and emotional decision-making process has not been used to analyze how emerging technologies are threatening epistemic agency, and thus our wellbeing as knowers. -/- Finally, I plan to develop therapeutics for PofM by outlining how to reform our collective epistemic practices. Thus, this project complements existing research in virtue epistemology, specifically by articulating the challenges to cultivating epistemic virtues and warding off the vices of the mind. In summation, the project aims to account for how emerging technologies are committing a form of epistemic injustice through the exploitation of cognitive biases and the production of erroneous epistemic feelings, with the overarching goal being a framework for convalescing from the pandemic of misinformation plaguing our age. (shrink)

This review aimed at exploring the psychosocial disorders of Nigeria as a nation, its effect on the citizens and the remedy. Psychosocial disorder is a mental illness induced by life experiences, stress, as well as maladaptive cognitive and behavioural processes. The prevalence of these disorders include depression, schizophrenia, anxiety disorders, substance use disorder, personality disorder and autism spectrum disorders have rapidly increase over the past years in Nigeria with its negative impact on the socioeconomic status, psychological well-being; peaceful coexistence and (...) mental health of the entire society. These have precipitated some social anomalies such as bribery and corruption, antisocial behaviour, religious fanaticism, terrorism and so on. The study therefore recommends the need for government to implement effective mental health interventions program that would facilitate easy access to mental healthcare services in Nigeria. There is also an urgent need to improve the mental health awareness of Nigerians through education and public mental health campaign. (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)

This paper argues that the Igbo artistic tradition, contrary to Plato‟s, represents authentic Igbo cultural traits, and fills the gap between the abstract reality and the physical world. There is some obvious difficulty encountered by most of the expatriate scholars in understanding the new meaning of art, especially, with regard to professions. Traditionally, artistic forms are simply derived from specific objects in nature, or as an illustrative symbolic representation of a specific abstract being Plato‟s account of arts as imitation doubted (...) the capacity of art to represent reality as it were, and thereby creating a lacuna between the abstract and the physical. On the contrary, most Igbo and traditional African artistic works were to collaborate between what is thought of and what is seen. There is some obvious difficulty encountered by most of the expatriate scholars in understanding the new meaning of art, especially, with regard to professions. Traditionally, artistic forms are simply derived from specific objects in nature, or as an illustrative symbolic representation of a specific abstract being. We argue, therefore, that the traditional Igbo, and African art works represented reality and serve as a vehicle of conveying knowledge, and truth about reality. To characterise art in terms of style and attribute would put the origin and purpose of art works to dereliction. (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)

Moti Mizrahi argues that Gettier cases are unsuccessful counterexamples to the traditional analysis of knowledge (TAK) because such cases inadequately reveal epistemic failures of justified true belief (JTB); and because Gettier cases merely demonstrate semantic inadequacy, the apparent epistemic force of Gettier cases is misleading. Although Mizrahi claims to have deflated the epistemic force of Gettier cases, I will argue that the presence of semantic deficiency in Gettier cases neither requires nor indicates the denial of the epistemic force of those (...) cases. I will provide an extracted version of Mizrahi’s argument, which I believe to be most charitable to his motivation. Then I will offer a counterexample to a pivotal premise in Mizrahi’s argument, ultimately rendering the argument unsound. Finally, upon the examination of a plausible objection, I conclude that Gettier cases are epistemically sustained. (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)

The liberal conception of rights which has dominated the greater part of the 19th and 20th centuries is still very relevant today with its emphasis on individual interests. The liberals consider the rights or the interests of individual members of the society as trumps over group interests. Under the liberal harm and offence principles for example, they hold that whatever interests claimed by the groups should have adequate protection under individual interests or rights. This paper, while recognizing the controversies and (...) difficulties in a wholesome acceptance of group rights, aims to show that the considerations of the liberal harm and offence principles that ignore the interests of groups or collectives will be incomplete in handling or managing the problems of the political society. We argue that in spite of the difficulties and controversies related with group interests and rights, we cannot ignore the constant problems of the political society that require proper attention to such interests. Our major interest is therefore to show that there is certainly a good case for its recognition in the language of rights. The theory of group rights that stresses the independent existence of group interests from that of individuals is particularly admirable and may not be ignored easily in modern political thinking. (shrink)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of music. (...) Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (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)

Upon first hearing sinewaves, all that can be discerned are beeps and whistles. But after hearing the original speech, the beeps and whistles sound like speech. The difference between these two episodes undoubtedly involves an alteration in phenomenal character. O’Callaghan (2011) argues that this alteration is non-sensory, but he leaves open the possibility of attributing it to some other source, e.g. cognition. I discuss whether the alteration in phenomenal character involved in sinewave speech provides evidence for cognitive phenomenology. I defend (...) both the existence of cognitive phenomenology and the phenomenal contrast method, as each concerns the case presented here. (shrink)

It is axiomatic for most African scholars that the colonizers are responsible for the present problems facing the African continent. This is given much credence by Maduabuchi Dukor citing a barrage of issues which in summary pointed to the fact that the legacy of the colonizers to the African continent was ill willed to create chaos and therefore to make the African perpetually dependent on the colonizers. This paper accepts this fact but insists that the African as a human being (...) with free will and responsibility cannot continue to blame the colonizers when he has choice either to reject the colonial predetermined events or to accept them taking responsibility for his actions. (shrink)

Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...) being “autographic.” Second, other artworks such as musical or literary works seem to be copyable without any such limitations: for example, two identical copies of a novel could each equally be a genuine instance of that novel; such works are “allographic,” in Goodman’s terminology. Nevertheless, it seems clear enough that a deeper understanding of both kinds of artworks requires the pursuit of analogies or similarities between them, in spite of their differences. Any such analogies that may be found will provide critical tests for more general theories about the nature of artworks. I show how to resolve such analogies for the orientational concept of inversion. (shrink)

There are no unicorns, but there are representations of them, hence motivating an explanation of discourse about the property 'unicorn' in terms of discourse about representations of unicorns. I show how to extend this strategy to apply to any kind or property terms. References to property instances may be explained as references to comprehensive representations of them, which represent all of the (supposed) properties of such an instance--unlike 'ordinary' representations, which are distinctive in that they represent only some limited subset (...) of such properties, through use only of some proper subset of their own (supposed) properties. This representationalist approach results in a very economical naturalist ontology, which has no need for properties. (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)

I propose a new kind of meta-ethical theory, grounded in a theory of interests and of the modifications required in order to render interests compatible with each other. The theory hence is called "Interest Compatibilism" (IC). A basic account of the nature of interests, and of possible relations between them, is also included. Ethical values turn out to be those involved in optimally desirable forms of harmonization and control of interests and their associated values. The theory is presented and developed (...) with the aid of specific comparisons to more standard deontological and consequentialist ethical theories and views. Utilitarian consequentialist views are particularly criticised, and suggestions for an improved consequentialist view incorporating aspects of the IC approach are developed. Whether or not the IC theory is acceptable as a whole, I argue that some such alternative consequentialist theory is desperately needed. My account of interests should be independently acceptable also. (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)

Journal of Mind and Behavior 28 no. 2 , pp. 135-156. The self-prompting theory of consciousness holds that conscious perceptual experience occurs when non-routine perceptual data prompt the activation of a plan in an executive control system that monitors perceptual input. On the other hand, routine, non-conscious perception merely provides data about the world, which indicatively describes the world correctly or incorrectly. Perceptual experience instead involves data that are about the perceiver, not the world. Their function is that of imperatively (...) prompting the perceiver herself to do something (hence. (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)

The highly enjoyable experiences associated with drinking good wines have been widely misunderstood. It is common to regard wine appreciation as an analytical or quasi-scientific kind of activity, in which wine experts carefully distinguish the precise sensory qualities of each wine, and then pass on their accumulated factual knowledge to less experienced wine enthusiasts. However, this model of wine appreciation is seriously defective. One good way to show its defects is to provide a better and more fundamental scientific account of (...) what is involved in wine appreciation. In order to do so, I outline a novel, evolutionarily based theory of perceptual consciousness that explains why there must be imaginative as well as analytical kinds of experiences of wines. In addition, imaginative wine experiences, unlike typical imaginative artistic experiences, may be shown to involve highly individualistic, improvisatory elements that help to give wine drinking a unique place among the recreational arts. (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)

ABSTRACT -/- My article, "Ariadne at the Movies," provided a detailed, double film counter-example to the claim that films are types. Here I defend my views against various criticisms provided by Aaron Smuts. The defense includes some necessary clarification of the Ariadne article's broader theoretical structure and background, as well as some additional anti-type arguments to further withstand his criticisms.

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)