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 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)

If, as Richard Wollheim says, the Acquaintance Principle is ‘a well-entrenched principle in aesthetics,’ it would be surprising if there were not something true at which those who have asserted it have been aiming. I argue that the Acquaintance Principle cannot be true on any traditional epistemic interpretation, nor on any usability interpretation of the sort Robert Hopkins has recently suggested. I then argue for an interpretation of the principle that treats acquaintance as the end to which judgments (...) of aesthetic value are the means as opposed to the other way around. (shrink)

Part of a symposium on Stanley Cavell's memoir Little Did I Know held at the Johns Hopkins Humanities Center in 2011, this brief essay connects some themes from that book to concerns about knowledge of "what we say" as treated in the opening essays of Cavell's first book, Must We Mean What We Say?; and it attempts to illuminate the latter concerns by comparing them to recent philosophical work on self-knowledge, especially Richard Moran's book Authority and Estrangement.

The writings of Joseph Henry Woodger (1894–1981) are often taken to exemplify everything that was wrongheaded, misguided, and just plain wrong with early twentieth-century philosophy of biology. Over the years, commentators have said of Woodger: (a) that he was a fervent logical empiricist who tried to impose the explanatory gold standards of physics onto biology, (b) that his philosophical work was completely disconnected from biological science, (c) that he possessed no scientific or philosophical credentials, and (d) that his work was (...) disparaged – if not altogether ignored – by the biologists and philosophers of his era. In this paper, we provide the first systematic examination of Woodger’s oeuvre, and use it to demonstrate that the four preceding claims are false. We argue that Woodger’s ideas have exerted an important influence on biology and philosophy, and submit that the current consensus on his legacy stems from a highly selective reading of his works. By rehabilitating Woodger, we hope to show that there is no good reason to continue to disregard the numerous contributions to the philosophy of biology produced in the decades prior to the professionalization of the discipline. (shrink)

Coherentism maintains that coherent beliefs are more likely to be true than incoherent beliefs, and that coherent evidence provides more confirmation of a hypothesis when the evidence is made coherent by the explanation provided by that hypothesis. Although probabilistic models of credence ought to be well-suited to justifying such claims, negative results from Bayesian epistemology have suggested otherwise. In this essay we argue that the connection between coherence and confirmation should be understood as a relation mediated by the causal relationships (...) among the evidence and a hypothesis, and we offer a framework for doing so by fitting together probabilistic models of coherence, confirmation, and causation. We show that the causal structure among the evidence and hypothesis is sometimes enough to determine whether the coherence of the evidence boosts confirmation of the hypothesis, makes no difference to it, or even reduces it. We also show that, ceteris paribus, it is not the coherence of the evidence that boosts confirmation, but rather the ratio of the coherence of the evidence to the coherence of the evidence conditional on a hypothesis. (shrink)

The aim of this paper is to assess the relationship between anti-physicalist arguments in the philosophy of mind and anti-naturalist arguments in metaethics, and to show how the literature on the mind-body problem can inform metaethics. Among the questions we will consider are: (1) whether a moral parallel of the knowledge argument can be constructed to create trouble for naturalists, (2) the relationship between such a "Moral Knowledge Argument" and the familiar Open Question Argument, and (3) how naturalists can respond (...) to the Moral Twin Earth argument. We will give particular attention to recent arguments in the philosophy of mind that aim to show that anti-physicalist arguments can be defused by acknowledging a distinctive kind of conceptual dualism between the phenomenal and the physical. This tactic for evading anti-physicalist arguments has come to be known as the Phenomenal Concept Strategy. We will propose a metaethical version of this strategy, which we shall call the `Moral Concept Strategy'. We suggest that the Moral Concept Strategy offers the most promising way out of these anti-naturalist arguments, though significant challenges remain. (shrink)

Here I defend the compatibility of presentism and time travel against a few objections. Keller and Nelson argue that, if presentism is at all plausible, presentism and time travel are as compatible as eternalism and time travel. But Miller and Sider are not convinced. I reply that for their concerns to have merit, Miller and Sider must assume presentists are committed to positions they need not be; I explain why presentists are not so committed and, in the process, defend Keller (...) and Nelson’s position that there is no roadblock to presentist time travel that does not also apply to eternalist time travel. (shrink)

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)

Mereological challenges have recently been raised against the endurantist. For instance, Barker and Dowe (2003) have argued that eternalist endurantism entails (1) persisting objects are both 3D and 4D, and that (2) the lives of persisting objects last longer than they actually do. They also argue that presentist endurantism also entails, albeit in a tensed way, that (3) the lives of persisting objects last longer than they actually do. While they’ve further argued (2005) that the objections raised by McDaniel (2003) (...) and Beebee and Rush (2003) fail, here I show that such objections are tenable without requiring further significant metaphysical commitments; I argue that such endurantist defences are tenable, contra to prior analyses. (shrink)

In the domain of ontology design as well as in Knowledge Representation, modeling universals is a challenging problem.Most approaches that have addressed this problem rely on Description Logics (DLs) but many difficulties remain, due to under-constrained representation which reduces the inferences that can be drawn and further causes problems in expressiveness. In mathematical logic and program checking, type theories have proved to be appealing but, so far they have not been applied in the formalization of ontologies. To bridge this gap, (...) we present in this paper a theory for representing ontologies in a dependently typed framework which relies on strong formal foundations including both a constructive logic and a functional type system. The language of this theory defines in a precise way what ontological primitives such as classes, relations, properties, etc., and thereof roles, are. The first part of the paper details how these primitives are defined and used within the theory. In a second part, we focus on the formalization of the role primitive. A review of significant role properties leads to the specification of a role profile and most of the remaining work details through numerous examples, how the proposed theory is able to fully satisfy this profile. It is demonstrated that dependent types can model several non-trivial aspects of roles including a formal solution for generalization hierarchies, identity criteria for roles and other contributions. A discussion is given on how the theory is able to cope with many of the constraints inherent in a good role representation. (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)

By its alternative depiction of God's non-violent creative power at the start of the biblical canon, Gen 1 signals the Creator's original intent for shalom and blessing at the outset of human history, prior to the rise of human (or divine) violence. Gen 1 constitutes a normative framework by which we may judge all the violence that pervades the rest of the Bible.

We designed an experiment to explore the learning effectiveness of three different ways of practicing dance movements. To our surprise we found that partial modeling, called marking in the dance world, is a better method than practicing the complete phrase, called practicing full-out; and both marking and full-out are better methods than practicing by repeated mental simulation. We suggest that marking is a form of practicing a dance phrase aspect-by-aspect. Our results also suggest that prior work on learning by observation (...) and learning by mental practice may not scale up to complex movements. (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)

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)

Péter Pázmány taught philosophy at the Jesuit university of Graz, end of 16th century. This analyzes his interpretation of Aristotelian psychology.

गुमनामी में आधी सदी के बाद, चेतना की प्रकृति अब व्यवहार विज्ञान और दर्शन में सबसे विषय है. 1930 में लुडविग Wittgenstein के अग्रणी काम के साथ शुरुआत (ब्लू और ब्राउन पुस्तकें) और 50 से अपने तार्किक उत्तराधिकारी जॉन Searle द्वारा वर्तमान के लिए, मैं इस अध्ययन को आगे बढ़ाने के लिए एक heuristic के रूप में निम्नलिखित तालिका बनाया है. पंक्तियाँ विभिन्न पहलुओं या अध्ययन के तरीके दिखाते हैं और कॉलम अनैच्छिक प्रक्रियाओं और स्वैच्छिक व्यवहार को दिखाते हैं जिसमें (...) चेतना की तार्किक संरचना (एलएससी) की दो प्रणालियों (दोहरी प्रक्रियाओं) को शामिल किया जाता है, जिसे तार्किक संरचना के रूप में भी माना जा सकता है। Rationality की (LSR-Searle), व्यवहार के (LSB), व्यक्तित्व के (LSS) की, वास्तविकता की (LSOR), Intentionality की (LSI) -शास्त्रीय दार्शनिक शब्द, चेतना के वर्णनात्मक मनोविज्ञान (डीपीसी) , सोचा की वर्णनात्मक मनोविज्ञान (DPT) -या बेहतर, सोचा (LDPT) के वर्णनात्मक मनोविज्ञान की भाषा, शब्द यहाँ शुरू की और मेरे अन्य बहुत हाल ही में लेखन में. आधुनिक दो systems दृश्यसे मानव व्यवहार के लिए एक व्यापक अप करने के लिए तारीख रूपरेखा इच्छुक लोगों को मेरी पुस्तक 'दर्शन, मनोविज्ञान, मिनडी और लुडविगमें भाषा की तार्किक संरचना से परामर्श कर सकते हैं Wittgenstein और जॉन Searle '2 एड (2019). मेरे लेखन के अधिक में रुचि रखने वालों को देख सकते हैं 'बात कर रहेबंदर- दर्शन, मनोविज्ञान, विज्ञान, धर्म और राजनीति पर एक बर्बाद ग्रह --लेख और समीक्षा 2006-2019 3 एड (2019) और आत्मघाती यूटोपियान भ्रम 21st मेंसदी 4वें एड (2019). (shrink)

‘Painting’ names both a practice and its products. Both practice and product can, but need not, be art. When painting is art, in what does its artistic interest lie? This is the question an aesthetics of painting seeks to answer. While that answer might be sought in features found in other arts, here we investigate whether painting is of distinctive interest, containing phenomena of artistic value not to be found in most, or perhaps any, other art forms.

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 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)

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.

This paper applies a virtue epistemology approach to using the Internet, as to improve our information-seeking behaviours. Virtue epistemology focusses on the cognitive character of agents and is less concerned with the nature of truth and epistemic justification as compared to traditional analytic epistemology. Due to this focus on cognitive character and agency, it is a fruitful but underexplored approach to using the Internet in an epistemically desirable way. Thus, the central question in this paper is: How to use the (...) Internet in an epistemically virtuous way? Using the work of Jason Baehr, it starts by outlining nine intellectual or epistemic virtues: curiosity, intellectual autonomy, intellectual humility, attentiveness, intellectual carefulness, intellectual thoroughness, open-mindedness, intellectual courage and intellectual tenacity. It then explores how we should deploy these virtues and avoid the corresponding vices when interacting with the Internet, particularly search engines. Whilst an epistemically virtuous use of the Internet will not guarantee that one will acquire true beliefs, understanding or even knowledge, it will strongly improve one’s information-seeking behaviours. The paper ends with arguing that teaching and assessing online intellectual virtues should be part of school and university curricula, perhaps embedded in critical thinking courses, or even better, as individual units. (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)

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)

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)

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)

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.

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)

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)

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)

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)

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)

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.

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)

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)

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.

How does logic relate to rational belief? Is logic normative for belief, as some say? What, if anything, do facts about logical consequence tell us about norms of doxastic rationality? In this paper, we consider a range of putative logic-rationality bridge principles. These purport to relate facts about logical consequence to norms that govern the rationality of our beliefs and credences. To investigate these principles, we deploy a novel approach, namely, epistemic utility theory. That is, we assume that doxastic attitudes (...) have different epistemic value depending on how accurately they represent the world. We then use the principles of decision theory to determine which of the putative logic-rationality bridge principles we can derive from considerations of epistemic utility. (shrink)

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 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)

Memory technologies are cultural artifacts that scaffold, transform, and are interwoven with human biological memory systems. The goal of this article is to provide a systematic and integrative survey of their philosophical dimensions, including their metaphysical, epistemological and ethical dimensions, drawing together debates across the humanities, cognitive sciences, and social sciences. Metaphysical dimensions of memory technologies include their function, the nature of their informational properties, ways of classifying them, and their ontological status. Epistemological dimensions include the truth-conduciveness of external memory, (...) the conditions under which external memory counts as knowledge, and the metacognitive monitoring of external memory processes. And lastly, ethical and normative dimensions include the desirability of the effects memory technologies have on biological memory, their effects on self and culture, and their moral status. Whilst the focus in the article is largely philosophical and conceptual, empirical issues such as the way we interact with memory technologies in various contexts are also discussed. We thus take a naturalistic approach in which philosophical and empirical concepts and approaches are seen as continuous. (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)

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)

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

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

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)

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)

Extended and distributed cognition theories argue that human cognitive systems sometimes include non-biological objects. On these views, the physical supervenience base of cognitive systems is thus not the biological brain or even the embodied organism, but an organism-plus-artifacts. In this paper, we provide a novel account of the implications of these views for learning, education, and assessment. We start by conceptualising how we learn to assemble extended cognitive systems by internalising cultural norms and practices. Having a better grip on how (...) extended cognitive systems are assembled, we focus on the question: If our cognition extends, how should we educate and assess such extended cognitive systems? We suggest various ways to minimize possible negative effects of extending one’s cognition and to efficiently find and organise (online) information by adopting a virtue epistemology approach. Educational and assessment implications are foregrounded, particularly in the case of Danish students’ use of the Internet during exams. (shrink)

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