The value of up-hill skiing is double, it is first a sport and artistic expression, second it incorporates functional dependencies related to the natural obstacles which the individual aims to overcome. On the artistic side, M. Dufrenne shows the importance of living movement in dance, and we can compare puppets with dancers in order to grasp the lack of intentional spiritual qualities in the former. The expressivity of dance, as for, Chi Gong, ice skating or ski mountaineering is a (...) particular innocence and lightness which is called grace. It is life without the burden of worries. Grace, in slow progression uphill on snow, is as dance for Dufrenne, it has the most central and specific aesthetical quality of life. Others compared dance to a landscape, a landscape is for the sight, what dance is for life, a symbolical space, different from a usual space, where utility and dependency are present. A mountain can be a space of experience of natural beauty. Aesthetical qualities can be closely related to function related qualities as when a climber needs to adjust his movements to the natural convex inclination of the rocks, and avoid slippery forms of inclination, present on the other side of the mountain. The natural object, the quality of the snow or the rock differ from the aesthetical quality of the style of ascent by the absence of neutralization of the object, in case of a purely instrumental approach. On the contrary, grace in the rhythm of the progression of ski climbers needs a difference of attitude, which is not only proper to the playing, and delimited by the conditions of that play, but as a contingency driven attitude, without signification as radical alterity, without any finality. First ascent of the Matterhorn succeeded from the Swiss side, and not from the Italian side because of the different inclination of the rock on both sides. Grace in dance as in martial art or mountaineering is allowing to perceive an autonomy of the expression, as the truth of the perceived object, it puts away a cognitive and practical orientation and replaces it by a new meaning as movement in the whole set of movements done by the climber. This replacement of the functional expression resembles that operated by the painter who chooses a color in the whole set of colors in a painting, or a shape in the whole set of possible existing shapes. -/- Ref. Dufrenne, Mikel, (1989): The Phenomenology of Aesthetic Experience. Studies in Phenomenology and Existential Philosophy, trans. by Edward S. Casey, 1st publ. in 1953, Evanston: Northwestern University Press. (shrink)

After viewing a painting, reading a novel, or seeing a film, audiences often feel that they improve their cognitive standing on the world beyond the canvas, page, or screen. To learn from art in this way, I argue audiences must employ high degrees of epistemic autonomy and creativity, engaging in a process I call ‘insight through art.’ Some have worried that insight through art uses audience achievements to explain an artwork’s cognitive and artistic value, thereby failing (...) to properly appreciate the cognitive and artistic achievements of artists. I move against this worry by arguing that in order to learn via insight through art audiences must collaborate with artists, sharing the labour and credit for the cognitive achievements they co-produce. I claim this co-productive outlook reveals that our appreciation of art’s cognitive and artistic value involves far more audience participation than has hitherto been realised. (shrink)

[Winner of the American Philosophical Association’s 2024 Journal of Value Inquiry Prize.] My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). (...) My approach largely consists of identifying pertinent features of viable literary cognitivism and then showing how they or close analogues can be applied to non-verbal painting. The two main features are the requirements, first, that the relevant knowledge is provided significantly in virtue of the distinctive essential feature of literary fictions, i.e., their fictionality, and second, that the knowledge stems primarily from the content of the work, not from what the auditor brings to the work. Some ways that literary fiction has been taken to be argumentative are explained, and striking similarities are found between argumentative literary fiction and argumentative painting. Potential objections are addressed, and I examine a proposed way to express, in a schematized format, both the power of an argumentative painting and its relatively simple associated propositional content. (shrink)

Discussions of diversity tend to paint a mixed picture of the practical and epistemic value of diversity. While there are expansive and detailed accounts of the value of cognitive diversity, explorations of identity diversity typically focus on its value as a source or cause of cognitive diversity. The resulting picture on which identity diversity only possesses a derivative practical and epistemic value is unsatisfactory and fails to account for some of its central epistemic benefits. (...) In response, I propose that collective virtue epistemology offers theoretical models that can further our understanding of the benefits of diversity. And I offer a case study to illustrate how this approach could be used to explore the logic of the identity diversity bonus. (shrink)

It’s plausible that we only fully appreciate the value of something, say a painting or a blameworthy action, when we have a fitting emotional response to it, such as admiration or guilt. But exactly how and why do we grasp value through emotion? I propose, first, that a subject S phenomenally grasps property P only if what it is to be P is manifest in the phenomenal character of S’s experience. Second, following clues from the Stoics, I (...) argue that the phenomenal character of emotional experience is constitutively linked with its having directive content. More precisely, emotional experience directs us both to adopt a maxim for action – take certain characteristic kinds of action for an emotion-specific end – and to treat something about the object as a presumptively decisive reason to take such action for such end. If we assent to what the experience proposes (or rational control gets bypassed), we are motivated to take the relevant action and have a corresponding evaluative belief. This picture of emotional cognition yields a natural conception of the evaluative fittingness conditions of emotions without the problematic assumption that they have a presentational phenomenology. Instead, it is precisely in virtue of the directive and valenced phenomenology of emotion that values are only fully manifest in emotional experience, since values are essentially action- and attitude-guiding properties. (shrink)

Virtue-based moral cognitivism holds that at least some of the value of some art consists in conveying knowledge about the nature of virtue and vice. We explore here a challenge to this view, which extends the so-called situationist challenge to virtue ethics. Evidence from social psychology indicates that individuals’ behavior is often susceptible to trivial and normatively irrelevant situational influences. This evidence not only challenges approaches to ethics that emphasize the role of virtue but also undermines versions of moral (...) cognitivism, because the value of art cannot consist in teaching us about traits that do not exist. We thus recommend a new account of the cognitive value of art: art teaches how context and character interact to produce action. (shrink)

It is a common experience to be surprised by an artwork. In this paper, I examine how and why this obvious fact matters for philosophical aesthetics. Following recent works in psychology and philosophers such as Davidson or Scheffler, we will see that surprise qualifies as an emotion of a special kind, essentially “cognitive” or “epistemic” in its nature and functioning. After some preliminary considerations, I wish to hold two general claims: the first one will be that surprise is somehow (...) related to aesthetic appreciation, because it is often the ground to judge of a work’s value. The second point will be that a functional analysis of surprise provides support for cognitivist accounts of aesthetics. If this picture is right, surprise would generally play an important part in aesthetic experience and should also be seen as a paradigm to study the cognitive powers of art. (shrink)

In this paper, I explore the cognitive value of fantasy literature. Using Immanuel Kant's and Jean-Paul Sartre's discussions of the imagination, and J.R.R. Tolkien's "On Fairy Stories,” I argue that fantasy literature is cognitively valuable when it confers phenomenal knowledge. I move on to demonstrate what a work of fantasy literature requires to confer this phenomenal knowledge. Fantasy literature has the potential to reveal true insights into this world when it brings the reader into a state of “secondary (...) belief” and confers phenomenal knowledge through the union of world and story. (shrink)

Recent authors hold that the role of historical scholarship within contemporary philosophical practice is to question current assumptions, to expose vestiges or to calibrate intuitions. On these views, historical scholarship is dispensable, since these roles can be achieved by nonhistorical methods. And the value of historical scholarship is contingent, since the need for the role depends on the presence of questionable assumptions, vestiges or comparable intuitions. In this paper I draw an analogy between scientific and philosophical practice, in order (...) to float one role for historical scholarship that is nonreplicable and noncontingent. It has long been acknowledged that cognitive values – features of theories that facilitate understanding, such as ontological parsimony, ideological simplicity, computational ease and fecundity – play a key role within science. The role of some of these values within philosophy also has received attention but left understudied are the values of novelty and conservativeness. These values influence theory choice, the selection of methodology, the setting of research agenda, and the presentation of results; and are best assessed with a historically informed evaluation. This role for historical scholarship is not replicable by nonhistorical methods, and is not contingent on the presence of questionable assumptions, vestiges or comparable intuitions. (shrink)

The challenges facing us today require practical wisdom to allow us to react appropriately. In this paper, we argue that at a group level, we will make better decisions if we respect and take into account the moral judgment of agents with diverse styles of cognition and moral reasoning. We show this by focusing on the example of autism, highlighting different strengths and weaknesses of moral reasoning found in autistic and non-autistic persons respectively.

This paper has two distinct but related goals: (1) to identify some of the potential consequences of the Internet for our cognitive abilities and (2) to suggest an approach to evaluate these consequences. I begin by outlining the Google effect, which (allegedly) shows that when we know information is available online, we put less effort into storing that information in the brain. Some argue that this strategy is adaptive because it frees up internal resources which can then be used (...) for other cognitive tasks, whereas others argue that this is maladaptive because it makes us less knowledgeable. I argue that the currently available empirical evidence in cognitive psychology does not support strong conclusions about the negative effects of the Internet on memory. Before we can make value-judgements about the cognitive effects of the Internet, we need more robust and ecologically-valid evidence. Having sketched a more nuanced picture of the Google effect, I then argue that the value of our cognitive abilities is in part intrinsic and in part instrumental, that is, they are both valuable in themselves and determined by the socio-cultural context in which these cognitive abilities are utilised. Focussing on instrumental value, I argue that, in an information society such as ours, having the skills to efficiently navigate, evaluate, compare, and synthesize online information are (under most circumstances) more valuable than having a lot of facts stored in biological memory. This is so, partly because using the Internet as an external memory system has overall benefits for education, navigation, journalism, and academic scholarship. (shrink)

In his book Art and Knowledge, James O. Young suggests that avant-garde and contemporary art, because it tends to eschew the resources of illustrative representation, lacks cognitive value. Because he regards cognitive value as a necessary condition for a high degree of aesthetic value, he concludes that contemporary works tend to have little aesthetic value and thus do not deserve to be regarded as valuable artworks (or, in many cases, as artworks at all). In (...) this paper, I mount a defense of contemporary art against Young’s criticisms. I examine particular artworks to show that the use of exemplification in many contemporary works is sufficient to allow them to make the kind of cognitive contribution Young requires. And I show that even a work that uses virtually none of the resources of illustrative representation makes available an experience that is a valuable source of knowledge. There is, thus, nothing about contemporary art that prevents it from having, or makes it especially unlikely to have, cognitive value. (shrink)

It is not so long ago that philosophers and scientists thought of science as an objective and value-free enterprise. But since the heyday of positivism, it has become obvious that values, norms, and standards have an indispensable role to play in science. You may even say that these values are the real issues of the philosophy of science. Whatever they are, these values constrain science at an ontological, a cognitive, a methodological, and a semantic level for the purpose (...) of making science a rational pursuit of knowledge. I think, however, that a good place to look for them is in the rise of quantum mechanics and in the debate between Bohr and Einstein on its interpretation, not because similar cognitive values are not shaping scientific rationality elsewhere, but because they surface in the debate whenever a new revolutionary paradigm is about to take over the scene. (shrink)

ABSTRACT One striking feature of On the Genealogy of Morals is how it is written. Nietzsche employs a literary style that provokes his readers' emotions. In Beyond Selflessness, Christopher Janaway argues that such a literary approach is integral to Nietzsche's philosophical goals. Feeling the emotions Nietzsche's style arouses is necessary for understanding the views he defends. I argue that Janaway's position is mistaken. The evidence at our disposal fails to establish that emotion is ever necessary for cognition. However, I maintain (...) that we do have good evidence for a slightly weaker claim. The emotionally sensitive person is epistemically better off than the cold and dispassionate person. There are some truths he or she will be more likely to believe and will have better reasons for believing. I conclude that Janaway is right to defend the philosophical importance of Nietzsche's literary writing style. His error is simply that he overstates the case. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

This paper aims 1) to introduce the notion of theoretical story as a resource and source of constraint for the construction and assessment of models of phenomena; 2) to show the relevance of this notion for a better understanding of the role and nature of values in scientific activity. The reflection on the role of values and value judgments in scientific activity should be attentive, I will argue, to the distinction between models and the theoretical story that guides and (...) constrains their construction. The aim of scientific activity is to develop understanding of phenomena, and something that serves this aim and contributes to the development of understanding has a cognitive value. Cognitive values are the features that something that plays a role in scientific activity should have so that it can serve its aim. I will focus my attention on the features of the theoretical story and of the models. (shrink)

Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of its (...) claims, the strength of its arguments, and its internal consistency. I argue that aesthetic value does have such an impact, at least sometimes and to some degree. The aesthetic merits of some works help to preserve their consistency, and the aesthetic defects of other works render them self-contradictory. (shrink)

I motivate three claims: Firstly, attentional traits can be cognitive virtues and vices. Secondly, groups and collectives can possess attentional virtues and vices. Thirdly, attention has epistemic, moral, social, and political importance. An epistemology of attention is needed to better understand our social-epistemic landscape, including media, social media, search engines, political polarisation, and the aims of protest. I apply attentional normativity to undermine recent arguments for moral encroachment and to illuminate a distinctive epistemic value of occupying particular social (...) positions. A recurring theme is that disproportionate attention can distort, mislead, and misrepresent even when all the relevant claims are true and well supported by evidence. In the informational cacophony of the internet age, epistemology must foreground the cognitive virtues of attunement. (shrink)

Where do values live in thought? A straightforward answer is that we (or our brains) make decisions using explicit value representations which are our values. Recent work applying reinforcement learning to decision-making and planning suggests that more specifically, we may represent both the instrumental expected value of actions as well as the intrinsic reward of outcomes. In this paper, I argue that identifying value with either of these representations is incomplete. For agents such as humans and other (...) animals, there is another place where reward can be located in thought: the division of the space of possibilities or ‘state space’. (shrink)

Anti-cognitivism is best understood as a challenge to explain how works of fictional narrative can add to our worldly knowledge. One way to respond to this challenge is to argue that works of fictional narrative add to our knowledge by inviting us to explore, in the imagination, the perspectives or points of view of others. In the present paper, I distinguish two readings of this thesis that reflect two very different conceptions of “perspective”: a first understanding focuses on what the (...) world looks like from a subjective point of view. Within this framework, we can distinguish approaches that focus on the subjective character of experience from others that explore the nature of subjectivity. I will argue that both strands can be successful only if they acknowledge the de se character of imagining. The second conception understands perspective as a method of representing. To illustrate it, I will look back to the invention of linear perspective in Renaissance painting. I will argue that the definition of perspective as a rule-guided method or technique can shed new light on the thesis that works of narrative fiction are particularly suited to display other perspectives. (shrink)

Credences are similar to levels of confidence, represented as a value on the [0,1] interval. This chapter sheds light on questions about credence, including its relationship to full belief, with an eye toward the empirical relevance of credence. First, I’ll provide a brief epistemological history of credence and lay out some of the main theories of the nature of credence. Then, I’ll provide an overview of the main views on how credences relate to full beliefs. Finally, I’ll turn to (...) the empirical, and suggest some ways that cognitive science does and could answer questions about credence, such as what credences one has, how credences relate to beliefs, and the extent to which we can control our credences. (shrink)

Connecting research and production, art research represents a breaking of the barrier between creation and academia. However, there is also a contradiction contained in this kind of research deriving from its methods, since the process of art-based practice must, by its very nature, involve the subjectivity of the artist. I use my own studies as the research object to discuss this issue, and this article presents the problems I encountered during my artistic practice and research of ambiguous roles. This paper (...) has two main points of focus. First, I explore how the fallacy of self-referentiality is presented in paintings and films, and, second, I draw on my short film practice during my master’s study period to explain how the shots present a continuum in relation to the “absent one” and produce interface effects. However, the second point is not necessarily the result of the first one. This kind of connection and contradiction between practice and cognition in the process of art research is that I will analyse and discuss here. (shrink)

Faced with current urgent calls for more trust in experts, especially in high impact and politically sensitive domains, such as climate science and COVID-19, the complex and problematic nature of public trust in experts and the need for a more critical approach to the topic are easy to overlook. Scepticism – at least in its Humean mitigated form that encourages independent, questioning attitudes – can prove valuable to democratic governance, but stands in opposition to the cognitive dependency entailed by (...) epistemic trust. In this paper, we investigate the tension between the value of mitigated scepticism – understood as the exercise of reason-based doubt in a particular domain – and the need for trust in experts. We offer four arguments in favour of mitigated scepticism: the argument from loss of intellectual autonomy; the argument from democratic deficit; the argument from the normative failures of science; and the argument from past and current injustices. These arguments highlight the tension between the requirements for trust and justified scepticism about the role of experts. One solution, which we reject, is the idea that reliance, rather than trust, is sufficient for the purposes of accommodating experts in policy matters. The solution we endorse is to create a ‘climate of trust’, where questioning experts and expertise is welcomed, but the epistemic trust necessary for action upon information which the public cannot obtain first-hand is enabled and encouraged through structural, institutional, and justice-based measures. (shrink)

Jonathan Kvanvig has proposed a non-cognitive theory of faith. He argues that the model of faith as essentially involving assent to propositions is of no value. In response, I propose a Thomistic cognitive theory of faith that both avoids Kvanvig’s criticism and presents a richer and more inclusive account of how faith is intrinsically valuable. I show these accounts of faith diverge in what they take as the goal of the Christian life: personal relationship with God or (...) an external state of affairs. For this reason, more seriously, the non-cognitivist project likely requires rejecting traditional Christianity and its picture of salvation. (shrink)

This dissertation aims at forging an archetectonic link between Kant's first and third Critiques within a cognitive-semantic framework. My aim is to show how the major conceptual innovations of Kant’s third Critique can be plausibly understood in terms of the theoretical aims of the first, (Critique of Pure Reason). However, unlike other cognition-oriented approaches to Kant's third Critique, which take the point of contact between the first and third Critique's to be the first Critique's Transcendental Analytic, I link these (...) two works via the first Critique's Transcendental Dialectic, specifically its discussions of the "ideas of pure reason." -/- According to Kant, the “ideas of pure reason” (IPRs) — viz., the notions of self, world-whole, and God — are innate content-bearing entities representing three types of transempirical object, none of which are possible objects of cognition. However, although Kant denies that these rather unique content-bearers can be used for purposes of “speculative cognition,” he does think that they have an internal functional value for human cognitive systems. Although under my analysis of their functional value the IPRs subserve a highest-order aim which derives from theoretical reason — namely, to ground and optimize cognitive systematicity — their directive content in fact renders their implementation(thus their form of intentionality) more characteristic of practical reason. Kant’s positive account of reason’s “interest” in and use of the IPRs exhibits a kind of cognitive pragmatism. -/- Of utmost concern to the cognitive-semantic enterprise, as I conceive it, is the development of (what might be called) a metaphysics of intentionality. A `metaphysics of intentionality', as I use the term, refers to a coherent set of postulative propositional cognitions (or, at any rate, content-bearing entities) implemented, first, for the sake of rationally explaining the phenomenological unity and object-directed character of our perceptual states and, second, to explain why the objects represented in such states are, or must be, law-governed and thus necessarily amenable to scientific investigation. On my view, the discussions in Kant’s third Critique nontrivially contribute to the development of a metaphysics of intentionality and thus to the larger cognitive-semantic enterprise of Kant's first Critique, and it is this link that lends Kant's third Critique a cognitive significance. -/- . (shrink)

The primary aim of this paper is to argue that the value of understanding derives in part from a kind of subjective stability of belief that we call epistemic resilience. We think that this feature of understanding has been overlooked by recent work, and we think it’s especially important to the value of understanding for social cognitive agents such as us. We approach the concept of epistemic resilience via the idea of the experience of epistemic ownership and (...) argue that the former concept has Platonic pedigree. Contrary to longstanding exegetical tradition, we think that Plato solves the “Meno problem” with an appeal to the epistemic resilience characteristic of understanding, not the well-groundedness characteristic of canonical cases of propositional knowledge. Finally, we apply our discussion to the case of science outreach and the challenge of global warming skepticism and conclude with directions for future research. (shrink)

Speculative fiction, such as science fiction and fantasy, has a unique epistemic value. We examine similarities and differences between speculative fiction and philosophical thought experiments in terms of how they are cognitively processed. They are similar in their reliance on mental prospection, but dissimilar in that fiction is better able to draw in readers (transportation) and elicit emotional responses. By its use of longer, emotionally poignant narratives and seemingly irrelevant details, speculative fiction allows for a better appraisal of the (...) consequences of philosophical ideas than thought experiments. (shrink)

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of art (techne). The (...) ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

In this paper I defend the idea that there is a sense in which it is meaningful and useful to talk about objective understanding, and that to characterize that notion it is necessary to formulate an account of explanation that makes reference to the beliefs and epistemic goals of the participants in a cognitive enterprise. Using the framework for belief revision developed by Isaac Levi, I analyze the conditions that information must fulfill to be both potentially explanatory and epistemically (...) valuable to an inquiring agent and to a scientific community. To be potentially explanatory, the information must state the relations of probabilistic relevance that the explanans bares to the explanandum. But a potential explanation con only be a bona fide explanation if it becomes part of inquiry, that is, if an agent or a group of agents can see any value in it for their cognitive purposes. I provide a way to evaluate the epistemic value of a potential explanation as a function of its credibility and its informational content. (shrink)

Reality and its Shadow, a brief yet powerful essay written in 1948, is the only text where Emmanuel Levinas deals solely with the ontology of art. Already in this early text, we can see how his understanding that ethics is the ground of philosophy drives his discussion. The nature of art is therefore treated in relation to what it does, ethically, to the subject, the maker, and the viewer. Art is the “inhumanity” and “inversion” of ethics. Only philosophical criticism reintegrates (...) its “inhumanity” in the ethical relation. The strength of Levinas’s philosophy issues from a pre-cognitive commitment to the “other”, epitomised in the “face to face” relation. Any philosophy emphasising the primacy of the subject over and above the “other” crumbles under his reading. Yet this same strength implies that those domains where the “face to face” relation is obscured lead to irresponsibility. One such domain is art. In this essay I argue that by applying his mature work to the criticism he advances in Reality and its Shadow we can find ethical value in art in virtue of its “inhumanity” and “inversion”. That is, we can agree with Levinas that art leads to irresponsibility, and yet ascribe to it positive ethical value in Levinas's own terms. This can help concretise the tension between the ethical and unethical aspects of art within a Levinasian framework. (shrink)

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...) hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

Valuing something is complicated. Philosophers have offered different stories about what we do when we value something. However, we have not paid enough attention to the thought that, sometimes, valuing something is what makes us the kind of practical agents we are. In this paper, I offer a novel account of valuing, which I call thick valuing, to capture this special phenomenon in which our valuing makes us who we are. This requires us to recognize that the cognitive, (...) motivational, and affective components of thick valuing do not merely co-occur. More importantly, it is key to focusing on how thickly valuing something partially constitutes, and indeed crucially expresses, our practical identities. Beyond that, the account sheds new light on how we can better understand inauthenticity—to act without authenticity is to act from what one thickly values but where that which one thickly values are not values of one’s own. (shrink)

In the philosophy of science, it is a common proposal that values are illegitimate in science and should be counteracted whenever they drive inquiry to the confirmation of predetermined conclusions. Drawing on recent cognitive scientific research on human reasoning and confirmation bias, I argue that this view should be rejected. Advocates of it have overlooked that values that drive inquiry to the confirmation of predetermined conclusions can contribute to the reliability of scientific inquiry at the group level even when (...) they negatively affect an individual’s cognition. This casts doubt on the proposal that such values should always be illegitimate in science. It also suggests that advocates of that proposal assume a narrow, individualistic account of science that threatens to undermine their own project of ensuring reliable belief formation in science. (shrink)

Cardinal Bessarion (1408–1472), in the second chapter of the first book of his influential work In calumniatorem Platonis, attempted to reply to Georgios Trapezuntios’ (1396–1474) criticism against Plato in the Comparatio Philosophorum Platonis et Aristotelis. Bessarion investigates why the Athenian philosopher maintained, in several dialogues, that the sacred truths should not be communicated to the general public and argued in favor of the value of oral transmission of knowledge, largely based on his theory about the cognitive processes. Recently, (...) Fr. Bessarion Kouotsis has argued that Cardinal Bessarion’s reasoning draws primarily on the “Disciplina Arcani”, i.e., the rule of secrecy, which was an established practice of the Early Christian Church, aimed at protecting and preserving the core elements of the religion from outsiders. While I find Kouotsis’ approach interesting and thought-provoking—for instance, the idea that Bessarion’s argumentation was likely influenced by Eastern Christian views on the rule of secrecy—I intend, first of all, to discuss why Bessarion did not explicitly mention it. Moreover, I would like to argue that Bessarion’s good knowledge of the long Platonic tradition and Eastern mysticism, encompassing both pagan and Christian elements, should also be considered a significant source. Furthermore, I would like to question Kouotsis’ implicit argument that Bessarion’s views were dominated by his training in Orthodox theology and discuss the possibility that Pletho’s (1355–1454) teaching was the obvious influence for Bessarion’s defense of secrecy. After all, we should bear in mind that Anastos has already pointed out Pletho’s reverence for the rule of secrecy. Finally, I would like to support that Bessarion, in the specific text, focused predominantly on the epistemological and cognitive aspects of oral teaching, resorting to the rule of secrecy only to enhance his views. (shrink)

Animal welfare scientists face an acute version of the problem of inductive risk, since they must choose whether to affirm attributions of mental states to animals in advisory contexts, knowing their decisions hold consequences for animal welfare. In such contexts, the burden of proof should be sensitive to the consequences of error, but a framework for setting appropriate burdens of proof is lacking. Through reflection on two cases—pain and cognitive enrichment—I arrive at a tentative framework based on the principle (...) of expected welfare maximization. I then discuss the limitations of this framework and the questions it leaves open. (shrink)

In Propelled, Elpidorou persuasively argues that the three prima facie undesirable conditions of boredom, frustration and anticipation are, in fact, importantly valuable to human life. His method is an interesting combination of existentialist explorations and reporting of cognitive science research, all written in a style more friendly to the analytic-philosophical tradition. However, I argue, the book’s precision and depth of philosophical analysis have some limitations. This is so in two main respects: first, in the relative lack of discussion of (...) important philosophical antecedents, and secondly, in the relative lack of critical engagement with some of the empirical literature the book discusses. (shrink)

A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or (...) making music together. This article argues that we should understand aesthetic value in a way that centers these social forms of aesthetic engagement. To this end, the article argues that there is a social practice of aesthetic valuing, characterized as a participatory practice governed by the value of aesthetic community, which engages us in the social development of our capacities for discretionary valuing and volitional openness. Current theories of aesthetic value have trouble capturing the character of the practice of aesthetic valuing, and this motivates a novel communitarian theory of aesthetic value: aesthetic value is what is worthy of engagement in the social practice of aesthetic valuing. (shrink)

The aim of this paper is twofold: first, I provide a cluster of theories of truth in classical logic that is (internally) consistent with global reflection principles: the theories of positive truth (and falsity). After that, I analyse the _epistemic value_ of such theories. I do so employing the framework of cognitive projects introduced by Wright (Proc Aristot Soc 78:167–245, 2004), and employed—in the context of theories of truth—by Fischer et al. (Noûs 2019. https://doi.org/10.1111/nous.12292 ). In particular, I will (...) argue that theories of positive truth are _trustworthy_, analogously to the theories of full disquotational truth. Moreover, I argue that, for a given cognitive project, _if_ the acceptance of trustworthy theories is taken to be an _epistemic norm_ of cognitive project, then one has good reasons to accept theories of positive truth over other rival theories of truth in classical logic. On the other hand, the latter theories are deemed epistemically unacceptable. (shrink)

In this paper I trace a theoretical path along Meinong’s works, by means of which the notion of aesthetic object as well as the changes this notion undergoes along Meinong’s output will be highlighted. Focusing especially on "Über emotionale Präsentation", I examine, on the one hand, the cognitive function of emotions, on the other hand, the objects apprehended by aesthetic emotions, i.e. aesthetic objects. These are ideal objects of higher order, which have, even though not primarily, the capacity to (...) attract aesthetic experiences to themselves. Hence, they are connected to emotions, being what is presented by them. These results are achieved on the basis of a fundamental analogy between the domain of value and the aesthetic domain. Finally, the notion of an absolute beauty is discussed. (shrink)

Debate about cognitive science explanations has been formulated in terms of identifying the proper level(s) of explanation. Views range from reductionist, favoring only neuroscience explanations, to mechanist, favoring the integration of multiple levels, to pluralist, favoring the preservation of even the most general, high-level explanations, such as those provided by embodied or dynamical approaches. In this paper, we challenge this framing. We suggest that these are not different levels of explanation at all but, rather, different styles of explanation that (...) capture different, cross-cutting patterns in cognitive phenomena. Which pattern is explanatory depends on both the cognitive phenomenon under investigation and the research interests occasioning the explanation. This reframing changes how we should answer the basic questions of which cognitive science approaches explain and how these explanations relate to one another. On this view, we should expect different approaches to offer independent explanations in terms of their different focal patterns and the value of those explanations to partly derive from the broad patterns they feature. (shrink)

The best definition of philosophy, in my opinion, was given by Wilfrid Sellars fifty years ago: ‘The aim of philosophy, abstractly formulated, is to understand how things in the broadest possible sense of the term hang together in the broadest possible sense of the term’. This definition does not get us very far; and nor should we expect it to (after all, as Nietzsche said, only that which has no history can be defined). But it does give us something to (...) get started on. One important element in the definition, for example, is the emphasis on the ‘breadth’ of philosophy. Another is the idea of ‘hanging together’. Yet another, which I want to focus on here, is that philosophy is a form of understanding. Philosophy is a cognitive, rather than an aesthetic or a practical endeavour, aiming at an improvement in our cognitive position rather than at edification or political activism. Certainly philosophy has resulted in edification and political activism, and no doubt it will do in the future too. But this is not its aim. (shrink)

In my paper, I defend an interpretation according to which Aristotle thinks in Nicomachean Ethics (EN) that the rational aspect of soul is needed in discerning which ends of desire would be good. Many interpreters have traditionally supported this, ‘rationalist’ line of interpreting Aristotle’s theory of value cognition. The rationalist interpretation has, however, recently come under a novel challenge from Jessica Moss (2011, 2012), but has not yet received a defence. Moss attempts to resurrect now virtually abandoned ‘anti-rationalist’ interpretation, (...) which claims, in a contrast to the rationalist one, that discerning good ends may require no activity from the rational aspect, but only well-habituated non-rational desire. Moss’ interpretation appeals to certain Aristotle’s claims in De Anima (DA) 3, which, she thinks, show that non-rational phantasia suffices for discerning good ends if only accompanied with the habituated desire. Although her interpretation can successfully avoid some problems that earlier anti-rationalist interpretations faced with certain passages of EN, I also argue, however that it introduces some new problems, and attributes philosophically incoherent views about moral responsibility to Aristotle. Therefore I conclude that even after Moss’ improvements to the anti-rationalist interpretation, the rationalist interpretation remains overall more plausible. (shrink)

People often engage in “offline simulation”, considering what would happen if they performed certain actions in the future, or had performed different actions in the past. Prior research shows that these simulations are biased towards actions a person considers to be good—i.e., likely to pay off. We ask whether, and why, this bias might be adaptive. Through computational experiments we compare five agents who differ only in the way they engage in offline simulation, across a variety of different environment types. (...) Broadly speaking, our experiments reveal that simulating actions one already regards as good does in fact confer an advantage in downstream decision making, although this general pattern interacts with features of the environment in important ways. We contrast this bias with alternatives such as simulating actions whose outcomes are instead uncertain. (shrink)

The public and scholars alike largely consider envy to be reprehensible. This judgment of the value of envy commonly results either from a limited understanding of the nature of envy or from a limited understanding of how to determine the value of phenomena. Overcoming this state requires an interdisciplinary collaboration of psychologists and philosophers. That is, broad empirical evidence regarding the nature of envy generated in psychological studies must inform judgments about the value of envy according to (...) sophisticated philosophical standards. We conducted such a collaboration. Empirical research indicates that envy is constituted by multiple components which in turn predict diverse outcomes that may be functional for the self and society. Accordingly, the value of envy is similarly nuanced. Sometimes, envy may have instrumental value in promoting prudentially and morally good outcomes. Sometimes, envy may be non-instrumentally prudentially and morally good. Sometimes, envy may be bad. This nuanced perspective on the value of envy has implications for recommendations on how to deal with envy and paves the way toward future empirical and theoretical investigations on the nature and the value of envy. (shrink)

Within contemporary science, it is common practice to compare data points to the average, i.e., to the statistical mean. Because this practice is so familiar, it might at first appear not to be the sort of thing that requires explanation. But recent research in cognitive science and in the history of science gives us reason to adopt the opposite perspective. Cognitive science research on the ways people ordinarily make sense of the world suggests that, instead of using a (...) purely statistical notion of the average, people tend to use a value-laden notion of the normal. Similarly, historical research on the scientific practices used in other time periods indicates that, prior to the nineteenth century, scientists tended to make use of a notion of the normal that was overtly value-laden. These findings give us reason to rethink certain familiar facts about scientific practice. In particular, they suggest that the fact that scientists so often make use of the statistical average should be seen as a highly surprising fact, the sort of thing that calls out for explanation. (shrink)

A key source of support for the view that challenging people’s beliefs about free will may undermine moral behavior is two classic studies by Vohs and Schooler (2008). These authors reported that exposure to certain prompts suggesting that free will is an illusion increased cheating behavior. In the present paper, we report several attempts to replicate this influential and widely cited work. Over a series of five studies (sample sizes of N = 162, N = 283, N = 268, N (...) = 804, N = 982) (four preregistered) we tested the relationship between (1) anti-free-will prompts and free will beliefs and (2) free will beliefs and immoral behavior. Our primary task was to closely replicate the findings from Vohs and Schooler (2008) using the same or highly similar manipulations and measurements as the ones used in their original studies. Our efforts were largely unsuccessful. We suggest that manipulating free will beliefs in a robust way is more difficult than has been implied by prior work, and that the proposed link with immoral behavior may not be as consistent as previous work suggests. (shrink)

Ornament is a valuable component in any architecture of buildings and cities that aims to connect to human beings. The suppression of ornament, on the other hand, results in alien forms that generate physiological and psychological distress. Early twentieth-century architects proposed major stylistic changes — now universally adopted — without having a full understanding of how the human eye/brain system works.

With an extensive amount of research on the social lives of primates, Frans de Waal has been a pioneering advocate for the continuity of human and non-human minds, putting forward the idea that these creatures exhibit rudimentary political and moral behaviors. One of the traits which de Waal focuses on is animal normativity, a set of behaviors functionally defined as adherence to social standards. Recently, some philosophers have endorsed this position, holding that animals show a psychological capacity called normative cognition (...) underlying those and other social behaviors. In this paper, I assess whether advocacy for animal normativity is an exercise of theory construction in comparative cognition. To that end, I present three features of this kind of theory construction. First, the explanatory goal of building functional analyses of cognitive capacities. Second, the conceptual aid of comparative thinking for theory construction. Third, the heuristic value of theory in specifying possible roads of inquiry. Taking these features into account, I assess whether the claims advocates make regarding animal normativity consider them. My answer is negative. First, since some advocates focus on behavioral traits and not on psychological capacities, they are not producing theory in comparative cognition, although, as I argue, they should. Second, there is a disregard for hypothesis testing and no evolutionary considerations to support their views. Finally, the claim that non-human animals exhibit normativity does not seem to have heuristic value. (shrink)

‘Live’, or novel, metaphors continue to occupy an interesting space in both the philosophical and cognitive sphere. One metaphorical theory, offered by French philosopher Paul Ricœur, is thoroughly fleshed out in relation to other dominant linguistic accounts of metaphor. Ricœur’s theory is underrepresented in much of contemporary neurolinguistic literature even though it bears great resemblance to many features of modern theories in cognitive science; as such, the current article attempts to establish a clear connection between Ricœur’s work and (...) the cognitive sciences without collapsing into ‘psychological associationism’. The present article offers this connection to re-establish the value of philosophy and hermeneutics to the scientific enterprise by embracing interdisciplinary study. (shrink)

‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in (...) Western academia, I establish ‘spirit consonance’ as the rendering of ‘Qi Yun’. By examining texts on painting by significant critics in Chinese art history, and by referring to specific works by painters from the Six Dynasties up to the Yuan Dynasty, I present the merits and demerits of the different interpretations by Western experts, and explore the essence of ‘Qi Yun’. Once the painter successfully captures ‘spirit consonance’ as the essential character or ‘internal reality’ of the object, and transmits it into the work, ‘Qi Yun’ further implies the expressive quality of the work beyond formal representation. Additionally, the fusion of expressive and representative functions also leaves space for further explaining the aesthetic interaction among artist, object, work, and audience. From the Six Dynasties onwards, Chinese painters have practised the expressive pursuit beyond epresentation on the basis of the unification of ‘Qi Yun’ (spirit consonance) and formal representation, although spirit consonance was valued more highly than formal likeness. (shrink)