MARGARET LYNN SCHABAS (Toronto, 1954) is professor of philosophy at the University of British Columbia in Vancouver and served as the head of the Philosophy Department from 2004-2009. She has held professoriate positions at the University of Wisconsin-Madison and at York University, and has also taught as a visiting professor at Michigan State University, University of Colorado-Boulder, Harvard, CalTech, the Sorbonne, and the École Normale de Cachan. As the recipient of several fellowships, she has enjoyed visiting terms at Stanford, (...) Duke, MIT, Cambridge, the LSE, and the MPI-Berlin. In addition to her doctorate in the history and philosophy of science and technology (Toronto 1983), she holds a bachelor of science in music (oboe) and the philosophy of science (Indiana 1976), a master’s degree in the history and philosophy of science (Indiana 1977), and a master’s degree in economics (Michigan1985). -/- She has published four books and over forty articles or book chapters in science studies. Some of the journals in which her articles can be found are Isis, Monist, History of Political Economy, Public Affairs Quarterly, Daedaelus, Journal of Economic Perspectives, and Studies in the History and Philosophy of Science. Her first book, A world ruled by number (1990) examines the emergence of mathematical economics in the second half of the nineteenth century. Her second book, The natural origins of economics (2005), traces the transformation of economics from a natural to a social science. She also has two co-edited collections, Oeconomies in the age of Newton (2003), with Neil De Marchi, and David Hume’s political economy (2008), with Carl Wennerlind. She is currently writing a monograph on Hume’s economics, as well as articles on the history and philosophy of bioeconomics. She is currently president of the History of Economics Society. -/- EJPE interviewed Margaret Schabas at the University of British Columbia in March 2013. In this interview, she recounts her earliest foray into the history and philosophy of economics, the conceptual trade between economics and natural science, and her most recent undertaking: the history and philosophy of bioeconomics. (shrink)

An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how more precisely (...) does it operate? I show how to use the notion of experienced resemblance in outline shape to analyse depiction in such a way as to answer this question, and to explain the six key features above. (shrink)

We cannot imagine two straight lines intersecting at two points even though they may do so. In this case our abilities to imagine depend upon our abilities to visualise.

Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's (...) semantics for basic depictive content, I argue that the relevant systematicity is absent from the pictorial realm. (shrink)

What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...) defends the account against four objections. Imagining and remembering seem to differ in whether they are active or passive, in the forms of singular content they involve, in their relations to observation and in their relations to belief. I argue that these differences can be accommodated, and some even explained, once we flesh out what else is involved in episodic memory, in addition to imagining the past. (shrink)

Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those experiences (...) reflect differences in the objects’ themselves. A range of objections to this position is considered, but all are found wanting. (shrink)

Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...) pessimism has certain advantages over the first. I offer two candidates for the non-epistemic norm that, on this view, stands in the way of our taking aesthetic testimony. And I argue that this form of pessimism meets a challenge to pessimism in general – that of explaining why, if testimony cannot be a legitimate source of aesthetic belief, we can nonetheless rightly rely on the aesthetic recommendations of others. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

Typical agreements can be seen as joint decisions, inherently involving obligations of a distinctive kind. These obligations derive from the joint commitment' that underlies a joint decision. One consequence of this understanding of agreements and their obligations is that coerced agreements are possible and impose obligations. It is not that the parties to an agreement should always conform to it, all things considered. Unless one is released from the agreement, however, one has some reason to conform to it, whatever else (...) is true. In this sense, one is under an obligation to the other parties. The relevance of these points to the issue of political obligation is discussed. (shrink)

Among other things, this paper considers what so-called collective guilt feelings amount to. If collective guilt feelings are sometimes appropriate, it must be the case that collectives can indeed be guilty. The paper begins with an account of what it is for a collective to intend to do something and to act in light of that intention. An account of collective guilt in terms of membership guilt feelings is found wanting. Finally, a "plural subject" account of collective guilt feelings is (...) articulated, such that they involve a joint commitment to feel guilt as a body. (shrink)

Episodic memory is sometimes described as mental time travel. This suggests three ideas: that episodic memory offers us access to the past that is quasi-experiential, that it is a source of knowledge of the past, and that it is, at root, passive. I offer an account of episodic memory that rejects all three ideas. The account claims that remembering is a matter of representing the past to oneself, in a way suitably responsive to how one experienced the remembered episode to (...) be. I argue that episodic memory is active, in the way this view suggests. I clarify the idea that it is, as the view also implies, not a source of knowledge but an expression of knowledge the subject already has. And I suggest the view need not limit memories to states that are in any way experience-like. This position offers a way to articulate the relations between episodic memory and related phenomena: factual memory, generic memory, remembering-how and anticipation. And it allows us to explain how we know which aspects of our episodic memory states to take seriously and which (such as the shift to an observer perspective on the remembered events) to treat as merely incidental. (shrink)

What are the legitimate sources of aesthetic belief? Which methods for forming aesthetic belief are acceptable? Although the question is rarely framed explicitly, it is a familiar idea that there is something distinctive about aesthetic matters in this respect. Crudely, the thought is that the legitimate routes to belief are rather more limited in the aesthetic case than elsewhere. If so, this might tell us something about the sorts of facts that aesthetic beliefs describe, about the nature of our aesthetic (...) judgements, or about the responses that ground them. Getting the epistemology right here may help with the metaphysics, the semantics or the philosophical psychology. Investigating the legitimate sources of aesthetic belief may thus teach us something important about the aesthetic realm. (shrink)

What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper question: (...) what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)

Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...) great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)

This paper summarises the main claims I have made in a series of publications on depiction. Having described six features of depiction that any account should explain, I sketch an account that does this. The account understands depiction in terms of the experience to which it gives rise, and construes that experience as one of resemblance. The property in respect of which resemblance is experienced was identified by Thomas Reid, in his account of ‘visible figure’. I defend the account against (...) certain criticisms, and compare it to some of its main rivals, in particular the views offered by Goodman, Wollheim and Dominic Lopes. (shrink)

Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so very much (...) better off? The film uses the failures of Leonard’s system to raise doubts about the effectiveness of our own psychological capacities for grasping the past. However, memory does more than allow us to retain information. As Richard Wollheim showed, it also enables the past to control our present, by perpetuating, while modifying, its affective hold over us. This is something wholly denied Leonard. By implicitly contrasting his position with ours in this respect, the film also explores this second role that memory plays in our lives. (shrink)

This paper argues that recent work in the 'free energy' program in neuroscience enables us better to understand both consciousness and the Freudian unconscious, including the role of the superego and the id. This work also accords with research in developmental psychology (particularly attachment theory) and with evolutionary considerations bearing on emotional conflict. This argument is carried forward in various ways in the work that follows, including 'Understanding and Healing', 'The Significance of Consilience', 'Psychoanalysis, Philosophical Issues', and 'Kantian Neuroscience and (...) Radical Interpretation', and the discussion of conscious extends that of both 'The Problem of Consciousness and the Innerness of the Mind' and 'Psychoanalysis, Metaphor, and the Concept of Mind'. (shrink)

This paper raises two problems for plan-expressivism concerning normative judgments about non-corealizable actions: actions which cannot both be performed. First, plan-expressivists associate normative judgment with an attitude which satisfies a corealizability constraint, but this constraint is (in the interpersonal case) unwarranted, and (in the intrapersonal case) warranted only at the price of a contentious normative premise. Ayars (2022) holds that the pair of judgments ‘A should φ’ and ‘B should ψ’ is coherent only if one believes that A can φ (...) while B ψ’s. But this is false. Both Gibbard (2003) and Ayars hold that the pair of judgments ‘A should φ’ and ‘A should ψ’ is coherent only if one believes that A can φ and ψ. But this assumes possibilism. Second, the paper demonstrates, cases involving interpersonal non-corealizability prompt judgments about what multiple agents should do which – contra Gibbard – are not plausibly associated with any planning subject. (shrink)

Some philosophers take Perky's experiments to show that perceiving can be mistaken for visualizing and so that the two sometimes match in phenomenology. On Segal’s alternative interpretation Perky’s subjects did not consciously perceive the stimuli at all. I argue that even setting this alternative aside, Perky's results do not prove what the philosophers think. She showed her subjects, not the objects they were asked to visualise, but pictures of them. What they mistook for visualizing was not perceptual consciousness of stimuli, (...) but pictorial consciousness. Once clear about the nature of the latter, we can see that Perky's results reveal nothing very surprising. (shrink)

I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...) artistically interesting communication of thought. The central resources of representation are content, vehicle properties, and the interplay between these two. Whereas painting and other representational arts are able to exploit all three to communicate thought, authentic photography can exploit interplay only to a very limited degree. However, the exploitation of interplay is the culmination of communicative representational art: the natural endpoint in its development. (shrink)

Perceptual filling-in for vision is the insertion of visual properties (e.g., color, contour, luminance, or motion) into one’s visual field, when those properties have no corresponding retinal input. This paper introduces and provides preliminary empirical support for filled/non-filled pairs, pairs of images that appear identical, yet differ by amount of filling-in. It is argued that such image pairs are important to the experimental testing of theories of consciousness. We review recent experimental research and conclude that filling-in involves brain activity with (...) relatively high integrated information (Phi) compared to veridical visual perceptions. We then present filled/non-filled pairs as an empirical challenge to the integrated information theory of consciousness, which predicts that phenomenologically identical experiences depend on brain processes with identical Phi. (shrink)

This (1982) essay sets out the claim that psychoanalysis is a cogent extension of the intuitive common sense psychology by which we naturally understand human action. In this psychology explanation proceeds by relating actions to the logically and causally cohering desires and beliefs of agents. As Freud showed, this kind of explanation is systematically deepened and extended by the explanation of dreams, the symptoms of mental disorder, and other related phenomena via the Freudian concept of wish fulfilment, which was later (...) extended to the more inclusive post-Freudian concept of phantasy. In this extension everyday actions, such as Freud's writing up his patient Irma's case history on the day before his dream of Irma's injection, are seen to be rooted in the same unconscious motives as are represented as fulfilled in dreams and symptoms -- e.g., in this case, by unconscious stirrings of deep guilt on the topic of injection, of which Freud was unaware until he analysed the dream. As this illustrates, the understanding of wishfulfilments and other formations of phantasy enables us fill out our account of agents and their actions by adding a stock of previously unacknowledged desires and modes of expression of desire. These are seen to cohere with, and also to deepen, our previous understanding: after understanding Freud's dream, we also have a deeper and firmer (and so more cogent) understanding of his behaviour on the previous day. In this way Freud effected an extension of our everyday mode of understanding that was cogent, cumulative, and radical, as illustrated further by examination of Freud's case history of the patient described as the Rat Man. (shrink)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can that (...) seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

In The Imaginary Sartre offers a systematic, insightful and heterodox account of imagining in many forms. Beginning with four ‘characteristics’ he takes to capture the phenomenology of imagining, he draws on considerations both philosophical and psychological to describe the deeper nature of the state that has those features. The result is a view that remains the most potent challenge to the Humean orthodoxy that to this day dominates both philosophical and psychological thinking on the topic.

James Hopkins; IX*—Wittgenstein and Physicalism, Proceedings of the Aristotelian Society, Volume 75, Issue 1, 1 June 1975, Pages 121–146, https://doi.org/10.109.

Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...) this question. The notable exception is M.G.F.Martin’s account of pictures in terms of an ‘image’, a pure visibile that presents the represented object and its features without exemplifying them. In order to interpret Martin’s view so as to bring out its plausibility, I relate it to the somewhat similar position advocated by Lambert Wiesing’s account of pictures and our experience of them. That done, I ask whether a position drawing on both these positions can justify drawing a fundamental distinction between the ways in which pictures and sculptures present what they represent. (shrink)

New theological understanding can emerge with the advancement of scientific knowledge and the use of new concepts, or older concepts in new ways. Here, the authors present a proposal to extend the concept of “rescue and recovery” found in the United Nations Law of the High Seas, off‐world and within a broader purview of other intelligent and self‐aware species that humans may someday encounter. The notion of a morality that extends to off‐world species is not new, but in this analysis, (...) rescue and recovery become an imperative when any intelligent and self‐aware species is in harm's way. Rescue and recovery encompass a necessary action component except perhaps in those cases where rescuers are in danger. The authors explore three biblical examples of rescue and recovery to derive a fundamental meaning of the concept. (shrink)

This paper argues for a methodological point that bears on a relatively long-standing debate concerning collective beliefs in the sense elaborated by Margaret Gilbert: are they cases of belief or rather of acceptance? It is argued that epistemological accounts and distinctions developed in individual epistemology on the basis of considering the individual case are not necessarily applicable to the collective case or, more generally, uncritically to be adopted in collective epistemology.

Freud's account of dreams has a cogent interpretive basis.

Psychoanalysis provides the best explanation of a range of empirical phenomena; epistemic criics do not take this fully into account.

This paper considers whether pictures ever implicitly represent internal spectators of the scenes they depict, and what theoretical construal to offer of their doing so. Richard Wollheim's discussion (Painting as an Art, ch.3) is taken as the most sophisticated attempt to answer these questions. I argue that Wollheim does not provide convincing argument for his claim that some pictures implicitly represent an internal spectator with whom the viewer of the picture is to imaginatively identify. instead, I defend a view on (...) which the external spectator simply imagines herself interacting, psychologically and otherwise, with the depicted scene. I explore some of the consequences of the two positions for pictorial aesthetics, arguing that the view I favour is at least as competent as Wollheim's at accommodating those phenomena we have any reason to think hold. (shrink)

In order to understand both consciousness and the Freudian unconscious we need to understand the notion of innerness that we apply to the mind. We can partly do so via the use of the theory of conceptual metaphor, and this casts light on a number of related topics.

Psychoanalytic theory can be regarded as a cogent extension of commonsense psychology by interpretive means internal to it.

What is the relation between affective states, such as emotions and pleasure, and imagining? Do the latter cause the former, just as perceptual states do? Or are the former merely imagined, along with suitable objects? I consider this issue against the backdrop of Sartre’s theory of imagination, and drawing on his highly illuminating discussion of it. I suggest that, while it is commonly assumed that imaginative states cause affective responses much as do perceptions, the alternatives merit more careful consideration than (...) they are usually given. (shrink)

In discussions of religious disagreement, some epistemologists have suggested that religious disagreement is distinctive. More specifically, they have argued that religious disagreement has certain features which make it possible for theists to resist conciliatory arguments that they must adjust their religious beliefs in response to finding that peers disagree with them. I consider what I take to be the two most prominent features which are claimed to make religious disagreement distinct: religious evidence and evaluative standards in religious contexts. I argue (...) that these two features fail to distinguish religious disagreement in the ways they have been taken to. However, I show that the view that religious disagreement is not a unique form of disagreement makes religious disagreement less, rather than more, worrisome to the theist who would prefer to rationally remain steadfast in her religious beliefs. (shrink)

This paper argues that there is a distinctive vice of hypocrisy, which is Janus-faced. The vice of hypocrisy is the self-excepting avoidance of a particular pain, namely, the pain associated with being an object of blame one believes deserved. One can self-exceptingly avoid this pain attitudinally or behaviorally. With “attitudinal” hypocrisy, a person avoids it at the level of her beliefs: she avoids forming the belief that she is blameworthy for some act, while blaming others for their comparable acts. With (...) “behavioral” hypocrisy, by contrast, a person avoids it at the level of her behavior. She shields herself from the blame she believes her acts merit (e.g. by hiding what she has done), while blaming others for their comparable acts. The paper argues that both forms of hypocrisy are objectionable and explains how they are in tension, such that a given instance of the vice will typically involve only one or the other. Though both attitudinal and behavioral hypocrisy selectively spare the hypocrite the same pain, they require incongruous moral-psychological states: the attitudinal hypocrite avoids blaming herself, while the behavioral hypocrite proceeds on the assumption she is blameworthy. (shrink)

Davidson's account of interpretation is closely related to that offered by Wittgenstein in his remarks on following a rule.

Freud's account of dreams can be understood via interpretive patterns that span language and action, enabling an extension of common sense psychology that is potentially cogent, cumulative, and radical.

This paper considers clinical psychoanalysis together with developmental psychology (particularly attachment theory), evolution, and neuroscience in the context a Bayesian account of confirmation and disconfrimation. -/- In it I argue that these converging sources of support indicate that the combination of relatively low predictive power and broad explanatory scope that characterise the theories of both Freud and Darwin suggest that Freud's theory, like Darwin's, may strike deeply into natural phenomena. -/- The same argument, however, suggests that conclusive confirmation for Freudian (...) hypotheses, as in the case of Darwin's, will come from outside the original domain of explanation sketched out by Freud. As in Darwin's case conclusive confirmation came from understanding the physical mechanisms or reproduction, in Freud's case it will come from understanding the neural mechanisms that realise the phenomena described in psychoanalysis. (shrink)

The outcome of criticism is a perception. Does this mean that criticism cannot count as a rational process? For it to do so, it seems it would have to be possible for there to be an argument for a perception. Yet perceptions do not seem to be the right sort of item to serve as the conclusions of arguments. Is this appearance borne out? I examine why perceptions might not be able to play that role, and explore what would have (...) to be true of critical discourse for those obstacles to be circumvented. (shrink)

What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop the views of Susanne (...) Langer. Sculpture organizes the surrounding space when we see that space as defined by the potential for action of the sculpted object. (shrink)

Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of (...) embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment. (shrink)

Our commonsense understanding of meaning and motive is realized via the semantic encoding of causal role. Appreciating this together with other features of semantic theories enables us to see that methodological critiques of psychoanalysis, such as those by Popper and Grunbaum, systematically fail to take account of empirical data, and if taken seriously would render commonsense understanding of mind and language void. This is particularly problematic if we consider much of what we regard ourselves as knowing is registered in language, (...) or understood through our use of it, since this includes science itself. (shrink)

This is an unedited version of a paper written in 2012 accepted for publication in a forthcoming Festschrift for Mark Platts. In it I argue that the Helmholtz/Bayes tradition of free energy neuroscience begun by Geoffrey Hinton and his colleagues, and now being carried forward by Karl Friston and his, can be seen as a fulfilment of the Quine/Davidson program of radical interpretation, and also of Quine’s conception of a naturalized epistemology. -/- This program, in turn, is rooted in Helmholtz’s (...) scientific reconception of Kant’s notion of a concept-led synthesis of affectations by an extra-sensory reality that creates human self-consciousness, a topic previously discussed in my (2012) Psychoanalysis, Representation, and Neuroscience. -/- I also argue that 20th century analytical philosophy went astray when Frege, Russell, and Wittgenstein ignored their legacy from Helmholtz and espoused a conception of perception and epistemology that he had already shown to be false. (shrink)

Brief description of Freud's life and work, emphasising the role of fictive belief and experience (phantasy) in his account of mental disorder.

We provide a novel defense of the possibility of level-splitting beliefs and use this defense to show that the steadfast response to peer disagreement is not, as it is often claimed to be, unnecessarily dogmatic. To provide this defense, a neglected form of moral disagreement is analysed. Within the context of this particular kind of moral disagreement, a similarly neglected form of level-splitting belief is identified and then defended from critics of the rationality of level-splitting beliefs. The chapter concludes by (...) showing that proponents of the steadfast response to peer disagreement can adopt this form of level-splitting belief in the context of these moral disagreements while exemplifying intellectual humility, rather than dogmatism. (shrink)

Collective action is interpreted as a matter of people doing something together, and it is assumed that this involves their having a collective intention to do that thing together. The account of collective intention for which the author has argued elsewhere is presented. In terms that are explained, the parties are jointly committed to intend as a body that such-and-such. Collective action problems in the sense of rational choice theory—problems such as the various forms of coordination problem and the prisoner’s (...) dilemma—are then considered. An explanation is given of how, when such a problem is interpreted in terms of the parties’ inclinations, a suitable collective intention resolves the problem for agents who are rational in a broad sense other than the technical sense of game theory. Key Words: rationality • collective action • collective intention • joint commitment. (shrink)

Both Wittgenstein's account of following a rule and his private language argument turn on the notion of interpretation.

Vulnerability is a notion discussed in feminist philosophy as a basis for a morality that widens our sense of those whose deaths are grievable. Vulnerability and grievability also factor in reproductive ethics. This essay employs recognition theory to analyze critically how these notions are mobilized in conservative Christian anti-abortion writings and in feminist philosophy. This analysis exposes weaknesses and misrecognition in both sets of discourses. In response, I offer theological arguments for recognizing fetal value without implying a right to life (...) and for acknowledging how human finitude and the precarity of pregnancy render gestational hospitality a discretionary, not obligatory, moral act. (shrink)

Understanding the notion of innerness that we ascribe to mental items is central to understanding the problem of consciousness, and we can do so in evolutionary and physical terms.