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Santiago Arango-Munoz
Universidad de Antioquia
  1. Collaborative Memory Knowledge: A Distributed Reliabilist Perspective.Kourken Michaelian & Santiago Arango-Munoz - 2018 - In M. Meade, C. B. Harris, P. van Bergen, J. Sutton & A. J. Barnier (eds.), Collaborative Remembering: Theories, Research, Applications. Oxford University Press. pp. 231-247.
    Collaborative remembering, in which two or more individuals cooperate to remember together, is an ordinary occurrence. Ordinary though it may be, it challenges traditional understandings of remembering as a cognitive process unfolding within a single subject, as well as traditional understandings of memory knowledge as a justified memory belief held within the mind of a single subject. Collaborative memory has come to be a major area of research in psychology, but it has so far not been investigated in epistemology. In (...)
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  2. Epistemic Feelings and Epistemic Emotions (Focus Section).Santiago Arango-Muñoz & Kourken Michaelian - 2014 - Philosophical Inquiries.
    Philosophers of mind and epistemologists are increasingly making room in their theories for epistemic emotions (E-emotions) and, drawing on metacognition research in psychology, epistemic – or noetic or metacognitive – feelings (E-feelings). Since philoso- phers have only recently begun to draw on empirical research on E-feelings, in particular, we begin by providing a general characterization of E-feelings (section 1) and reviewing some highlights of relevant research (section 2). We then turn to philosophical work on E-feelings and E-emotions, situating the contributions (...)
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  3. From Collective Memory ... To Collective Metamemory?Santiago Arango-Munoz & Kourken Michaelian - 2020 - In Anika Fiebich (ed.), Minimal Cooperation and Shared Agency. Studies in the Philosophy of Sociality, vol 11. pp. 195-217.
    Ouraiminthischapteristodelineatetheformofsharedagencythatwe take to be manifested in collective memory. We argue for two theses. First, we argue that, given a relatively weak conception of episodicity, certain small-scale groups display a form of emergent (i.e., genuinely collective) episodic memory, while large-scale groups, in contrast, do not display emergent episodic memory. Second, we argue that this form of emergent memory presupposes (high-level and possibly low-level) metamemorial capacities, capacities that are, however, not themselves emergent group-level features but rather strictly individual-level features. The form of (...)
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  4. Remembering as a Mental Action.Santiago Arango-Munoz & Juan Pablo Bermúdez - 2018 - In Kourken Michaelian, Dorothea Debus & Denis Perrin (eds.), New Directions in the Philosophy of Memory. Routledge. pp. 75-96.
    Many philosophers consider that memory is just a passive information retention and retrieval capacity. Some information and experiences are encoded, stored, and subsequently retrieved in a passive way, without any control or intervention on the subject’s part. In this paper, we will defend an active account of memory according to which remembering is a mental action and not merely a passive mental event. According to the reconstructive account, memory is an imaginative reconstruction of past experience. A key feature of the (...)
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  5. Metacognitive Feelings, Self-Ascriptions and Metal Actions.Santiago Arango-Muñoz - 2014 - Philosophical Inquiries 2 (1):145-162.
    The main aim of this paper is to clarify the relation between epistemic feel- ings, mental action, and self-ascription. Acting mentally and/or thinking about one’s mental states are two possible outcomes of epistemic or metacognitive feelings. Our men- tal actions are often guided by our E-feelings, such as when we check what we just saw based on a feeling of visual uncertainty; but thought about our own perceptual states and capacities can also be triggered by the same E-feelings. The first (...)
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  6. Intentional Mind-Wandering as Intentional Omission: The Surrealist Method.Santiago Arango-Muñoz & Juan Pablo Bermúdez - forthcoming - Synthese:1-22.
    Mind-wandering seems to be paradigmatically unintentional. However, experimental findings have yielded the paradoxical result that mind-wandering can also be intentional. In this paper, we first present the paradox of intentional mind-wandering and then explain intentional mind-wandering as the intentional omission to control one’s own thoughts. Finally, we present the surrealist method for artistic production to illustrate how intentional omission to control thoughts can be deployed towards creative endeavours.
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