Picturing is a poorly understood element of Sellars’s philosophical project. We diagnose the problem with picturing as follows: on the one hand, it seems that it must be connected with action in order for it to do its job. On the other hand, the representational states of a picturing system are characterized in descriptive and seemingly static terms. How can static terms be connected with action? To solve this problem, we adopt a concept from recent work in Sellarsian metaethics: the (...) idea of a material practical inference, which (we argue) features centrally in how we picture. The key distinction is that the picturing of nonhuman animals involves only Humean material practical inference, in which representational states are corrected only by feedback from the environment and not from discursive interactions. The resulting view shows that Sellars’s contributions to practical philosophy (especially theory of action and metaethics) cannot be separated from his contributions to philosophy of mind, language, and cognitive science. Further, the view makes it clear that picturing is neither a version of the Given, nor is it a fifth wheel to inferential role in explaining representation, but is essential to Sellars’s model of how animals—including humans—represent their environment. (shrink)

No contemporary compatibilist account of free will can be complete unless it engages with the consequence argument. I will argue that Wilfrid Sellars offered an ingenious version of compatibilism that can be used to refute the consequence argument. Unfortunately, owing to the opacity of Sellars’s writings on free will, his solution has been neglected. I will reconstruct his view here, demonstrating how it represents a powerful challenge to the consequence argument and tying it to some recent developments in the compatibilist (...) literature. (shrink)

Wilfrid Sellars’s ethical theory was rich and deeply innovative. On Sellars’s view, moral judgments express a special kind of shared intention. Thus, we should see Sellars as an early advocate of an expressivism of plans and intentions, and an early theorist of collective intentionality. He supplemented this theory with a sophisticated logic of intentions, a robust theory of the categorical validity of normative expressions, a subtle way of reconciling the cognitive and motivating aspects of moral judgment, and much more— all (...) within a strict nominalism that preserves Sellars’s commitment to naturalism. The Ethics of Wilfrid Sellars offers the first systematic treatment of this sadly neglected aspect of Sellars’s work and demonstrates that his ethical theory— just like his more widely discussed epistemology— has much to contribute to current debates. (shrink)

One important strand of Sellars’s attack on classical foundationalism from Empiricism and the Philosophy of Mind is his thesis about the priority of is-talk over looks-talk. This thesis has been criticized extensively in recent years, and classical foundationalism has found several contemporary defenders. I revisit Sellars’s thesis and argue that is-talk is epistemically prior to looks-talk in a way that undermines classical foundationalism. The classical foundationalist claims that epistemic foundations are constituted by the agent’s set of looks-judgments. However, I argue (...) that only a subset of these looks-judgments are even candidates to serve as foundations for the agent’s empirical knowledge, and membership in this subset is determined by the agent’s theory of how the world is. Thus, the epistemic force of the looks-judgments in this subset is dependent on the agent’s theory of how the world is. This means that these looks-judgments aren’t foundational at all, as the agent’s theory of how the world is is epistemically is prior to the epistemic status of these looks-judgments. This is the sense in which judgments about how the world is are epistemically prior to judgments about how things look. This conclusion allows concrete elaboration of another of Sellars’s well-know claims: “I do wish to insist that the metaphor of ‘foundation’ is misleading in that it keeps us from seeing that if there is a logical dimension in which other empirical propositions rest on observation reports, there is another logical dimension in which the latter rest on the former”. (shrink)

Many response-dependence theorists equate moral truth with the generation of some affective psychological response: what makes this action wrong, as opposed to right, is that it would cause (or merit) affective response of type R (perhaps under ideal conditions). Since our affective nature is purely contingent, and not necessarily shared by all rational creatures (or even by all humans), response-dependence threatens to lead to relativism. In this paper, I will argue that emotional responses and moral features do not align in (...) the way predicted by the response-dependence theorist who wishes to tie morality to emotional affect. I further argue that since response-dependence accounts that tie morality to any sort of affect (be it an emotion, a desire, a desire to desire, or so on) cannot explain the objectivity and universality of morality; and since we do not need a psychological response to play a truth-constituting role in morality in order to explain the normativity or content of morality, we should reject such response-dependence accounts. (shrink)

Although it is well known that Gestalt theory had an important impact on Merleau-Ponty’s philosophy throughout his career, there is still no detailed study either of its influence on his ideas or of his own understanding of the notoriously polysemic notion of Gestalt. Yet, this notion is a key to Merleau-Ponty’s fundamental project of overcoming “objective thought” and its inherent dichotomies. By indicating how signification or ideality can be immanent in, rather than opposed to, matter, it compels us to redefine (...) both consciousness and the world it is bound up with. The aim of this article is to clarify Merleau-Ponty’s notion of Gestalt against the historical background that he refers to, including Kurt Goldstein’s theory of the organism that was crucial for his interpretation of it. -/- On sait que la théorie de la Gestalt a eu un impact majeur sur la philosophie merleaupontienne. Il n’existe pourtant pas d’étude extensive de l’influence de cette théorie sur les thèses de Merleau-Ponty ou sur sa compréhension propre de la notion fort polysémique de Gestalt. Or cette notion s’avère être l’une des meilleures clés pour comprendre le projet fondamental du dépassement merleau-pontien de la « pensée objective » et de ses dichotomies. En effet, en montrant comment le sens ou l’idéalité sont immanents, plutôt qu’opposés, à la matière, la Gestalt conduit à définir à nouveaux frais la conscience et le monde auquel elle est liée. L’article vise à clarifier la conception de la Gestalt chez Merleau-Ponty à partir de son fond historique. On étudie en particulier la théorie de l’organisme de Kurt Goldstein, qui a été essentielle pour l’interprétation merleaupontienne de la notion de Gestalt. -/- Benché sia noto che la Gestalttheorie abbia avuto un impatto rilevante sull’intero tragitto della filosofia di Merleau-Ponty, non esiste ancora uno studio dettagliato dell’influenza del gestaltismo sulle sue idee né sulla sua comprensione di un concetto notoriamente sfaccettato come quello di Gestalt. Tuttavia proprio questa nozione costituisce una chiave d’accesso fondamentale al grande progetto merleaupontyano di oltrepassare il “pensiero oggettivo” insieme alle dicotomie che lo accompagnano. Indicando come il significato o l’idealità possano essere immanenti, anziché opposti, alla materia, tale nozione ci obbliga a ridefinire tanto la coscienza quanto il mondo a cui essa è legata. L’obiettivo di questo articolo è quello di chiarire la nozione merleaupontyana di Gestalt nel suo contesto storico, con particolare riferimento alla teoria dell’organismo elaborata da Kurt Goldstein, determinante per l’interpretazione merleaupontyana della nozione di Gestalt. (shrink)

Through a close reading of Judith Butler's 1989 essay on Merleau-Ponty's “theory” of sexuality as well as the texts her argument hinges on, this paper addresses the debate about the relation between language and the living, gendered body as it is understood by defenders of poststructural theory on the one hand, and different interpretations of Merleau-Ponty's phenomenology on the other. I claim that Butler, in her criticism of the French philosopher's analysis of the famous “Schneider case,” does not take its (...) wider context into account: either the case study that Merleau-Ponty's discussion is based upon, or its role in his phenomenology of perception. Yet, although Butler does point out certain blind spots in his descriptions regarding the gendered body, it is in the light of her questioning that the true radicality of Merleau-Ponty's ideas can be revealed. A further task for feminist phenomenology should be a thorough assessment of his philosophy from this angle, once the most obvious misunderstandings have been put to the side. (shrink)

This article aims to establish an understanding of Merleau-Ponty’s view of creative expression, and of its phenomenological function, setting out from the intriguing statement in his essay “Cézanne’s Doubt” that the painter (or writer or philosopher) finds himself in the situation of the first human being trying to express herself. Although the importance of primary or creative expression in Merleau-Ponty’s philosophy is well known, there is no consensus among commentators with respect to how this notion is to be understood, and (...) of its apparently paradoxical relation to experience in his philosophy. On the one hand, Merleau-Ponty seems to presuppose that there is an original meaning pre-given in experience; on the other hand, expression is described as a hazardous enterprise, because the meaning to be expressed does not exist before expression has succeeded. In order to resolve this tension, I explore the significance of the precariousness of creative expression, arguing that it must be related to its other side: the constituted, all too often petrified meaning that we must start out from. (shrink)

Many authors have argued that emotions serve an epistemic role in our moral practice. Some argue that this epistemic connection is so strong that creatures who do not share our affective nature will be unable to grasp our moral concepts. I argue that even if this sort of incommensurability does result from the role of affect in morality, incommensurability does not in itself entail relativism. In any case, there is no reason to suppose that one must share our emotions and (...) concerns to be able to apply our moral concept successfully. Finally, I briefly investigate whether the moral realist can seek aid and comfort from Davidsonian arguments to the effect that incommensurability in ethics is in principle impossible, and decide that these arguments are not successful. I conclude that the epistemic role our emotions play in moral discourse does not relativize morality. (shrink)

While social epistemology is a diverse field, much of it still understands knowledge as an individual status—albeit an individual status that crucially depends on various social factors (such as testimony). Further, the literature on group knowledge until now has primarily focused on limited, specialized groups that may be said to know this or that as a group. I wish to argue, to the contrary, that all knowledge-attributions ascribe a collective status; and that this follows more or less directly from an (...) essential function of entitlement-ascriptions: Ascriptions of knowledge and entitlement serve a primarily social function in that they facilitate coordination by maintaining consensus around true beliefs, true theories, and truth-producing methodologies. This conclusion will shed light on ways in which traditional theories of knowledge (such as foundationalism and coherentism) fail to capture a central function of our epistemic practice. (shrink)

Direct realist versions of foundationalism have recently been advocated by Pryor, Huemer, Alston, and Plantinga. DRF can hold either that our foundational observation beliefs are about the simple perceptible qualities of objects, or that our foundational observation beliefs are more complex ones about objects in the world. I will show that whether our observational beliefs are simple or complex, the agent must possess other epistemically significant states in order for these observational beliefs to be justified. These other states are therefore (...) epistemically prior to observation belief, and prevent them from being epistemically foundational. (shrink)

Plantinga famously argues against evidentialism that belief in God can be properly basic. But the epistemology of cognitive faculties such as perception and memory which produce psychologically non-inferential beliefs shows that various inferentially justified theoretical beliefs are epistemically prior to our memory and perceptual beliefs, preventing the latter from being epistemically basic. Plantinga's analogy between the sensus divinitatis and these cognitive faculties suggests that the deliverances of the sensus divinitatis cannot be properly basic either. Objections by and on behalf of (...) Plantinga to this argument are considered. (shrink)

What forms of consciousness can the subject have of her body in action? This is a recurrent issue in contemporary research on skilled movement and expertise, and according to a widespread view, the body makes itself inconspicuous in performance in favour of the object or goal that the activity is directed to. However, this attitude to consciousness in bodily performance seems unsatisfying for an understanding of skilled action, and the work of several researchers can be seen as responding to this (...) view: Montero, Legrand, Ravn and others in the philosophy of expertise and of dance have developed various notions of consciousness and cognition to account for the mindful processes at play in performance. Two related questions can be distinguished here: 1. Is there an inherent conflict between skilled action and at least more than marginal awareness of that action, or is it possible – and even desirable – to reflect on our own performance without considerably impeding on it? 2. What forms of consciousness pertaining to the body in action must we distinguish in order to answer the first question? This paper gives an overview of this discussion, focusing on the second issue, although the first will come into play in so far as it is linked with the latter question. Drawing on Merleau-Ponty’s analyses of bodily reflection and on dancers’ descriptions, I show that there is, in phenomenological terms, a bodily level of reflection: a fully conscious and exploratory activity that is led by the skilled body, and that is explicitly aimed at by many performers. (shrink)

In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema – the “pre-noetic” conditions of bodily performance – and the body image – the body as intentional object –, another is Merleau-Ponty’s writings on the living body, that Gallagher often draws (...) upon. In this paper, I will first discuss Gallagher’s presumed clarification of body schema–body image, and discuss a recent critique by Saint Aubert (2013), who evaluates it against the backdrop of Merleau-Ponty’s thoughts on this issue. While I believe that Saint Aubert’s criticism overshoots the mark, it is useful for a clarification of Gallagher’s analysis and points to a problematic feature, namely the alleged inscrutability of the body schema to phenomenological reflection. This is particularly interesting in relation to contemporary dance and performance practice, where working with – and against – habitual structures is a core element. Certain contemporary training techniques are explicitly aimed at raising awareness of those bodily aspects that condition movement and expression – that Gallagher sees as pertaining to the body schema – and that in ordinary activities often remain hidden. In order to clarify the role that reflection on our own body and its habitual patterns plays in contemporary dance practice, I will examine the movement language and improvisation practice “Gaga”, where this aspect is arguably fundamental. (shrink)

In his book Mind and World, John McDowell grapples with the problem that the world must and yet seemingly cannot constrain our empirical thought. I first argue that McDowell’s proposed solution to the problem throws him onto the horns of his own, intractable dilemma, and thus fails to solve the problem of rational constraint by the world. Next, I will argue that Wilfrid Sellars, in a series of articles written in the 1950s and 1960s, provides the tools to solve the (...) dilemma McDowell sets before us. We will see how, borrowing from Sellars and certain neo-Sellarsians, we can solve the problem of rational constraint by perception without resorting to a McDowellian quasi-enchantment of the world. (shrink)

Most philosophers now concede that libertarianism has failed as an account of free will. Assuming the correctness of this concession, that leaves compatibilism and hard determinism as the only remaining choices in the free will debate. In this paper, I will argue that hard determinism turns out to be a form of compatibilism, and therefore, compatibilism is the only remaining position in the free will debate. I will attempt to establish this conclusion by arguing that hard determinists will end up (...) punishing or rewarding the same acts (and omissions) that the compatibilists punish and reward. Next, I will respond to several objections that attempt to pry apart hard determinism and compatibilism. It will emerge not only that hard determinism and compatibilism are identical at the practical level, but also that the key terms employed by the hard determinist have the same meaning as equivalent terms ("free," "morally responsible," and "retributive punishment") employed by the compatibilist. I conclude that hard determinism genuinely is a form of compatibilism. (shrink)

Much moral skepticism stems from the charge that moral facts do not figure in causal explanations. However, philosophers committed to normative epistemological discourse (by which I mean our practice of evaluating beliefs as justified or unjustified, and so forth) are in no position to demand that normative facts serve such a role, since epistemic facts are causally impotent as well. I argue instead that pragmatic reasons can justify our continued participation in practices which, like morality and epistemology, do not serve (...) the function of causal explanation. Finally, I defend this pragmatic justification of morality and epistemology against a number of objections, including the objection that it confuses practical and theoretical justification. (shrink)

It is plausible to suppose that the normativity of evaluative (e.g., moral and epistemic) judgments arises out of and is, in some sense, dependent on our actual evaluative practice. At the same time, though, it seems likely that the correctness of evaluative judgments is not merely a matter of what the underlying practice endorses and condemns; denial of this leads one into a rather objectionable form of relativism. In this paper, I will explore a social practice account of normativity according (...) to which normativity is grounded in our actual social practice of evaluation. I will show how this account allows normativity to be dependent on our actual evaluative practice, while allowing the correctness of evaluative judgments to be independent of this practice in important ways, and how the resulting temporal logic of reasons gives us a conception of morality and other sorts of evaluative discourse that is not historically local. (shrink)

Many naturalistically-minded philosophers want to accomplish a naturalistic reduction of normative (e.g. moral and epistemic) claims. Mindful of avoiding the naturalistic fallacy, such philosophers claim that they are not reducing moral and epistemic concepts or definitions. Rather, they are only reducing the extension of these normative terms, while admitting that the concepts possess a normative content that cannot be naturalistically reduced. But these philosophers run into a serious problem. I will argue that normative claims possess two dimensions of normativity. I (...) will further argue that certain of the reductionist’s commitments require that these two dimensions of normativity be given a naturalistic reduction, while the other of the reductionist’s commitments make such a reduction impossible. Thus, the reductionist’s commitments both require and forbid a reductionist account of morality and epistemology. Thus, as we will see, reductionism is torn between two incompatible requirements, and must fail. (shrink)

For Merleau-Ponty, the question of phenomenological method was always connected to the problem of expression, in that the results of successful expression can for him amount to a catching of the world “in its nascent state”. In other words, elucidating the phenomena as they show themselves demands a certain amount of creativity to come through. But even though creative expression is without doubt of chief importance for Merleau-Ponty, it is not so easy to determine what exactly it consists in. Minimally, (...) it is more demanding than simply repeating an already formulated expression. On the other hand, it cannot start from nothing – we must begin within an existing tradition, with its acquired expressions, that we somehow take up and transform. A recurrent image of creative expression comes from Malraux, who claimed that it is a “coherent deformation” of what is given in the world. In this paper, I will use Saussure’s principle of analogy to throw light upon the notion of coherent deformation and of creativity. Although Merleau-Ponty merely mentions this principle in passing, I argue that it can clarify the productivity of language that he saw as crucial also for Saussure’s linguistics. (shrink)

This paper examines Simone de Beauvoir’s reading of the 18th century writer and libertine Marquis de Sade, in her essay “Must we Burn Sade?”; a difficult and bewildering text, both in pure linguistic terms and philosophically. In particular, Beauvoir’s insistence on Sade as a “great moralist” seems hard to reconcile with her emphasis, in The Ethics of Ambiguity, on the interdependency of human beings and her exhortation to us to promote other people’s freedom, as well as the aspiration of The (...) Second Sex to equal relations between the genders. While earlier scholars addressed the ethico-political implications of Beauvoir’s essay, they insisted that the ambiguity so fundamental in her philosophy is denied by the Sadean hero, and that the Other can never be attained in his system. In this essay, I argue that Sade paradoxically emerges as an ethical model in Beauvoir’s text: as a writer, he assumes the ambiguity of the human condition in the extreme. Further, Sade reveals the potential of sexuality if it is explored in a form of eroticism that largely transgresses behavior constructed as normal: his writings open up new forms of existence, where, contrary to prevailing ideas, woman’s sexual freedom is claimed as equal to man’s, where genders are unstable and heterosexuality no longer the standard. Beauvoir’s fascination with Sade in this essay can be linked with the seemingly unresolvable asymmetry in the relation between men and women in The Second Sex: in his writings is revealed sexuality’s potential to subvert patriarchal norms and mystifications, and perhaps, in the end, even gender itself. (shrink)

The prevailing judgement concerning Merleau-Ponty’s encounter with Saussure’s linguistics is that, although important for the evolution of Merleau-Ponty’s philosophy of language, it was based on a mistaken or at least highly idiosyncratic interpretation of Saussure’s ideas. Significantly, the rendering of Saussure that has been common both in Merleau-Ponty scholarship and in linguistics hinges on the structuralist development of the Genevan linguist’s ideas. This article argues that another reading of Saussure, in the light of certain passages of the Course of General (...) Linguistics forgotten by the structuralists, and of the manuscripts related to the published works, shows to the contrary that Merleau-Ponty’s account was sustainable. An understanding of Saussure’s ideas that does not flinch from their paradoxical features can elucidate the French phenomenologist’s views on language and expression. Moreover, the “linguistic turn” in Merleau-Ponty’s philosophical development, identified by James Edie for example, does not seem to have been so clear-cut as has previously been believed; the influence of Saussure’s thought had certainly begun before Merleau-Ponty wrote Phenomenology of Perception -/- En français: « La rencontre de Merleau-Ponty avec la linguistique saussurienne : lecture fautive, réinterpretation ou prolongement ? » Inspirée de la linguistique Saussurienne, la philosophie du langage de Merleau-Ponty a souvent été considérée comme une interprétation erronée des idées de Ferdinand de Saussure ou tout du moins comme une traduction singulière de son œuvre. On remarque cependant que la relecture critique du linguiste genevois, qu’elle soit effectuée à partir de l’œuvre merleau-pontienne ou, plus généralement, dans le champ de la linguistique, repose en grande partie sur les modes d’analyse structuralistes. À la lumière de certains passages du Cours de linguistique générale négligés par les structuralistes, et des manuscrits qui se rapportent aux œuvres publiées, cet article défendra l’idée que l’interprétation de la pensée saussurienne par Merleau-Ponty reste à bien des égards pertinente, pour autant qu’elle ne recule pas devant les traits paradoxaux résultant de la pensée saussurienne. Un questionnement de la pensée de Saussure ne reculant pas devant ses traits paradoxaux peut contribuer à accroître notre compréhension des notions de langage et d’expression chez le phénoménologue français. Dans ce cadre, le « tournant linguistique » merleau-pontien, décrit par James Edie, ne paraît pas aussi net que l’on l’a soutenu auparavant : l’influence de la pensée de Saussure s’est certainement faite sentir avant l’écriture de Phénoménologie de la perception. (shrink)

Drawing on a rich pragmatist tradition, this book offers an account of the different kinds of ‘oughts’, or varieties of normativity, that we are subject to contends that there is no conflict between normativity and the world as science describes it. The authors argue that normative claims aim to evaluate, to urge us to do or not do something, and to tell us how a state of affairs ought to be. These claims articulate forms of action-guidance that are different in (...) kind from descriptive claims, with a wholly distinct practical and expressive character. This account suggests that there are no normative facts, and so nothing that needs any troublesome shoehorning into a scientific account of the world. This work explains that nevertheless, normative claims are constrained by the world, and answerable to reason and argumentation, in a way that makes them truth-apt and objective. (shrink)

Simon Høffding’s book A Phenomenology of Musical Absorption (2019) contributes to a growing field of research focusing on the artist’s and performer’s experience, as significant for philosophical understanding of on the one hand expertise and skill-formation, on the other art and artistic practice. Høffding’s work is based on a qualitative study of the world-famous ensemble The Danish String Quartet, and has two purposes according to the author: first, to answer a question that arises when confronted with expert musicians’ descriptions of (...) their experiences: “Who is playing?” While deeply concentrated – absorbed – during rehearsal or performance, musicians have described the feeling of something else taking over: the body, the fingers, the instrument, the music. What kind of self is present in this experience and what kind of consciousness does the musician have of her own performance and of the musical work that is performed? Second, Høffding presents a phenomenological account of the experiences at issue, that is based on thorough empirical work and analysed with tools from phenomenology and cognitive science. While not mainly concerned with philosophical aesthetics, the musical work itself has an important role to play in answering these two questions. In the book, Høffding shows with wonderful clarity the value of listening to and analysing performers’ depiction of their experience, not only in order to provide a theoretical framework that can account for the particular experiences associated with expertise but also to prompt philosophical understanding of artistic/aesthetic experience, art and creativity. There are, however, certain problems with his account. One is the internal conflict between the idea that absorption can be experienced at any level of music making, and the claim that only professional experts can experience absorption in its stronger form, without giving a clear argument for this differentiation. Another is Høffding’s desire to present his work as a “paradigmatic case”, resulting in a certain lack of generosity vis-à-vis precursors and other scholars, and interpretations that are not always backed up by the interview material. In general, there are a number of unclear references and loose ends, that this reader would have wished to be worked out in detail. This being said, Høffding has uncovered a thought-provoking path that I hope will be continued. (shrink)