The author puts forward and defends a new argument for indirect realism called the argument from pain. The argument is akin to a well-known traditional argument to the same end, the argument from hallucination. Like the latter, it contains one premise stating an analogy between veridical perceptions and certain other states and one premise stating that those states are states of acquaintance with sense-data. The crucial difference is that the states that are said to be analogous to veridical perceptions are (...) pain-states instead of hallucinations. This difference makes the argument from pain immune to the standard objections against the argument from hallucination. (shrink)

The book explores the impact of manuscript remarks during the year 1929 on the development of Wittgenstein’s thought. Although its intention is to put the focus specifically on the manuscripts, the book is not purely exegetical. The contributors generate important new insights for understanding Wittgenstein’s philosophy and his place in the history of analytic philosophy. -/- Wittgenstein’s writings from the years 1929-1930 are valuable, not simply because they marked Wittgenstein’s return to academic philosophy after a seven-year absence, but because these (...) works indicate several changes in his philosophical thinking. The chapters in this volume clarify the significance of Wittgenstein’s return to philosophy in 1929. In Part 1, the contributors address different issues in the philosophy of mathematics, e.g. Wittgenstein's understanding of certain aspects of intuitionism and his commitment to verificationism, as well as his idea of "a new system". Part 2 examines Wittgenstein's philosophical development and his understanding of philosophical method. Here the contributors examine particular problems Wittgenstein dealt with in 1929, e.g. the colour-exclusion problem, and the use of thought experiments as well as his relationship to Frank Ramsey and philosophical pragmatism. Part 3 features essays on phenomenological language. These chapters address the role of spatial analogies and the structure of visual space. Finally, Part 4 includes one chapter on Wittgenstein’s few manuscript remarks about ethics and religion and relates it to his Lecture on Ethics. -/- Wittgenstein’s Philosophy in 1929 will be of great interest to scholars and advanced students working on Wittgenstein and the history of analytic philosophy. (shrink)

This book is the result of Searle's stay in the Munster University Philosophy Dept in 2009 and all the papers except his introductory one and his final response are from persons associated with Munster. However all the papers were written or revised later and so are one of the most up to date looks at his views available as of mid 2013. S has in my view made more fundamental contributions to higher order descriptive psychology (philosophy) than anyone since Wittgenstein (...) and has been writing world class material for over 50 years. He is also (like W before him) regarded as the best standup philosopher alive and has taught and lectured worldwide. He is also one of the clearest and most careful writers in the field so one would think that every philosopher writing an article on his work would have an up to date and accurate understanding of his ideas. Unfortunately this book shows that this is far from true. All the 11 articles make major mistakes regarding his views and regarding what he (and I) would regard as an accurate description of behavior. -/- Searle's obliviousness (which he shares with most philosophers) to the modern two systems framework and to the full implications of W’s “radical” epistemology as stated most dramatically in his last work ‘On Certainty’, is most unfortunate (as I have noted in many reviews). It was Wittgenstein who did the first and best job of describing the two systems (though nobody else has noticed) and OC represents a major event in intellectual history. Not only is Searle unaware of the fact that his framework is a straightforward continuation of W, but everyone else is too, which accounts for the lack of any significant reference to W in this book. As usual one also notes no apparent acquaintance with Evolutionary Psychology, which can enlighten all discussions of behavior by providing the real ultimate evolutionary and biological explanations rather than the superficial proximate cultural ones. -/- However, his comment on p212 is right on the money—the ultimate explanation (or as W insists the description) can only be a naturalized one which describes how mind, will, self, intention work and cannot meaningfully eliminate them as ‘real’ phenomena. Recall Searle’s famous review of Dennett’s ‘Conscious Explained’ entitled “Consciousness explained away”. And this makes it all the more bizarre that Searle should repeatedly state that we don’t know for sure if we have free will and that we have to ‘postulate’ a self (p218-219). As he notes “The neuro-biological processes and the mental phenomena are the same event, described at different levels” and “How can conscious intentions cause bodily movement?…How can the hammer move the nail in virtue of being solid? …If you analyze what solidity is causally…if you analyze what intention-in-action is causally, you see analogously there is no philosophical problem left over.” -/- Also I would state “The heart of my argument is that our linguistic practices, as commonly understood, presuppose a reality that exists independently of our representations.” (p223) as “Our life shows a world that does not depend on our existence and cannot be intelligibly challenged.” This book is valuable principally as a recent synopsis of the work of one the greatest philosophers of recent times. But there is also value in analyzing his responses to the many basic confusions manifested in the articles by others. Since this review I have written many articles extending the framework of the logical structure of rationality and commenting in depth on Searle and Wittgenstein which are all readily available on the net. -/- Those wishing a comprehensive up to date account of Wittgenstein, Searle and their analysis of behavior from the modern two systems view may consult my article The Logical Structure of Philosophy, Psychology, Mind and Language as Revealed in Wittgenstein and Searle (2016). Those interested in all my writings in their most recent versions may download from this site my e-book ‘Philosophy, Human Nature and the Collapse of Civilization Michael Starks (2016)- Articles and Reviews 2006-2016’ by Michael Starks First Ed. 662p (2016). -/- All of my papers and books have now been published in revised versions both in ebooks and in printed books. -/- Talking Monkeys: Philosophy, Psychology, Science, Religion and Politics on a Doomed Planet - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B071HVC7YP. -/- The Logical Structure of Philosophy, Psychology, Mind and Language in Ludwig Wittgenstein and John Searle--Articles and Reviews 2006-2016 (2017) https://www.amazon.com/dp/B071P1RP1B. -/- Suicidal Utopian Delusions in the 21st century: Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B0711R5LGX . (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni (...) Riefenstahl. Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)

Alcune opere d'arte manifestano (o suggeriscono di assumere) prospettive morali dubbie e, in certi casi, chiaramente deprecabili. Ad esempio, il documentario propagandista Il Trionfo della Volontà di Leni Riefensthal esprime (e cerca di evocare) ammirazione nei confronti di Adolf Hitler. Nonostante ciò, Il Trionfo della Volontà è considerato un capolavoro nel genere dei documentari. Questo e molti altri esempi simili suggeriscono le seguenti domande: É possibile considerare un'opera d'arte un capolavoro artistico e, allo stesso tempo, un esempio di immoralità? (...) La valutazione morale di un'opera d'arte influisce o dovrebbe influire sulla valutazione artistica dell'opera? (shrink)

Studie má za cíl představit strukturu Hayekova evolucionismu. Argumentace postupuje v několika krocích: Východiskem je historicko- systematická expozice způsobu, jakým evoluční teorie ovlivnila Hayekovu filosofii, především s ohledem na periodizaci vývoje jeho myšlení a systematické odlišení explanans a explanandum v rámci jeho teorie vědy. Dále je rozebírán způsob, jakým Hayek rozvíjí svoji metodologii vědy. V této souvislosti je argumentováno ve prospěch teze, že Hayekovo pojetí metodologického dualismu je důsledkem ovlivnění evoluční teorií. Zároveň je evoluční teorie představena jako nástroj vysvětlení, konkrétně (...) pak tzv. vysvětlení vzorce. Následně je představeno Hayekovo pojetí společnosti v kontextu kulturní evoluce. Společnost je interpretována jako řád jednání a je kladen důraz na Hayekovo vnímání společnosti jako řádu vyvíjejícího se společně s lidskou myslí. Na základě těchto předpokladů je v poslední části rozvinuto Hayekovo pojetí mysli. Toto pojetí vychází z konekcionistické pozice. Dále argumentuji proti tradičnímu pohledu na Hayekovu filosofii jako rozvíjení Kantovy filosofie. Závěr rekapituluje základní body Hayekova evolucionismu. (shrink)

Článek se zabývá způsobem, jakým vnímá vztah vědecké metody a demokracie Karl Popper. Toto sepětí je jedním ze základních atributů Popperova myšlení. Pro jeho pochopení je třeba zasadit Poppera do historického kontextu vývoje liberálního myšlení a poukázat na možné souvislosti se Schumpeterovou redefinicí demokracie. Výchozím bodem je však interpretace základních episte- mologických předpokladů Popperova myšlení - konceptů provizornosti vědeckého poznání a ratio negativa. Primárním cílem článku je kontextualizace těchto předpokladů s politologickými a sociologickými důsledky. Ty lze spatřovat nejen s odmítnutím (...) positivismu a esencialismu, ale také v Popperově preferenci volebních a stranických systémů. Na závěr je rozpracována problematika kritického racionalismu, hodnot a otevřené společnosti na základě možných námitek vůči Popperově teorii. (shrink)

Advancing our understanding of one of the most influential 20th-century philosophers, Robert Vinten brings together an international line up of scholars to consider the relevance of Ludwig Wittgenstein's ideas to the cognitive science of religion. Wittgenstein's claims ranged from the rejection of the idea that psychology is a 'young science' in comparison to physics to challenges to scientistic and intellectualist accounts of religion in the work of past anthropologists. Chapters explore whether these remarks about psychology and religion undermine the frameworks (...) and practices of cognitive scientists of religion. Employing philosophical tools as well as drawing on case studies, contributions not only illuminate psychological experiments, anthropological observations and neurophysical research relevant to understanding religious phenomena, they allow cognitive scientists to either heed or clarify their position in relation to Wittgenstein's objections. By developing and responding to his criticisms, Wittgenstein and the Cognitive Science of Religion offers novel perspectives on his philosophy in relation to religion, human nature, and the mind. Contents: Introduction (Robert Vinten); Ch.1: 'Wittgenstein, Concepts, and Human Nature' (Roger Trigg); Ch.2: 'On Truth, Language, and Objectivity' (Florian Franken Figueiredo); Ch.3 'Pascal Boyer's Miscellany of Homunculi: A Wittgensteinian Critique of Religion Explained' (Robert Vinten); Ch.4 'The Brain Perceives/Infers' (Hans van Eyghen); Ch.5 'The Imaginary Inner Inside Cognitive Science of Religion' (Christopher Hoyt); Ch.6 'Cognitive Theories and Wittgenstein: Looking for Convergence not for Divergence' (Olympia Panagiotidou); Ch. 7 'Wittgenstein, Naturalism, and Interpreting Religious Phenomena' (Thomas Carroll); Ch.8 'Natural Thoughts and Unnatural Oughts: Lessing, Wittgenstein, and Contemporary CSR' (Guy Axtell); Ch.9 'Normative Cognition in Cognitive Science of Religion' (Mark Addis); Ch.10 'Brains as the Source of Being: Mind/Brain Focus and the Western Model of Mind in Dominant Cognitive Science Discourse' (Rita McNamara); Ch.11 'On Religious Practices as Multiscale Active Inference: Certainties Emerging From Recurrent Interactions Within and Across Individuals and Groups' (Inês Hipólito and Casper Hesp). (shrink)

In the following essay, I argue that in the case of some works of art, moral evaluation should not play a role in artistic appraisal. While I reject the strong ethicist’s view—the view that moral evaluation may inform the artistic evaluation of any artwork—I will not do so in favor of the aestheticist’s position. The aestheticist argues for a rigid distinction between the moral and aesthetic evaluation of an artwork. On this view, the moral status of the work is independent (...) of and irrelevant to artistic value. This view would allow us, for example, to evaluate Leni Reifenstahl’s film The Triumph of the Will as a superior work of cinematic art, while at the same time condemning it on moral grounds. Rather than support a strict separation of aesthetic and moral elements in an artwork, I will suggest that in the case of certain types of artwork, it is inappropriate to use moral criteria in their artistic evaluation—even though the work’s moral content contributes to its artistic value. This is the case in artworks that (1) are “interrogative” in form and (2) have moral dilemmas as their principal theme. Briefly put, an interrogative artwork is one that poses a question or problem that remains unresolved in the work. I will begin by explaining in more detail what I mean by an interrogative artwork. Using the example of Duchamp’s “ready-made” sculpture Fountain, I will argue that it is inappropriate to artistically evaluate such works by appeal to criteria that they themselves call into question. I will then turn to the specific issue of morally interrogative artworks. I will consider Mark Twain’s The Adventures of Huckleberry Finn as a paradigmatic case of an interrogative artwork that poses an unresolved moral problem, and will contrast my own rejection of the moral appraisal of the novel to Wayne Booth’s attempt to provide a morally informed positive assessment of the novel. (shrink)

The Catholic Church never officially endorses political candidates but rather respects the freedom of its faithful to vote according to the dictates of their conscience. However, in the last presidential elections, some Catholic bishops and priests in the Philippines publicly and openly supported the presidential candidacy of Vice President Leni Robredo while urging the rest of the faithful to do the same. These bishops and priests anchored their position on their shared belief that voting for Robredo was the only (...) rightful and moral option because of her clean track record, non-involvement in any act of corruption, and principled approach in governance. In contrast, her political archnemesis Ferdinand “Bongbong” Marcos, Jr. had long been embroiled in several allegations of corruption, non-payment of taxes, and fakery of educational attainments. Hence, for these bishops and priests, voting for Marcos Jr. was both wrong and immoral. And yet, the election results hit them with a big “slap in the face,” as more than 31 million Filipinos (majority of whom are Catholics) cast their votes for Marcos Jr., while only 15 million voted for Robredo. This outcome, no doubt, raises the question: Why did the repeated calls of these bishops and priests go unheeded? In this paper, I will attempt to answer this question by subjecting the political moralism of these Catholic leaders to some objective postmodern evaluation. To do this, I will employ the postmodern thoughts of Nietzsche, Lyotard, and Rorty as a lens to examine why many Filipino Catholics today no longer buy the political moralism of their religious leaders. (shrink)

The aim of this article is to try to understand the role of pornography through a number of different channels, namely: the work of art and technology. To understand how the work of art passed from an erotic position to a pornographic one, with explicitly political motivations. To this end, our main references are Walter Benjamin’s work The Work of Art in the Age of Its Technical Reproducibility (1936) and Polly Barton’s Porn: An Oral History (2023). -/- O presente artigo (...) tem por objetivo elaborar uma tentativa de compreender o papel da pornografia através de algumas instâncias, nomeadamente da obra de arte e da tecnologia. Compreender como a obra de arte passou de uma posição erótica para uma posição pornográfica com motivações explicitamente políticas. Para isso, temos como principal referência o texto de Walter Benjamin, A obra de arte na era de sua reprodutibilidade técnica (1936) e o texto de Polly Barton, Porn: An Oral History (2023). (shrink)