The problem considered in this chapter emerges from the tension we find when looking at the design and architecture of chatbots on the one hand and their conversational aptitude on the other. In the way that LLM chatbots are designed and built, we have good reason to suppose they don't possess second-order capacities such as intention, belief or knowledge. Yet theories of conversation make great use of second-order capacities of speakers and their audiences to explain how aspects of interaction succeed. (...) As we can all bear witness to now though, at the point of use chatbots appear capable of performing language tasks at a level close to that of humans. This creates a tension when we consider something like, for example, the classic Gricean theory of implicature. On a broad summary of this type of account, to utter p and implicate q requires the reflexive occurrence of an audience supposing a speaker believes that q, and the speaker believing that their audience can determine they believe it when they utter p. So taken at face value, if a chatbot doesn’t have the capacity for belief, then either in their role as speaker or audience, they would not seem capable of either generating or comprehending implicatures. Yet on the surface it does seem that chatbots are capable of dealing with (some) implicatures, and as such it raises questions about how we should then correlate this with what we think occurs in cases of implicature with chatbots. (shrink)

There have recently been various empirical attempts to answer Molyneux’s question, for example, the experiments undertaken by the Held group. These studies, though intricate, have encountered some objections, for instance, from Schwenkler, who proposes two ways of improving the experiments. One is “to re-run [the] experiment with the stimulus objects made to move, and/or the subjects moved or permitted to move with respect to them” (p. 94), which would promote three dimensional or otherwise viewpoint-invariant representations. The other is “to use (...) geometrically simpler shapes, such as the cube and sphere in Molyneux’s original proposal, or planar figures instead of three-dimensional solids” (p. 188). Connolly argues against the first modification but agrees with the second. In this article, I argue that the second modification is also problematic (though still surmountable), and that both Schwenkler and Connolly are too optimistic about the prospect of addressing Molyneux’s question empirically. (shrink)

Suppose that you are at a live jazz show. The drummer begins a solo. You see the cymbal jolt and you hear the clang. But in addition seeing the cymbal jolt and hearing the clang, you are also aware that the jolt and the clang are part of the same event. Casey O’Callaghan (forthcoming) calls this awareness “intermodal feature binding awareness.” Psychologists have long assumed that multimodal perceptions such as this one are the result of a subpersonal feature binding mechanism (...) (see Vatakis and Spence, 2007, Kubovy and Schutz, 2010, Pourtois et al., 2000, and Navarra et al., 2012). I present new evidence against this. I argue that there is no automatic feature binding mechanism that couples features like the jolt and the clang together. Instead, when you experience the jolt and the clang as part of the same event, this is the result of an associative learning process. The cymbal’s jolt and the clang are best understood as a single learned perceptual unit, rather than as automatically bound. I outline the specific learning process in perception called “unitization,” whereby we come to “chunk” the world into multimodal units. Unitization has never before been applied to multimodal cases. Yet I argue that this learning process can do the same work that intermodal binding would do, and that this issue has important philosophical implications. Specifically, whether we take multimodal cases to involve a binding mechanism or an associative process will have impact on philosophical issues from Molyneux’s question to the question of how active or passive we consider perception to be. (shrink)

When a user integrates a sensory substitution device into her life, the process involves perceptual learning, that is, ‘relatively long-lasting changes to an organism’s perceptual system that improve its ability to respond to its environment’ (Goldstone 1998: 585). In this paper, I explore ways in which the extensive literature on perceptual learning can be applied to help improve sensory substitution devices. I then use these findings to answer a philosophical question. Much of the philosophical debate surrounding sensory substitution devices concerns (...) what happens after perceptual learning occurs. In particular, should the resultant perceptual experience be classified in the substituted modality (as vision), in the substituting modality (as auditory or tactile), or in a new sense modality? I propose a novel empirical test to help resolve this philosophical debate. (shrink)

This is an excerpt from a report on the workshop on mind and attention in Indian philosophy at Harvard University, on September 21st and 22nd, 2013, written by Kevin Connolly, Jennifer Corns, Nilanjan Das, Zachary Irving, and Lu Teng, and available at http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This portion of the report explores the question: Are there cross-cultural philosophical themes?

This chapter revisits three key disagreements between Locke and Berkeley. The disagreements relate to abstraction, the idea of substance, and the status of the primary/secondary quality distinction. The goal of the chapter is to show that these disagreements are rooted in a more fundamental disagreement over the nature of ideas. For Berkeley, ideas are tied very closely to perceptual content. Locke adopts a less restrictive account of the nature of ideas. On his view, ideas are responsible for both perceptual content (...) and non-perceptual mental content. Recognizing this allows for the following analysis of their disputes. Berkeley often appeals to introspection to suggest that we do not have some particular idea. But Locke’s arguments that we have a particular idea often appeal to the functional role the idea has in our cognitive economy rather than to facts about our immediate phenomenology. (shrink)

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: How do we recognize distinct types of emotion in music?

This report highlights and explores four questions that arose from the workshop on temporal experience at the University of Toronto, May 20th and 21st, 2013.

Suppose you have recently gained a disposition for recognizing a high-level kind property, like the property of being a wren. Wrens might look different to you now. According to the Phenomenal Contrast Argument, such cases of perceptual learning show that the contents of perception can include high-level kind properties such as the property of being a wren. I detail an alternative explanation for the different look of the wren: a shift in one’s attentional pattern onto other low-level properties. Philosophers have (...) alluded to this alternative before, but I provide a comprehensive account of the view, show how my account significantly differs from past claims, and offer a novel argument for the view. Finally, I show that my account puts us in a position to provide a new objection to the Phenomenal Contrast Argument. (shrink)

Commentators almost universally agree that Locke denies the possibility of thinking matter in Book IV Chapter 10 of the Essay. Further, they argue that Locke must do this in order for his proof of God’s existence in the chapter to be successful. This paper disputes these claims and develops an interpretation according to which Locke allows for the possibility that a system of matter could think (even prior to any act of superaddition on God’s part). In addition, the paper argues (...) that this does not destroy Locke’s argument in the chapter, instead it helps to illuminate the nature of it. The paper proceeds in two main stages. First, Locke denies that matter can produce thought. A distinction between two senses of “production” shows that this claim is compatible with the existence of thinking matter. Second, Locke denies that God could be a system of randomly moving particles. Most commentators take this to mean that such a system could not think. But Locke is better interpreted as denying that such a system could have the wisdom and knowledge of God. (shrink)

Does artificial intelligence (AI) pose existential risks to humanity? Some critics feel this question is getting too much attention, and want to push it aside in favour of conversations about the immediate risks of AI. These critics now include the journal Nature, where a recent editorial urges us to 'stop talking about tomorrow's AI doomsday when AI poses risks today.' We argue that this is a serious failure of judgement, on Nature's part. In science, as in everyday life, we expect (...) influential actors to consider the consequences of error. As the world's leading scientific journal, Nature is certainly an influential actor, especially so in the absence of robust global regulation of AI. Yet it has manifestly failed to consider the cost of error in this case. (shrink)

Schwenkler (2012) criticizes a 2011 experiment by R. Held and colleagues purporting to answer Molyneux’s question. Schwenkler proposes two ways to re-run the original experiment: either by allowing subjects to move around the stimuli, or by simplifying the stimuli to planar objects rather than three-dimensional ones. In Schwenkler (2013) he expands on and defends the former. I argue that this way of re-running the experiment is flawed, since it relies on a questionable assumption that newly sighted subjects will be able (...) to appreciate depth cues. I then argue that the second way of re-running the experiment is successful both in avoiding the flaw of original Held experiment, and in avoiding the problem with the first way of re-running the experiment. (shrink)

In the case of ventriloquism, seeing the movement of the ventriloquist dummy’s mouth changes your experience of the auditory location of the vocals. Some have argued that cases like ventriloquism provide evidence for the view that at least some of the content of perception is fundamentally multimodal. In the ventriloquism case, this would mean your experience has constitutively audio-visual content (not just a conjunction of an audio content and visual content). In this paper, I argue that cases like ventriloquism do (...) not in fact warrant that conclusion. I then try to make sense of crossmodal cases without appealing to fundamentally multimodal content. (shrink)

A recent debate in Kant scholarship concerns the role of concepts in Kant's theory of perception. Roughly, proponents of a conceptualist interpretation argue that for Kant, the possession of concepts is a prior condition for perception, while nonconceptualist interpreters deny this. The debate has two parts. One part concerns whether possessing empirical concepts is a prior condition for having empirical intuitions. A second part concerns whether Kant allows empirical intuitions without a priori concepts. Outside of Kant interpretation, the contemporary debate (...) about conceptualism concerns whether perception requires empirical concepts. But, as I argue, the debate about whether Kant allows intuitions without empirical concepts does not show whether Kant is a conceptualist. Even if Kant allows intuitions without empirical concepts, it could still be that a priori concepts are required. While the debate could show that Kant is a conceptualist, I argue it does not. Finally, I sketch a novel way that the conceptualist interpreter might win the debate—roughly, by arguing that possessing a priori concepts is a prior condition for having appearances. (shrink)

We seem perfectly able to perceive fine-grained shades of colour even without possessing precise concepts for them. The same might be said of shapes. I argue that this is in fact not the case. A subject can perceive a colour or shape only if she possesses a concept of that type of colour or shape. I provide new justification for this thesis, and do not rely on demonstrative concepts such as THIS SHADE or THAT SHAPE, a move first suggested by (...) John McDowell, but rejected by Christopher Peacocke and Richard Heck among others.1. (shrink)

This report highlights and explores five questions which arose from The Unity of Consciousness and Sensory Integration conference at Brown University in November of 2011: 1. What is the relationship between the unity of consciousness and sensory integration? 2. Are some of the basic units of consciousness multimodal? 3. How should we model the unity of consciousness? 4. Is the mechanism of sensory integration spatio-temporal? 5. How Should We Study Experience, Given Unity Relations?

This is an excerpt of a report that highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York in March, 2012. This portion of the report explores the question: Can perceptual experience be modified by reason?

This is an excerpt of a report that highlights and explores five questions which arose from The Unity of Consciousness and Sensory Integration conference at Brown University in November of 2011. This portion of the report explores the question: Is the mechanism of sensory integration spatio-temporal?

This is an excerpt of a report that highlights and explores five questions which arose from The Unity of Consciousness and Sensory Integration conference at Brown University in November of 2011. This portion of the report explores the question: Are some of the basic units of consciousness multimodal?

This report highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York on March 19th and 20th, 2012: 1. What is perceptual learning? 2. Can perceptual experience be modified by reason? 3. How does perceptual learning alter perceptual phenomenology? 4. How does perceptual learning alter the contents of perception? 5. How is perceptual learning coordinated with action?

This report highlights and explores five questions that arose from the workshop on sensory substitution and augmentation at the British Academy, March 26th through 28th, 2013.

This is an excerpt of a report that highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York in March, 2012. This portion of the report explores the question: How does perceptual learning alter the contents of perception?

This is an excerpt of a report that highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York in March, 2012. This portion of the report explores the question: How does perceptual learning alter perceptual phenomenology?

This is a transcript of a conversation between P F Strawson and Gareth Evans in 1973, filmed for The Open University. Under the title 'Truth', Strawson and Evans discuss the question as to whether the distinction between genuinely fact-stating uses of language and other uses can be grounded on a theory of truth, especially a 'thin' notion of truth in the tradition of F P Ramsey.

This is an excerpt of a report that highlights and explores five questions which arose from The Unity of Consciousness and Sensory Integration conference at Brown University in November of 2011. This portion of the report explores the question: How should we model the unity of consciousness?

This is an excerpt of a report that highlights and explores five questions which arose from The Unity of Consciousness and Sensory Integration conference at Brown University in November of 2011. This portion of the report explores the question: How should we study experience, given unity relations?

This is an excerpt of a report that highlights and explores five questions that arose from the Network for Sensory Research workshop on perceptual learning and perceptual recognition at the University of York in March, 2012. This portion of the report explores the question: How is perceptual learning coordinated with action?

This report highlights and explores five questions that arose from the multisensory integration workshop at the University of Toronto on May 9th and 10th, 2014: 1. What Is Multisensory Integration? 2. Do Multisensory Percepts Involve Emergent Features? 3. What Can Multisensory Processing Tell Us about Multisensory Awareness? 4. Is Language Processing a Special Kind of Multisensory Integration? 5. What Is the Purpose of Multisensory Integration?

This report highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012: 1. How should we demarcate perceptual learning from perceptual development? 2. What are the origins of multimodal associations? 3. Does our representation of time provide an amodal framework for multi-sensory integration? 4. What counts as cognitive penetration? 5. How can philosophers and psychologists most fruitfully collaborate?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: What counts as cognitive penetration?

This is an excerpt from a report on the Sensory Substitution and Augmentation Conference at the British Academy in March of 2013. This portion of the report explores the question: Does sensory substitution generate perceptual or cognitive states?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: How should we demarcate perceptual learning from perceptual development?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: How can philosophers and psychologists most fruitfully collaborate?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: Does our representation of time provide and amodal framework for multi-sensory integration?

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: What can we learn about the nature of time from the nature of ordinary experience?

This is an excerpt from a report on the Sensory Substitution and Augmentation Conference at the British Academy in March of 2013. This portion of the report explores the question: How does sensory substitution interact with the brain’s architecture?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: What are the origins of multimodal associations?

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

In this paper, I reply to 18 of the essays on panpsychism in this issue. Along the way, I sketch out what a post-Galilean science of consciousness, one in which consciousness is taken to be a fundamental feature of reality, might look like.

The Argument from Inductive Risk (AIR) is taken to show that values are inevitably involved in making judgements or forming beliefs. After reviewing this conclusion, I pose cases which are prima facie counterexamples: the unreflective application of conventions, use of black-boxed instruments, reliance on opaque algorithms, and unskilled observation reports. These cases are counterexamples to the AIR posed in ethical terms as a matter of personal values. Nevertheless, it need not be understood in those terms. The values which load a (...) theory choice may be those of institutions or past actors. This means that the challenge of responsibly handling inductive risk is not merely an ethical issue, but is also social, political, and historical. (shrink)

Tradução para o português do ensaio "Freedom and Resentment”, de P. F. Strawson. Publicado originalmente em Proceedings of the British Academy, v. 48, 1960. Republicado em Freedom and Resentment and Other Essays. Londres: Methuen, 1974. [Routledge, 2008, p. 2-28]. Publicado na coletânea: Ensaios sobre a filosofia de Strawson: com a tradução de Liberdade e ressentimento & Moralidade social e ideal individual. Organizadores: Jaimir Conte & Itamar Luís Gelain. Editora da UFSC, 2015. ISBN: 9788532807250.

Tradução para o português do ensaio "Social Morality and Individual Ideal”. Publicado originalmente em Philosophy: The Journal of the Royal Institute of Philosophy, vol. XXXVI, n. 136, p. 1-17, Jan. 1961. Republicado em: STRAWSON, P. F. Freedom and Resentment and Other Essays. Londres: Methuen, 1974. [Routledge, 2008, p. 26-44]. ]. Publicado na coletânea: Ensaios sobre a filosofia de Strawson: com a tradução de Liberdade e ressentimento & Moralidade social e ideal individual. Organizadores: Jaimir Conte & Itamar Luís Gelain. Editora da (...) UFSC, 2015. ISBN: 9788532807250. (shrink)

Some philosophers understand natural kinds to be the categories which are constraints on enquiry. In order to elaborate the metaphysics appropriate to such an account, I consider the complicated history of scurvy, citrus, and vitamin C. It may be tempting to understand these categories in a shallow way (as mere property clusters) or in a deep way (as fundamental properties). Neither approach is adequate, and the case instead calls for middle-range ontology: starting from categories which we identify in the world (...) and elaborating their structure, but not pretending to jump ahead to a complete story about fundamental being. (shrink)

Tradução para o português do livro "Ceticismo e naturalismo: algumas variedades", Strawson, P. F. . São Leopoldo, RS: Editora da Unisinos, 2008, 114 p. Coleção: Ideias. ISBN: 9788574313214. Capítulo 1 - Ceticismo, naturalismo e argumentos transcendentais 1. Notas introdutórias; 2. Ceticismo tradicional; 3. Hume: Razão e Natureza; 4. Hume e Wittgenstein; 5. “Apenas relacionar”: O papel dos argumentos transcendentais; 6. Três citações; 7. Historicismo: e o passado.

Some scientific categories seem to correspond to genuine features of the world and are indispensable for successful science in some domain; in short, they are natural kinds. This book gives a general account of what it is to be a natural kind and puts the account to work illuminating numerous specific examples.

Do the ethical features of an artwork bear on its aesthetic value? This movie endorses misogyny, that song is a civil rights anthem, the clay constituting this statue was extracted with underpaid labor—are facts like these the proper bases for aesthetic evaluation? I argue that this debate has suffered from a false presupposition: that if the answer is yes (for at least some such ethical features), such considerations feature as pro tanto contributions to an artwork's overall aesthetic value, i.e., as (...) merits or flaws which make something have more or less overall aesthetic value. As the case of ethically laden, aesthetic evaluation makes clear, however, good aesthetic judgement is irreducibly multi-dimensional, e.g., "the movie has an engaging soundtrack, tasteful camera work, and takes a misogynistically prurient perspective on its female lead.'' Such a "non-summative" judgement refuses to reduce those various dimensions of aesthetic value to a single aggregate aesthetic evaluation, like "it's a 6/10" or "it's a pretty good movie!" I defend both the modest claim that such non-summative evaluations are not mistaken and the extremist claim that summative (i.e., unidimensional) aesthetic evaluation is defective by considering other domains of normative assessment in which summing seems inappropriate, notably including evaluations of people's character. (shrink)

forall x: Calgary is a full-featured textbook on formal logic. It covers key notions of logic such as consequence and validity of arguments, the syntax of truth-functional propositional logic TFL and truth-table semantics, the syntax of first-order (predicate) logic FOL with identity (first-order interpretations), symbolizing English in TFL and FOL, and Fitch-style natural deduction proof systems for both TFL and FOL. It also deals with some advanced topics such as modal logic, soundness, and functional completeness. Exercises with solutions are available. (...) It is provided in PDF (for screen reading, printing, and a special version for dyslexics), HTML, and in LaTeX source code. (shrink)

The no-miracles argument and the pessimistic induction are arguably the main considerations for and against scientific realism. Recently these arguments have been accused of embodying a familiar, seductive fallacy. In each case, we are tricked by a base rate fallacy, one much-discussed in the psychological literature. In this paper we consider this accusation and use it as an explanation for why the two most prominent `wholesale' arguments in the literature seem irresolvable. Framed probabilistically, we can see very clearly why realists (...) and anti-realists have been talking past one another. We then formulate a dilemma for advocates of either argument, answer potential objections to our criticism, discuss what remains (if anything) of these two major arguments, and then speculate about a future philosophy of science freed from these two arguments. In so doing, we connect the point about base rates to the wholesale/retail distinction; we believe it hints at an answer of how to distinguish profitable from unprofitable realism debates. In short, we offer a probabilistic analysis of the feeling of ennui afflicting contemporary philosophy of science. (shrink)

This discussion note addresses Caleb Hazelwood’s ‘Practice-Centered Pluralism and a Disjunctive Theory of Art’. Hazelwood advances a disjunctive definition of art on the basis of an analogy with species concept pluralism in the philosophy of biology. We recognize the analogy between species and art, we applaud attention to practice, and we are bullish on pluralism—but it is a mistake to take these as the basis for a disjunctive definition.

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)