This article presents Paul Ricœur’s hermeneutic of the productive imagination as a methodological tool for understanding the innovative social function of texts that in exceeding their semantic meaning, iconically augment reality. Through the reasoning of Rastafari elder Mortimo Planno’s unpublished text, Rastafarian: The Earth’s Most Strangest Man, and the religious and biblical signification from the music of his most famous postulate, Bob Marley, this article applies Paul Ricœur’s schema of the religious productive imagination to conceptualize the (...) metaphoric transfer from text to life of verbal and iconic images of Rastafari’s hermeneutic of word, sound and power. This transformation is accomplished through what Ricœur terms the phenomenology of the iconic augmentation of reality. Understanding this semantic innovation is critical to understanding the capacity of the religious imagination to transform reality as a proclamation of hope in the midst of despair. (shrink)

Sora from Open AI has shown exceptional performance, yet it faces scrutiny over whether its technological prowess equates to an authentic comprehension of reality. Critics contend that it lacks a foundational grasp of the world, a deficiency V-JEPA from Meta aims to amend with its joint embedding approach. This debate is vital for steering the future direction of Artificial General Intelligence(AGI). We enrich this debate by developing a theory of productive imagination that generates a coherent world model based (...) on Kantian philosophy. We identify three indispensable components in the coherent world model that enable genuine world understanding: latent representations of isolated objects, an a priori law of change across space and time, and Kantian categories. Our analysis reveals that Sora is limited because of its oversight of the a priori law of change and Kantian categories, flaws that are not rectifiable through scaling up the training. V-JEPA learns the context-dependent aspect of the a priori law of change. Yet it fails to fully comprehend Kantian categories and incorporate experience, leading us to conclude that neither system currently achieves a comprehensive world understanding. Nevertheless, each system has developed components essential to advancing an integrated AI productive imagination-understanding engine. Finally, we propose an innovative training framework for an AI productive imagination-understanding engine, centered around a joint embedding system designed to transform disordered perceptual input into a structured, coherent world model. Our philosophical analysis pinpoints critical challenges within contemporary video AI technologies and a pathway toward achieving an AI system capable of genuine world understanding, such that it can be applied for reasoning and planning in the future. (shrink)

This paper argues that Kant endorses a distinction between rational and natural sympathy, and it presents an interpretation of rational sympathy as a power of voluntarya posterioriproductive imagination. In rational sympathy we draw on the imagination’s voluntary powers (a) to subjectively unify the contents of intuition, in order to imaginatively put ourselves in others’ places, and (b) to associate imagined intuitional contents with the concepts others use to convey their feelings, in such a way that those contents prompt (...) feelings in us that are like their feelings. (shrink)

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates (...) for art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

We examine that both science and religion were original products of the human imagination. However, the approaches taken to develop these two explanations of life, were entirely different. The precepts of evolution are well established through the scientific method. This approach has led to the accumulation of immense amounts of evidence for biological evolution, and much scientific progress has been made to understand the pathways taken for the appearance of organisms and their macromolecular constituents. The existence of spiritual beings (...) has not and presumably cannot be documented via a scientific approach, no more than a fairy tale or a myth. However, science, education and knowledge coupled to proper actions are exactly what are needed to make the correct decisions so as to preserve and improve our common, shared biosphere which is currently confronted with two immense problems: human population growth and climate change. (shrink)

With the advent of the digital age and new mediums of communication, it is becoming increasingly important for those interested in the interpretation of religious text to look beyond traditional ideas of text and textuality to find the sacred in unlikely places. Paul Ricoeur’s phenomenological reorientation of classical hermeneutics from romanticized notions of authorial intent and psychological divinations to a serious engagement with the “science of the text” is a hermeneutical tool that opens up an important dialogue between the interpreter, (...) the world of the text, and the contemporary world in front of the text. This article examines three significant insights that Paul Ricoeur contributes to our expanding understanding of text. First under scrutiny will be Ricoeur’s de-regionalization of classic hermeneutics culminating in his understanding of Dasein (Being) as “being-in-the-world,” allowing mean-ing to transcend the physical boundaries of the text. Next, Ricoeur’s three-fold under-standing of traditionality/Traditions/tradition as the “chain of interpretations” through which religious language transcends the tem-poral boundary of historicity will be explored. The final section will focus on Ricoeur’s understanding of the productive imagination and metaphoric truth as the under-appreciated yet key insight around which Ricoeur’s philosophical investigation into the metaphoric transfer from text to life revolves. (shrink)

I raise the question of what cognitive attitude self-deception brings about. That is: what is the product of self-deception? Robert Audi and Georges Rey have argued that self-deception does not bring about belief in the usual sense, but rather “avowal” or “avowed belief.” That means a tendency to affirm verbally (both privately and publicly) that lacks normal belief-like connections to non-verbal actions. I contest their view by discussing cases in which the product of self-deception is implicated in action in a (...) way that exemplifies the motivational role of belief. Furthermore, by applying independent criteria of what it is for a mental state to be a belief, I defend the more intuitive view that being self-deceived that p entails believing that p. Beliefs (i) are the default for action relative to other cognitive attitudes (such as imagining and hypothesis) and (ii) have cognitive governance over the other cognitive attitudes. I explicate these two relations and argue that they obtain for the product of self-deception. (shrink)

This article argues that Novalis's philosophy of magical idealism essentially consists of three central elements: a theory of the creative or productive imagination, a conception of love, and a doctrine of transcendental medicine. In this regard, it synthesizes two adjacent, but divergent contemporary philosophical sources - J. G. Fichte's idealism and Friedrich Schiller's classicism - into a new and original philosophy. It demonstrates that Novalis's views on both magic and idealism, not only prove to be perfectly rational and (...) comprehensible, but even more philosophically coherent and innovative than have been recognised up to now. (shrink)

The role and nature of imagination in Kant's Critique of Pure Reason is intensively examined. In addition, the text of Kant's Anthropology from a Pragmatic Point of View will also be considered because it helps illustrate this issue. Imagination is the fundamental power of the mind responsible for any act of forming and putting together representations. A new interpretation of imagination in Kant is given which recognizes its necessary roles as the factor responsible for producing space and (...) time, as an essential component in perception, as the mediator of concepts and intuitions, and as the synthesizing agent which groups together representations into categories. ;The work is divided basically into two parts. The first part looks at the imagination in the Transcendental Aesthetic. It will be shown that space and time themselves are products of imagination. As pure and a priori intuitions space and time are objects of thought and thus are conditioned by the synthetic power of imagination. Moreover, as forms of intuitions space and time are also conditioned by imagination; hence, imagination is a necessary factor in spatial and temporal perception. ;The second part of the thesis concerns the role of imagination in the Transcendental Analytic. Here the role of the imagination is more pervasive. In the Metaphysical Deduction the thesis argues that the imagination is responsible for uniting representations into twelve categories which are the conditions of thinking in general. Therefore the categories themselves owe their origins to imagination. This interpretation hinges on Kant's distinction between transcendental and general logic, which the thesis will discuss in detail. In the Transcendental Deduction the imagination is responsible for taking up representations in such a way that results in their belonging to a single framework of consciousness, thus showing that the categories apply to a posteriori representations. In the Schematism the imagination is necessary in forming the schemata, which join together concepts and intuitions so that both empirical and transcendental judgments are produced. Finally, a critique of Heidegger's idea on imagination as the "common root" of sensibility and understanding will be offered. (shrink)

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain (...) some particular element of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

This paper argues that twentieth-century philosopher Cornelius Castoriadis’ innovative concept of imagination is closely related to his treatments of dance. More specifically, it revolves around his concept of “figure,” which thereby suggests a productive partnership with my own philosophy of dance, which I call “Figuration.” The first and second sections below review the interpretations of Castoriadis’ imagination in the two book manuscripts on him in English, Jeff Klooger’s Psyche, Society Autonomy (which supplements Castoriadis with Fichte) and Suzi (...) Adams’ Castoriadis’ Ontology (which supplements him with hermeneutics). My final section defends Castoriadis against these two critical supplements through a close reading of his magnum opus, The Imaginary Institution of Society. There I re-choreograph Castoriadis’ use of the Freudian concept of “leaning on” (Anlehnung, from the Greek anaclisis) as “bending back” (anaclasis, following Klooger’s misspelling of anaclisis). In short, the imagination is like a dancer, bending back to nature understood as “the region which resists” (to varying degrees) the social. (shrink)

These days, creativity is a hot commodity, the magic ingredient that separates excellence from competence in every field of human endeavor. Yet there is little agreement on what it is, especially in education, where Jean Piaget’s critique of imagination remains influential. I outline the basis for a naturalized conception of creativity rooted in evolutionary processes that are enhanced by and in turn amplify individual and group creativity, and propose that replacing Piaget’s polarization of imagination and realistic thinking with (...) Lev Vygotsky’s integration of those mental processes is necessary to meet the aim of educating for creativity. The role of imagination in counterfactual thinking is explored and improvisation posited as a paradigmatic manifestation of both creative process and product. (shrink)

This is the original, longer draft for my entry on Hume in the 'The Routledge Hand- book of Philosophy of Imagination', edited by Amy Kind and published by Routledge in 2016 (see the separate entry). — Please always cite the Routledge version, unless there are passages concerned that did not make it into the Handbook for reasons of length. — -/- This chapter overviews Hume’s thoughts on the nature and the role of imagining, with an almost exclusive focus on (...) the first book of his Treatise of Human Nature. Over the course of this text, Hume draws and discusses three important distinctions among our conscious mental episodes (or what he calls ‘perceptions’): (i) between impressions (including perceptual experiences) and ideas (including recollections, imaginings and occurrent beliefs); (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement (i.e. occurrent beliefs) and ideas of the fancy (i.e. imaginings). I discuss each distinction in turn, also in connection to contemporary views on imagining. In addition, I briefly consider Hume’s views on the imagination as a faculty aimed at the production of ideas, as well as on the role that imagining plays in the wider context of our mental lives, notably in the acquisition of modal knowledge and in the comprehension of, and resistance to, stories and opinions that we take to be false or fictional. (shrink)

We propose a ‘Moral Imagination’ methodology to facilitate a culture of responsible innovation for engineering and product teams in technology companies. Our approach has been operationalized over the past two years at Google, where we have conducted over 50 workshops with teams from across the organization. We argue that our approach is a crucial complement to existing formal and informal initiatives for fostering a culture of ethical awareness, deliberation, and decision-making in technology design such as company principles, ethics and (...) privacy review procedures, and compliance controls. We characterize some distinctive benefits of our methodology for the technology sector in particular. (shrink)

This article explores the effect that communications technology has on hegemonic power. The first section establishes a theoretical framework combining Foucault’s carceral archipelago theory with Chiara Bottici’s concept of the social imaginal describing the medium through which inter- and trans-subjective imagination occurs. The remainder employs this framework to examine how four technological innovations (print media, radio, television and Internet) impact the (re)production of discursive hegemonic ideology, integrating a variety of historical and contemporary theories on public discourse and ideological dominance. (...) I conclude by arguing that each case demonstrates a dialectic pattern that explains the techno-social evolution of the carceral archipelago. (shrink)

What does it mean to study places in ‘crisis’ and how does that affect the research done on the ‘rural’? To be considered to be in crisis is not really new as any literature review of rural studies indicates. And yet, we live now in a new context, with new challenges for ‘rural’ research, in particular that of sustainability. Sustainability is the new policy focus and is increasingly reflected in research on rural Europe. Although scholars are beginning to theorize on (...) what is sustainable in and for rural areas, our intention is to take this further. We theorize on what the focus on crisis and, increasingly on sustainability, means for the research we do and the knowledge we produce on rural Europe. Our aim is to bring attention to the politics of past and present knowledge production on the rural to be able to imagine just and sustainable futures. In an analysis of literature primarily from Sweden and the UK, we argue that two construals, that of a rural crisis and that of rural–urban polarization, have set the tone for rural studies and may have overshadowed a more plural approach. We outline what might be needed from rural research to meet future challenges and what the notion of sustainability, with its emphasis on the entanglements of the social, economic and environmental, might mean for the future of rural research. (shrink)

While we are currently experiencing a renaissance in philosophical work on agriculture and food ( Barnhill, Budolfson, & Doggett 2016 ; Thompson 2015 ; Kaplan 2012 ), these topics were common sources of discussion throughout the three-thousand-year history of Western thought. For example, the Ancient Greek philosopher Aristotle (2014 ) explored connections between fulfi lling human promise and systems of agriculture ( Thompson & Noll 2015 ) and Hippocrates (1923 ) stressed the importance of cultivating agricultural products provided by nature (...) ( Zwart 2000 ). In order to live a truly human life, Hippocrates argued, one must not passively consume crude food products, as such brutish living leads to terrible suffering. Later, both the Hebrew Bible and Christian Gospels provided clear ethical mandates concerning agricultural practices and the consumption of food. These mandates or ethics needed to be observed regardless of context ( Zwart 2000 ). More recently, Thomas Jefferson added to this literature, as he engaged in agricultural production at his Monticello plantation and wrote extensively on how farming is intimately connected to the political system of democracy ( Thompson & Noll 2015 ). This refl ection on food and agriculture continued into the 20th century, albeit not in the discipline of philosophy. Scientists and agricultural leaders, such as Henry Wallace and Liberty Hyde Bailey, provided important critiques of agricultural practices contemporary to their time. (shrink)

I am grateful to Catharine Abell and Gregory Currie for their incisive and productive commentaries on Apt Imaginings. In what follows, I will try to respond to.

It is a familiar thesis that art affects moral imagination. But as a metaphor or model for moral experience, artistic production and enjoyment have been overlooked. This is no small oversight, not because artists are more saintly than the rest of us, but because seeing imagination so blatantly manifested gives us new eyes with which to see what can be made of imagination in everyday life. Artistic creation offers a rich model for understanding the sort of social (...) imagination that is essential to moral deliberation. The " moral " of the arts is that everyday moral decisions can be as richly consummated as artistic productions. The distance is narrowed between this ideal and actual deliberations to the degree that a culture focuses beyond sedimented moral criteria to education of aesthetic virtues of sensitivity, perceptiveness, discernment, creativity, expressiveness, courage, foresight, communicativeness, and experimental intelligence. (Note: The key concepts and main line of argument in this article are further developed in ch. 7 of John Dewey and Moral Imagination: Pragmatism in Ethics (Indiana University Press, 2003).). (shrink)

This article explores the relationships between crime, collective responses to it, and the social production of so-called great criminals. It argues that crime, especially sexual and violent crime, produces significant imbalances in individuals habitually subject to instrumental actions, identitarian thinking and positive law. These imbalances are emotional as well as cognitive and, under certain conditions of communication, can generate states of multitude, that is, collective states linked to an intense affectivity and to the prevalence of mythic or symbolic thinking. These (...) states reach their limits and become condensed in the mytho-historical figure of the great criminal. In this sense, great criminals are a function of such multitudinous states: points of imputation that concentrate and catalyze the affective imagination unleashed by collective effervescence. (shrink)

The use of participant-led visual data production is often seen as advantageous because data can be directed, constructed and created away from the influence of the researcher. The case for employing the visual to engender participatory research, and specifically to limit the intrusive presence of the researcher, is well versed and in vogue within the field of social science; however, although participatory techniques offer an opportunity to disrupt power relations, they are unable to transcend familial practices. Drawing from a study (...) in which mother/daughter dyads produced photographs, collages, maps and stories to communicate their everyday lives and ideas of the future, this paper examines the wider role of ‘intrusive presence’. The paper documents incidents of external physical interference where visual data was amended, the influence of outside suggestion in the creative process, and the restrictions placed by the imagined reactions of the viewer. The paper argues that when the ‘intrusive presence’ of the researcher steps out of the site of visual data production this leaves a space that is often filled by the ‘intrusive presence’ of significant others. (shrink)

One of the more striking aspects of Maurice Merleau-Ponty's Phenomenology of Perception (1945) is his use of psychological case studies in pathology. For Merleau-Ponty, a philosophical interpretation of phenomena like aphasia and psychic blindness promises to shed light not just on the nature of pathology, but on the nature of human existence more generally. In this paper, I show that although Merleau-Ponty is surely a pioneer in this use of pathology, his work is deeply indebted to an earlier philosophical study (...) of pathology offered by the German Neo-Kantian Ernst Cassirer in the third volume of the Philosophy of Symbolic Forms (1929). More specifically, I argue that Merleau-Ponty, in fact, follows Cassirer in placing Kant's notion of the productive imagination at the centre of his account of pathology and the features of existence it illuminates. Recognizing the debt Merleau-Ponty's account of pathology has to the Kantian tradition not only acts as a corrective to more recent interpretation of Merleau-Ponty's views of pathology (Dreyfus, Romdenh-Romluc), but also recommends we resist the prevailing tendency to treat Merleau-Ponty's philosophy as anti-Kantian. Instead, my interpretation seeks to restore Merleau-Ponty's place within the Kantian tradition. (shrink)

In its war on terror, the United States tortured and abused individuals in its custody over a decade. This article examines a specific sort of epistemic response by Americans to the use of torture by their government, the sort of response that enables Americans to operate with epistemic ignorance to maintain a favorable construction of their identity as Americans. I lay out the concept of American ignorance as the active production of false and/or incomplete beliefs about what it means to (...) be an American and explore the mechanism through which this ignorance operates in society. The article argues for accountability to create better epistemic environments necessary for any meaningful shift in how Americans perceive themselves qua Americans. (shrink)

In Glauben und Wissen, Hegel criticizes Kant for drawing a deep division between sensibility and understanding. Hegel suggests that Kant’s faculty of productive imagination is a step toward uniting intuition and concept in an original unity out of which the two arise, but this requires him to treat the productive imagination in ways Kant would not approve. I argue that Kant’s doctrine of the schematism offers an advance on the productive imagination when it comes (...) to solving the intuition/concept dualism Hegel critiques, although there remain serious problems with which Hegel would take issue. Although the schematism might answer some of the criticisms Hegel aims at the intuition/concept dualism, it does not solve the related problem Hegel finds in Kant, namely the dualism of cognition and thing-in-itself. (shrink)

“Myth” comprises the first chapter of the book, The Logic of the Imagination, by Miki Kiyoshi. In this chapter Miki analyzes the significance of myth (shinwa) as possessing a certain reality despite being “fictions.” He begins by broadening the meaning of the imagination to argue for a logic of the imagination that involves expressive action or poiesis (production) in general, of which myth is one important product. The imagination gathers in myth material from the environing world (...) lived by the social collectivity. Its formation of images (Bilder) expresses the pathos of a people vis-à-vis their environment, but myth also contains elements of logos in the form of intellectual representations and figures. And their combination becomes expressed externally by stimulating and guiding action. In this way Miki argues that myths contain both emotive and kinetic elements, which by moving people to action, are capable of making history. Thus rooted in the symbiosis between individual and social and between society and environment, myth possesses a “historical creativity.” And he also argues that myths can be present with a sense of reality at any epoch in history, even today, wherever and whenever their primeval power is felt to function, “drawing out” a new reality, a new world, out of the natural world. (shrink)

In this chapter I advance a moderately conceptualist interpretation of Kant’s account of the threefold synthesis in the A-Deduction. Often the first version of TD, the A-Deduction, is thought to be less conceptualist than the later B-version from 1787 (e.g. Heidegger 1991, 1995). Certainly, it seems that in the B-Deduction Kant puts more emphasis on the role of the understanding in determining the manifold of representations in intuition than he does in the A-Deduction. It also appears that in the A-Deduction (...) the seemingly pre-conceptual aspects of a priori synthesis, namely those of the synthesis of apprehension and the imagination, are more prominently featured than in the B-Deduction. And the fact that in the A-Deduction judgement does not appear to play any significant role reinforces the view that the A-Deduction is less strongly conceptualist. I believe that Kant is a conceptualist also in the A-Deduction (as much as in the B-Deduction) in the sense that all syntheses, which are expounded in the second section of the A-Deduction, must be seen as involving the categories or the understanding as the seat of the categories. However, despite some apparent strong modal claims regarding apperception in the A-Deduction, I argue that Kant is a moderate conceptualist in the sense that he allows for the real possibility that some representations are apprehended that are not subsumed or subsumable under the categories, or determined or determinable by the understanding as the seat of the categories. Not all representations must be synthesised and hence be conceptualised (by means of the categories), nor are all representations necessarily conceptualisable (by means of the categories). Often it is argued that the application of the categories must be seen as separate from or prior to conceptualisation (that is, employment of concepts in a judgement), so that the categories must be considered to apply to representations at least to the extent that the productive imagination or recognitive synthesis is involved, even if no empirical concepts are applied in an actual judgement. But it is difficult to see how categories can apply outside the context of an actual judgement in which ipso facto empirical concepts are employed, because, after all, categories are nothing but logical functions of judgement (e.g. B143). More in particular, I shall argue for the claims that (1) appearances to the contrary, all three levels of syntheses in the A-Deduction, including the synthesis of recognition, are interdependent and are not to be seen as operating singly or independently of each other, and hence of the categories; (2) ‘mere’ apprehension, or ‘mere’ intuition, is not dependent on the understanding and the application or possible application of the categories; and that (3) ‘mere’ apprehension does not even invoke a priori synthesis of apprehension and hence is as such fully lawless in terms of Kantian a priori laws. In this context, I also address Kant’s argument in the A-Deduction about the role of the imagination in the production of spatial objects and explain his apt use of the example of cinnabar to show that the kind of association that is at issue here concerns the possibility of knowledge, not the possibility of mere association, as is often assumed. (shrink)

Examining imagination, 4E cognition and the arts together expands our understanding of them all. 4E cognition is a framework that comprises the theories separately known as embodied, enactive, embedded, and extended cognition. This paper draws on research in cognitive science (including 4E and recent predictive processing approaches), ideas in phenomenology, and artworks from The Extended Mind exhibition (2019–20). The artworks offer diverse reflections on 4E cognition, as well as revealing personal, political and ethical benefits and issues predicated on a (...) 4E cognition perspective. This approach further provides a way of defending the epistemic value of the imagination and of unpacking the four key puzzles associated with its relationship with the arts regarding its production of emotional response, imaginative resistance, and moral persuasion, and the paradox of our attraction towards horror and tragedy. The arts are a valuable mode of inquiry into the nature of cognition and neglect of their relevance negatively impacts understandings of the mind. (shrink)

Imagine two urns, each with a thousand beads - in one all the beads are blue while in the other only one of the thousand is blue. If one of these urns is pushed forward (based on the toss of a fair coin) and the single bead then randomly drawn from it is blue, we must infer that it is a thousand times more probable that the urn pushed forward is the purely blue one. The hypothesis that this was instead (...) the urn with only one blue bead would require that the occurrence of the evidence, the blue bead being drawn, was something improbable - and it is improbable that something improbable is what has occurred. Next consider an example of only one urn with no prior description. By the same reasoning as above, if all the first beads randomly drawn are blue, it is becoming more and more probable that the beads in the urn are generally blue. (Otherwise something improbable would be happening in another colour not appearing; and what’s improbable is improbable.) It is therefore probable also that the next bead drawn will be blue. This is induction. As Hume would have said, we could not know a priori, given this evidence, that the next bead will be blue. But, as he overlooked, we can know a priori, given this evidence, that it is probable that the next bead will be blue. In neither urn example has the belief regarding the beads been formed as a Humean habit of expectation after many observations of beads. (In the first case there is only one observation. The second could be modified to have all the beads drawn out at once.) Rather the belief is a product of a priori reasoning about probability. Next imagine that a coin has been tossed a thousand times and landed heads every time. There was a fair and a loaded coin. According to the same reasoning, it is overwhelmingly more probable that the coin used was the loaded one. For that the fair coin had so landed is most improbable. The hypothesis that there is no external world makes the orderliness in my current experience improbable - much like getting all heads with a fair coin. (Uncaused sensation would most probably be chaotic.) The most probable hypothesis is that of things like those we believe in causing this orderliness - as the coin’s being loaded would have caused all heads. The hypothesis that my experience has been made to take this pattern by a Cartesian malicious demon or by scientists controlling my brain in a vat can only falsely seem to make the character of the experience probable by sneaking in an inherently improbable ad hoc specification that this sort of pattern of experience was that which they were aiming at producing - like an ad hoc specification that the fair coin was one that by chance landed heads all thousand times. We may thus reject such hypotheses as improbable. So this is the problem of induction solved and scepticism answered through a priori reasoning. (shrink)

Imagine you are casually browsing an online bookstore, looking for an interesting novel. Suppose the store predicts you will want to buy a particular novel: the one most chosen by people of your same age, gender, location, and occupational status. The store recommends the book, it appeals to you, and so you choose it. Central to this scenario is an automated prediction of what you desire. This article raises moral concerns about such predictions. More generally, this article examines the ethics (...) of artificial social cognition—the ethical dimensions of attribution of mental states to humans by artificial systems. The focus is presumptuous aim attributions, which are defined here as aim attributions based crucially on the premise that the person in question will have aims like superficially similar people. Several everyday examples demonstrate that this sort of presumptuousness is already a familiar moral concern. The scope of this moral concern is extended by new technologies. In particular, recommender systems based on collaborative filtering are now commonly used to automatically recommend products and information to humans. Examination of these systems demonstrates that they naturally attribute aims presumptuously. This article presents two reservations about the widespread adoption of such systems. First, the severity of our antecedent moral concern about presumptuousness increases when aim attribution processes are automated and accelerated. Second, a foreseeable consequence of reliance on these systems is an unwarranted inducement of interpersonal conformity. (shrink)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example (...) of how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

Imagine that you are a farmer living in Kenya. Though you work hard to sell your produce to foreign markets you find yourself unable to do so because affluent countries subsidize their own farmers and erect barriers to trade, like tariffs, thereby undercutting you in the marketplace. As a consequence of their actions you languish in poverty despite your very best efforts. Or, imagine that you are a peasant whose livelihood depends on working in the fields in Indonesia and you (...) are forcibly displaced from your land by a biofuels company because corrupt government officials have stolen the land and sold it to the company. Or, suppose that you work on the coast of Bangladesh but find that increasingly you are unable to cope with salination resulting from sealevel rise – a product of anthropogenic climate change. These, I believe, are cases of global injustice. My question is: What are those who bear the brunt of global injustice entitled to do to secure their, and other people’s, entitlements? Often people focus on the duties of the affluent to respect and uphold the rights of the disadvantaged. This is understandable. But there is a striking omission. Rarely do people analyze, or even mention, what those who lack their entitlements are entitled to do to secure their own rights. This is my focus in this paper. More specifically, I examine what agents are entitled to do to change the underlying social, economic and political practices and structures in a more just direction. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

What has fiction to do with science? At first glance, the two activities seem to have entirely different aims and products. Science aims at truth, while fiction can deviate wildly from it. Science produces theories, which we are asked to believe. Fiction produces stories, which we are asked to imagine. Given these differences, associating science and fiction might seem like a serious mistake, or even a threat to science. And yet many authors have tried to understand science by looking to (...) fiction. This article will consider three strands of thought on the topic: Hans Vaihinger’s classic work on fictions; fictionalist views, especially van Fraassen’s constructive empiricism; and recent work on models and fiction. As we will see, none of these strands pose a threat to science. Instead, each tries to understand the nature of scientific knowledge by drawing on fiction in different ways, and for different theoretical purposes. (shrink)

It is generally acknowledged that verbal auditory imagery, the reader's sense of hearing the words on a page, matters in the silent reading of poetry. Verbal auditory imagery (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglected by literary and other theorists. This is a first attempt to provide a systematic theoretical account of the felt qualities and underlying cognitive mechanics of narrative VAI, drawing on convergent evidence from the experimental cognitive sciences, psycholinguistic theory, (...) and introspection. The central argument is that distinctions within the domain of embodied VAI also apply to higher-order meaning-making. That is, based on the imaginer's level of self-implication in their production, discrete types of VAI are associated with discrete tendencies in spontaneous literary interpretation. More generally, the aim of this paper is to isolate a new set of embodied experiences which, along with previously researched phenomena such as sensorimotor enactment or emotion, contribute to our understanding of literary narrative. (shrink)

This chapter demonstrates that G.W. Leibniz and Michal Polanyi’s creative work in multiple fields of attention may serve a twenty first century in need of scholars willing to put daring and speculative imaginative inter–disciplinary risks in play. Such a cultural development would activate a general and cross–cultural sensibility that may salvage knowledge work, which is often predicated on property and power, for instead intellectual work that would serve the production of multiple truths that may enliven the world and inspire it.

Jason Springs’s Healthy Conflict in Contemporary American Society is a masterful attempt to practice productive conflict and democratic dialogue in the face of static antagonisms and deep‐seated divisions. In my response, I underscore Springs’s insistence on mediating between the moral imagination of Richard Rorty and the prophetic critique of Cornel West. For the author of Healthy Conflict, any hope in the survival of democracy relies on balancing critique of domination with constructive proposals for a more just and equitable (...) world. On the one hand, Springs rejects any strong distinction between moral imagination and socio‐political critique; in fact, he argues for their intertwinement, especially in the work of West. At the same time, there are moments when he suggests an opposition between expanding the moral imagination and engaging in the critical enterprise, especially as he identifies the limits in Foucault regarding normativity and democratic struggle. I respond to this slippage by arguing that Foucault, and critical theory more broadly, open up possibilities for rethinking ethics, politics, and our relationship to the violence that sustains the order of things. (shrink)

Will I die? As a hypothesis, in my natural scientific understanding, the psyche, is nothing more than, and exclusively just some states of my living brain – I will die as a result of his death. -/- In presented answer, psyche – itself own immediate reality itself, that is – undoubted. -/- This work was performed in reality “in the first person” (“subjective reality”, “phenomenal consciousness”). To realize, how, what it is the reality of the “in the first person” let’s (...) imagine ourselves as an experimenter, who does not replace reality with reasoning about it. – Now for us, as experimenters, how (what it is) psychic is an immediate and undoubted reality. And the awareness of “I am” is a direct reality, and not knowledge about it, which is always doubtful. That is, in psychic reality, nothing prevents us from answering undoubtedly and definitively the question, asked by this psychic reality itself about itself. The author acts from the position of “being in reality – not going beyond its limits, for example, into philosophy” (philosophy, including methodology, is the replacement of reality itself with always dubious reasoning about reality) – explores phenomenal consciousness (“psychic”) directly and as an immediate reality. That is, this work is the mastery of psychic reality through subjective-psychical experimentation – don’t philosophize, but experiment! -/- For example, Descartes, introspectively experimenting in his own psyche reality with his own psyche, informed us about the immutability of the “mind” and proposed to understand this immutability as our own immortality: “the mind does not represent any combination of accidents, it is a pure substance, and although all its accidents are subject to change, it understands some things, it desires others or feels others, etc. – nevertheless, in itself it does not change; and as for the human body, it changes, if only because they are subject to a change in the shape of some of its parts. It follows from this that the body perishes very easily, while the mind, by its very nature, is immortal” (Декарт Р., p. 13). Note that, Descartes did not realize that he was immortal, but logically deduced his own immortality from the immutability of the mind. However, Descartes’ unchanging “mind” itself is such that there is something to die. And in my natural scientific understanding, the immutability of the mind does not imply its immortality – it will die without changing in its subjective self-perception, while instantly fading away as a result of brain death. Psyche (psychical) – a designation of the fact that this is one’s own immediate reality (that is, undoubtedly) – how (what) I myself am immediately, undoubtedly, and that immediate reality of mine, how and through which I myself and everything in general for me there is, and which is exclusively the only one for me. It should be noted that while I am unconscious (brain injury or dreamless sleep), there is nothing at all. -/- But this does not mean that “I”, having completely gone into oblivion, I'll die. This does not exclude that, I will disappear completely into oblivion and does not exist, but (at the same time) “I” – am. So, let’s define immortality as the impossibility of dying because there is nothing to die (psychic, but is such that there is nothing to die – is immortal) and will make a conclusion important for this work: if I am, as psyche, exclusively only is such that there is something to die and nothing else, then, therefore, my death is not excluded. But am I like that? The idea of this work is that I, as a psyche can to manifest (reveal) and realize myself as such (I such), that there is nothing to die, but (at the same time) I – am. I will realize of myself as immortal – such that to die (to decease) nothing. In other words, if I will approach with a bias and, acting purposefully, will reveal the subjective reality “I (psyche) such is that to die (to decease) nothing, but I – am”, that is – I am immortal, that the hypothesis “I will die” will falsified and excluded. -/- To realize this in the work, it is proposed to use the subject-object model, shift the boundary of “I” to the pole of the subject and become objectless, manifesting (revealing) oneself as such that there is nothing to die. Therefore, the aim (goal) of the work – to realize: I – am, but such that there is to die (decease) nothing. To become objectless and wondering about the possibility to dying, as a result, or I will exclude the immortality of the manifested state, or I will manifest (will reveal) immortal undoubtedly and definitively. -/- At the same time, I, as a subject, am “a necessary pole of subject-object relations. … An object is what the activity of … a subject is directed at. … In fact, everything that exists can become an object. … it is important to keep in mind the fundamental fact that the object is always outside the subject, does not merge with it. This externality also takes place when the subject deals with the states of his own consciousness, his Self ... it is important to emphasize that the relation of the subject and the object is not the relation of two different worlds, but only two poles as part of some unity” (Лекторский В.А., p. 6-7). That is, everything that I find existing in myself, this (such) is as an object. “The subject always refers to all “objects”, but it can never become an object for itself” (Титлин Л.И., p. 23). “… you will not be able to see the seeing vision ...” (Титлин Л.И., p. 40), and in this model this implies the “limit” of the subject. As the limit of the subject, I am “objectless”. And, therefore, in its own pole the subject is “ideal” – in its (own) limit (as its own limit, its own limit), I do not exist for myself (non-existent). -/- Using the “fact of the mobility of the boundaries of the subject” (for example, Тхостов А.Ш., p. 16), I have the opportunity to “pull” the boundary of the “I” into myself and become my own limit. At the same time, it is necessary to realize and accept that “inside” the limit of the subject and behind – “beyond of the subject”, and in general the very “inside” and “behind” in this version – unreality. In such a subject limit, the required paradoxical subjective state is assumed – I exist and see, but at the same time I am such that I do not exist for myself, that is, I am, but (subjectively such that) there is nothing to die (“immortality”). -/- Accordingly, the following tasks are indicated in the experiment: 1. In the object-subject sphere of visual perception, shift (and shift) the boundary of “I” into oneself –» to run into one’s own limit and become one’s own limit (without thickness: without depth, without “from within” and without reverse side) –» 2. Having become your own limit, which in its own limit is, but for myself I do not exist (non-existent), realize: • Myself – I am and this is real; • Will I die? – or there is nothing to die, which of the options is to me, as a psyche (as itself the psychic “I”), is applicable: • or I am such that it is not impossible that I will die, and the realized state is not immortal; • or “I” am such that “I” – am (is reality), but such that myself “I” to die nothing, that is, my own immortality – I am immortal; • Is this real? -/- Instruction for reproducing the target result: sequence of actions and results in a subjective-psychic experiment (hereinafter referred to as SPE) -/- At a distance of 25-40 cm from the wall (so that the wall occupies the entire field of view or its overwhelming part), • Here and now, focus on your face: “I am” – reality (and not is the knowing about it). • In yourself step back and look out of yourself at this wall. • Without moving your head, cover the field of vision with your attention as wide as possible and at the same time perceive everything at once (all this) as a single whole. • Perceive a high and wide wall (option: look up at an angle of 135-150 degrees in front of you) in such a way that the space (volume) surveyed by you without turning your head is a closed asymmetrical “lens” • limited in a circle in the periphery of the field of view, • convex in you; You – the beholder, rearwards concave in self (“subject”) – which one of you are watching? • Without moving your head, perceive the field of view as a single whole –» • Into yourself “draw in” –» “backing away” –» step back from everything –» • lean back into yourself –» up to dead-end limit –» • become a dead end itself – a concave (reflector-like) limit-plane. • You – into yourself – backward concave – a perceiving visual screen (limit-dead end), plane –» • lean back and press –» • something in general somehow inside the dead-end plane and behind the dead-end plane, as well as “inside” and “behind”, “behind the dead-end plane” – unreality; • myself – a dead-end plane without thickness (depth), without “inside”, without a reverse side for oneself. • –» That is, as a psychic reality (what is it psychically) will I die? –» or • Something there is, and that is I will die (it is possible); or • I am such that there is nothing to die, but I – am. or • Subjective-psychic experiment is incomplete… • –» Realize that this is reality (realize the reality of it) and emphasize (answer). -/- As a result, “I” am, but there is nothing to die/not to die, that is, the hypothesis “I will die” is unrealistic. -/- Remarks -/- • Each completed SPE is completed with the target result: “I am such that there is nothing to die, but I – am”. And the that what I will die (not excluded) does not correspond to this, that is unreality and is excluded by this. • But I am not such that I will not die. The concepts “I will die/ I will not die” to me, as a psyche are not applicable. That is, I, as a psyche, is immortal, but I am not eternal (not eternal – endlessly lasting, such that there is something to last) – to last, to be eternal and to end there is nothing. This is “immortality”. • In the target result of this work, I – am, but such that there is nothing to die/not die (“immortality”). And such a “I” is not the Atman of the Hindu schools of Nyaya, Vaisheshika and Purva Mimamsa, which E.A. Torchinov. Since the “I” – psychic, and not a substance with the psyche as an attributes. • According to illusionism, what I am as a result of the experiment given in the work is an illusion. And the impression of immortality is a product of the brain. But in reality I am such that I will die (it is not excluded). However, it is necessary to realize that illusionism is a detached reasoning about the “I”, but not is the self itself. And to what I am (as psiche), reasoning and questions about the reality of the “I” (for example, question: am I really like this, what am I like as psyche?) and other expressing illusionism do not correspond. That is, subjectively (psychic, in the psychic reality of the “first person”, in first person perspective), the illusionism of the “I” is unreality. Subjectively (psychic, in the psychic reality of the “first person”, in first person perspective), this is undeniable and final. • Reasoning about what such a “I” is in this (mine) or not in this brain, as well as (for example, holding a real skull in my hands), questions like “how (or, but now where is it here) such “I” – how is it after brain death?” – To the fact that is such an “I” these questions do not correspond and is falsified by this. • After being unconscious, the impression remains that I'm is not and that there is nothing at all. That is, my “unconsciousness” is psychic indistinguishable from my non-existence. However, science has not shown, but and it is not excluded that before and after I exist physically (there is something to die), I still or I no longer exist, there is still or nothing to die as a soul, substance, or otherwise. But what I am in the target result of this work is what I – am, and not “died and already now or still unreality” and I am such that there is nothing to die, this is – reality. That is, I will die? – there is nothing (to die), but I – am (reality), even if I am not (don’t exist). Or I do not exist as something. • I am such that there is nothing to be and die, but I am. And subjectively (psychic, in the psychic reality of the “first person”, in first person perspective), this immortality is – reality. But this reality eludes my rational explanation. -/- Conclusion -/- Will I die? – In the target result the I am, but at the same time I am such that there is nothing to die. That is, I am immortal, but at the same time, I am not eternal (“I” not something eternal (endlessly continuing)) – I am such that to be eternal there is nothing. And, if we accept the subjective (psychic, “first person”, in first person perspective) reality without trying to understand it rationally, then I am exactly like that – I realize that this is my undoubted nature. That is, “I will die / I will not die” is an unreality. Subjectively (psychic, in the psychic reality of the “first person”, in first person perspective), it is undoubted and final. Despite the unscientific nature, this work is a way of mastering reality. The author would be grateful for the identified and shown unreality of the fact that the “I” – am, but such that there is nothing to die, and ideally, the awareness: “I will die (not excluded).” -/- Bibliography -/- Декарт Р., Размышления о первой философии //Декарт Р. Соч.: В 2 т. Т. 2. М., 1994. Лекторский В.А. Субъект в истории философии: проблемы и достижения // Методология и история психологии. 2010. Том 5. Выпуск 1. С. 5-18. Титлин Л.И. Проблема субъекта в индийской философии («Пудгалавинишчая» Васубандху) [Текст] / [Л. И. Титлин]; Федеральное государственное бюджетное учреждение науки Институт философии Российской академии наук. – Москва: ОнтоПринт: Сделано-Сказано, 2018. – 361, [1] с. Тхостов A. Ш. Культурно-историческая патопсихология: монография, – М.: Канон+ РООИ «Реабилитация», 2020. – 320 с. Торчинов Е.А. «Словарик индуизма» (Дата написания: 2003; дата файла: 15.06.2007). Торчинов Е.А. Пути философии Востока и Запада: познание запредельного — СПб.: «Азбука-классика», «Петербургское Востоковедение», 2005. — 480 с. ISBN 5-352-01371-5 (Азбука-классика) ISBN 5-85803-258-3 (Петербургское Востоковедение). -/- Скончаюсь? – я бессмертен (как осознать бессмертие «от первого лица») -/- Скончаюсь? В качестве гипотезы в моем естественно-научном понимании психическое (каково психически), это не более чем, и исключительно только всего лишь некоторые состояния моего живого мозга – скончаюсь в результате его смерти. -/- В представленном ответе психическое – сама собственная непосредственная реальность, то есть, то, каково психически, это – несомненно. -/- Данная работа выполнена в реальности «первого лица» («субъективная реальность», «феноменальное сознание»). Чтобы осознать то, как, каково это, представим себя экспериментатором, который не подменяет реальность рассуждениями о ней. – Теперь для нас, как экспериментаторов, то, как (каково) психически, это непосредственная и несомненная реальность. И осознание «я есть», это непосредственная реальность, а не знание об этом, которое всегда сомнительно. То есть, в психической реальности, на вопрос, заданный самой этой психической реальностью самой себе о себе самой, нам ничто не запрещает ответить несомненно и окончательно. Автор действует с позиции «быть в реальности – не выходить за ее пределы, например, в философию» (философия, включая методологию, это подмена самой реальности всегда сомнительными рассуждениями о реальности) – исследует феноменальное сознание («психическое») непосредственно и в качестве непосредственной реальности. То есть, данная работа, это овладение психической реальностью посредством субъективно-психического экспериментирования – не философствуй, а экспериментируй! -/- Например Декарт, интроспективно экспериментируя в собственной психической реальности с собственным психическим, сообщил нам о неизменности «ума» и предложил эту неизменность понять в качестве нашего собственного бессмертия: «ум не представляет какого-то соединения акциденций, являет собой чистую субстанцию и, хотя все его акциденции подвержены изменению — он то понимает какие-то вещи, то желает другие или чувствует третьи и т.д.,— тем не менее сам по себе он не изменяется; а что касается тела человека, то оно изменяется хотя бы уже потому, что подвержены изменению формы некоторых его частей. Из этого следует, что тело весьма легко погибает, ум же по самой природе своей бессмертен» /Декарт Р., стр. 13. Заметим, Декарт не осознавал себя бессмертным, а логически вывел собственное бессмертие из неизменности ума. Однако, неизменный «ум» Декарта таков, что скончаться есть чему. А в моем естественно-научном понимании из неизменности ума не следует его бессмертие – он, не изменяясь в своем субъективном само-восприятии, при этом мгновенно угаснув в результате смерти мозга, скончается. Психически (психическое) – обозначение того, что это сама собственная непосредственная реальность (то есть – несомненно) – то, как (каково) я сам непосредственно, несомненно, и та моя непосредственная реальность, как и посредством чего я сам и всё вообще для меня есть, и которое для меня исключительно единственное. Следует заметить, что пока бываю без сознания (травма мозга или сон без сновидений), ничего и никак нет вообще. -/- Но это не значит, что «я» ушедши в небытие окончательно – скончаюсь. Этим не исключено, что таковой ушедший в небытие «я» не существую, но (при этом) есть. Итак, определим бессмертие, как невозможность скончаться потому, что скончаться нечему (например, если «умерший» психически есть, но уже таков, что скончаться больше нечему, то теперь он бессмертен) и сделаем важный для данной работы вывод: если психически я исключительно только таков, что скончаться есть чему и ни каков иначе, то, следовательно, то, что скончаюсь, это не исключено. Но таков ли я? Идея данной работы в том, что мне удастся проявить (выявить) и осознать себя таковым (я таков), что скончаться нечему, но (при этом) я есть. Иначе выражаясь, если я подойду предвзято и действуя целеустремленно, выявлю субъективную реальность «я есть, но таков, что скончаться нечему» – то смерть мне, как психическому несвойственна, то есть, я бессмертен – гипотеза возможности субъективно скончаться («я скончаюсь») будет фальсифицирована и исключена. -/- Чтобы это реализовать в работе предлагается воспользоваться субъект-объектной моделью, сдвинуть границу «я» в полюс субъекта и стать безобъектным, проявившись (выявившись) собой таковым, что скончаться нечему. Следовательно, цель работы – осознать: я таков, что есть, но скончаться нечему. Стать безобъектным и задаваясь вопросом о возможности скончаться, или исключу бессмертие проявленного состояния, или проявлюсь (выявлюсь) бессмертным несомненно и окончательно. -/- При этом, я, как субъект, являюсь «необходимым полюсом субъектно-объектных отношений. … Объект – то, на что направлена активность … субъекта. … В действительности объектом может стать все, что существует. … важно иметь в виду тот принципиальный факт, что объект всегда внеположен субъекту, не сливается с ним. Эта внеположность имеет место и тогда, когда субъект имеет дело с состояниями собственного сознания, своим Я … важно подчеркнуть, что отношение субъекта и объекта – это не отношение двух разных миров, а лишь двух полюсов в составе некоторого единства» /Лекторский В.А., стр. 6-7. То есть, всё, что нахожу в себе существующим, это (таковое) есть в качестве объекта. «Субъект – всегда относится ко всем «объектам», но он никогда не может стать объектом для самого себя» /Титлин Л.И., стр. 23. Иначе это выражая – «ты не сможешь увидеть видящего видение…» /Титлин Л.И., стр. 40, и в данной модели таковое предполагает «предел» субъекта. Как предел субъекта я «безобъектен». То есть, «идеален» – своим (собственным) пределом (в качестве собственного предела) самим для себя не существую (несуществующий). -/- Используя «факт подвижности границ субъекта» /например, Тхостов А.Ш., стр. 16, я имею возможность границу «я» в себя-назад «втянуть» и стать собственным пределом. При этом необходимо осознать и принять, что внутри предела субъекта и сзади – «за пределом субъекта», и вообще само «внутри» и «сзади» в этой модели – нереальность. Таким субъектным пределом предполагается требуемое парадоксальное субъективное состояние – я есть и вижу, но при этом я таков, что для себя не существую, то есть, я есть, но (психически таков, что) умереть нечему («бессмертие»). -/- Соответственно, в эксперименте обозначаются следующие задачи: 1. В объект-субъектной сфере зрительного восприятия сдвинуть (и сдвинув) границу «я» в себя-назад –» упереться в собственный предел и стать самим собственным пределом (без толщены: без глубины, без «внутри» и без обратной стороны) –» 2. Став собственным пределом, которым есть, но для себя не существую (несуществующий), осознать: • Себя – я есть и это реально; • Скончаюсь? – есть ли чему скончаться или скончаться нечему, какой из вариантов мне (как психическому «я») свойственен: • или я таков, что то, что скончаюсь не исключено, и реализованное состояние не бессмертно; • или я есть, но таков, что скончаться нечему, то есть, собственное бессмертие – я бессмертен; • Реальность ли это. -/- Инструкция воспроизведения целевого результата: последовательность действий и результатов в субъективно-психическом эксперименте (далее СПЭ) -/- На расстоянии 25-40 см от стены (так, чтобы стена занимала всё поле зрения или его подавляющую часть), • Здесь и сейчас сосредоточьтесь на своём лице: «я есть» – реальность (а не знание об этом). • В себе отстранитесь назад и смотрите из себя на эту стену. • Не двигая головой, охватите поле зрения вниманием предельно широко и одновременно всё сразу (всё это) воспримите единым целым. • Высокую и широкую стену (вариант: смотрите вверх под углом 135-150 градусов перед собой) воспримите так, что обозреваемое вами без поворота головы пространство (объем), это – ограниченная по окружности в периферии поля зрения замкнутая несимметричная «линза» • плоская с противоположной вам стороны • и выпуклая в вас; Вы – вогнутый в себя-назад смотрящий («субъект») – каков? – кто из вас сейчас на всё это смотрит? • Не двигая головой, поле зрения воспримите единым целым –» • В себя-назад «втянитесь» –» и «пятьтесь» –» «за мысли» и за всё вообще –» из этого всего назад вытесняясь –» от всего вообще взад отстранитесь –» • собой в себя-назад подайтесь и упершись в собственный (себя) задний к объектному обращённый (развернутый) тупиковый предел –» • станьте самим пределом-тупиком – в себя-назад вогнутой (рефлектор-подобной) пределом-плоскостью смотрящей – воспринимающим зрительным экраном –» станьте плоскостью-тупиком –» • «проскользните» по себе – плоскости-тупику и охватите вниманием целиком –» • собой – самим плоскостью-тупиком назад надавить, нажать –» • осознать: что-то как-то внутри плоскости-тупика и сзади за плоскостью-тупиком, и там вообще «что-то как-то», а также само «внутри» и «сзади», «за плоскостью-тупиком» и вообще «там» – нереальность; • самого себя – плоскости-тупика без толщины (глубины), без «внутри», без обратной стороны для себя нет. • –» То есть – в качестве психической реальности (каково психически) я скончаюсь? –» или • скончаться есть чему – скончаюсь (не исключено). или • я таков, что скончаться нечему, но я есть. или • субъективно-психический эксперимент не завершён. • –» Осознайте, что это – реальность (осознать реальность этого) и подчеркните (ответ). -/- В результате я есть, но скончаться/не скончаться нечему, то есть гипотеза «скончаюсь» – нереальность. -/- Замечания -/- • Каждый завершённый СПЭ завершён целевым результатом: «я таков, что скончаться нечему, но я есть». И тому, каков я в результате СПЭ, то, что скончаться есть чему – скончаюсь (не исключено) не соответствует, то есть нереальность и этим исключено. • То есть, я и не таков, что не скончаюсь. «Я скончаюсь/не скончаюсь» ко мне, как к психике, неприменимо. Иначе это выражая, тому, каков я, смерть несвойственна. То есть, я, как психика (психическое), бессмертен, но я не вечен (не вечный – бесконечно длящийся, таковой, что есть чему длиться) – длиться, быть вечным и не скончаться нечему. Таково «бессмертие». • В целевом результате данной работы я есть, но таков, что скончаться/не скончаться нечему («бессмертие»). И таковой «я» не Атман индуистских школ ньяя, вайшешика и пурва-миманса, о котором сообщает Е.А. Торчинов. Так как «я» психичен, а не субстанция с психическим в качестве атрибута. • Согласно иллюзионизму, то, каков я в результате данного в работе эксперимента, это иллюзия. И впечатление бессмертия, это порождение мозга. А реально я таков, что скончаюсь (не исключено). Однако, необходимо осознать, что иллюзионизм, это отстраненные рассуждения о «я», но не сам я непосредственно. И тому, каков я психически (каково психически), рассуждения и вопросы о реальности «я» (например, таков ли я реально, каков психически?) и другие выражающие иллюзионизм «я» не соответствуют. То есть, каково психически, иллюзионизм «я» – нереальность. Психически, это несомненно и окончательно. • Рассуждения о том, что таковой «я» в этом (моем) или не в этом мозге, а также (например, держа в руках реальный череп), вопросы, типа «а как же (или, но теперь где же здесь) таковой «я» – как это после смерти мозга?» тому, каков таковой «я» эти вопросы не соответствуют. • После пребывания без сознания остается впечатление, что без сознания меня нет и ничего никак нет вообще. То есть, моё «бессознание» психически неотличимо от моего несуществования (небытия). Однако, наукой не показано и не исключено то, что до и после того, как я есть физически (скончаться есть чему), меня ещё или уже нет, скончаться ещё или уже нечему в качестве души, субстанции или как-то иначе. Но, то, каков я в целевом результате данной работы, таковой я есть, а не «скончался и уже теперь или ещё нереальность» и я таков, что скончаться нечему – реален (реалия). То есть, скончаюсь? – нечему (скончаться), но я есть, даже если меня нет (не существую). • Я таков, что быть и скончаться нечему, но я есть. И то, как (каково) психически, это бессмертие – реальность. Но эта реальность ускользает от моего рационального её объяснения. -/- Заключение -/- Скончаюсь? – в целевом результате я есть и вижу, но при этом я таков, что умереть (скончаться) нечему. То есть, я бессмертен, но при этом я не вечен (не нечто вечное (бесконечно длящееся)) – быть вечным нечему. И, если принять психическое реальностью не пытаясь понять это рационально, то я именно таков – осознаю, что такова моя несомненная для меня природа. То есть, «скончаюсь/не скончаюсь» – нереальность. Психически, это несомненно и окончательно. Несмотря на ненаучность, данная работа – способ овладения реальностью. Автор был бы признателен за выявленную и показанную нереальность целевого результата данной работы, а в идеале, за осознание: «скончаюсь (не исключено)». -/- Annex 2. The key essence of this work (only in Russian to convey the nuances without distortion) -/- Performed, expressed and transmitted initially by means of Russian, the native language of the author, and, in order to avoid distortions in the correspondence of the linguistic nuances of the reproduced subjective reality, it assumes an independent translation into the language of the experimenter by the experimenter himself in the process of reproducing the target result of this work. -/- «Я» скончаюсь? – нечему (скончаться), но «Я» есть. Will “I” die (decease)? – to die (decease) nothing, but “I” am. -/- Заметить: • Выполнено, выражено и передано изначально посредством русского – родного для автора языка и, чтобы избежать искажений соответствия языковых нюансов воспроизводимой психической реальности, предполагается самостоятельный перевод на язык экспериментатора самим экспериментатором в процессе воспроизведения целевого результата данной работы. • В «кавычки» взяты слова и выражения, требующие «субъективного» приведения в соответствие психическому содержанию. Подготовка: • Вам потребуется уединённое место (там, где вас не отвлекут). • На первоначальном этапе понадобится некоторое (возможно длительное) время для того, чтобы усвоить предложенный алгоритм действий в психической реальности в процессе реализации и воспроизвести целевой результат впервые. • Возможно, результату поспособствует отклонение от предложенного алгоритма «психических действий», импровизация в направлении целевого результата. • В процессе эксперимента количество попыток не ограничено и затраченное на это время не имеет значения. Необходим исключительно только именно целевой результат. Реализация: • В уединении встать перед плоской широкой и высокой (достаточно большой, чтобы её границы были на периферии вашего поля зрения) стеной, например, покрытой однородной светлой (но не белой) керамической, не глянцевой (не отражающей на вас свет или отвлекающих внимание изображений, не дающей бликов) плиткой с лёгким текстурным рисунком (позволяющим глазам «зацепиться» за стену и отчётливо воспринимать перед собой поверхность, а не «утонуть» в однородном (монотонном) пространстве), на расстоянии 25-40 см от неё (так, чтобы стена занимала всё поле зрения или его подавляющую часть) –» • Скончаюсь (1)? – каково психически (психическое), в моем естественно-научном понимании – это (я) не более чем и исключительно только некоторые состояния функционирующего (живого) мозга – скончаюсь, как и уже скончался каждый умерший мозг – того каждого, кто скончался, как реальности (реального, реалии) (2) уже теперь нет окончательно. Теоретически, если психически я исключительно только таков, что скончаться есть чему и ни каков иначе, то, следовательно, что (я) скончаюсь, это не исключено. • Глядя на стену, здесь и сейчас сосредоточиться на своём лице (и осознать): «я есть» – реальность (а не знание об этом) –» • В себе «отстраниться» назад – смотрю из себя на эту стену –» • Не двигая головой, охватить поле зрения вниманием предельно широко (поднять (вздернуть) брови, если это расширит поле зрения) и одновременно всё сразу (всё это) воспринять единым целым –» • Высокую и широкую стену (вариант: смотреть вверх под углом 135-150 градусов перед собой) воспринять так, что обозреваемое без поворота головы пространство (объем), это – ограниченная по окружности в периферии поля зрения замкнутая несимметричная «линза» • плоская (ограниченная стеной) с противоположной мне стороны • и «выпуклая в меня» –» • Я – «вогнутый» в «себя-назад» смотрящий, каков? – кто из меня сейчас на всё это смотрит? –» • Не двигая головой, поле зрения воспринять единым целым –» • в себя-назад «втянуться» –» и «пятиться» –» «за мысли» и за всё вообще –» из этого всего назад «вытесняясь» –» от всего вообще «взад отстраниться» –» • «собой» в себя-назад «податься» и «упершись» в «собственный (себя) задний к объектному обращённый (развернутый)» «предел тупиковый» («тупо-уперто») –» • «стать» самим «пределом-тупиком» – «в себя-назад вогнутой (рефлектор-подобной)» «пределом-плоскостью» смотрящей – воспринимающим «зрительным экраном» –» стать «плоскостью-тупиком» –» • «проскользнуть» по себе – плоскости-тупику и охватить вниманием целиком –» • собой — самим плоскостью-тупиком «назад надавить, нажать»: • осознать: «что-то как-то внутри плоскости-тупика» и «сзади – за плоскостью-тупиком», и «там вообще» «что-то как-то», а также само «внутри» и «сзади», «за плоскостью-тупиком» и вообще «там» – нереальность; • самого себя – плоскости-тупика без толщины (глубины), без «внутри», без обратной стороны для себя нет –» Собой – плоскостью-тупиком: • без глубины (толщины), без «внутри», без обратной стороны таков, что скончаться есть чему – скончаюсь (не исключено) –» • смотрю –» смотря –» «Непосредственно-психически» -/- Заметить: • Специфику используемых в данной работе слов (терминов), названий и выражений необходимо осознать в соответствии с (4.1.) (данный пункт смотрите ниже). • Необходимо от себя – (как) «смотрящего плоскости-тупика», такового, что скончаться есть чему, оттождествиться собой — «самим психическим» (каково психически) (3) –» • –» «отличить (4)» «Я» –» «Я-лик». • Отличив, и себя такового обозначая, но не имея в языке отличающего местоимения, именую «Я» (5). • «Соединённое-через-дефис-в-кавычках» реализовать и/или воспринять «одним-единым-целостным»; • Последовательность слов и знаков предполагает последовательность психических действий (алгоритм действий в собственном психическом); • Вопросительность слова, фразы или отдельной её, именно вопросительной части задаётся знаком «?» расположенным перед и после них. Требование к действию задаётся знаком «!» расположенным перед и после слова (фразы); • Субъективно-психический эксперимент завершён, если воспроизведен (4.1.), иначе субъективно-психический эксперимент не завершён. -/- Собой – плоскостью-тупиком … смотрю –» смотря –» -/- «Психически» (6) 1. ?кто? видит –» !отличить «Я»! –» 2. –» !«Я-видящий-лик»! –» 3. –» !«Я-лик»! –» 4. –» !«Я-ликом» всем «психически-назад-надавить(нажать)»: «Я» ?скончаюсь?! –» !«Я-ликом» всем «психически-назад-давить(жать)»: (4.1.) – нечему (7), но «Я» есть.! -/- Признательность: Согласно иллюзионизму, то, каков «Я» (как (каково) «скончаться нечему, но «Я» есть.»), реально, это не так (не таково). То есть, таковой «Я» нереален (нереальность), а реально – таков, что скончаюсь (не исключено). Однако, необходимо осознать, что это «отстраненные» от «Я» рассуждения о «Я», но не сам «Я» непосредственно. И тому, каков «Я» (как (каково) скончаться нечему, но «Я» есть.) таковое (рассуждения) не соответствует. То есть, эти рассуждения о «Я» – заблуждение. Это (как осознание) несомненно и окончательно. Не так? – за выявленную и показанную нереальность (того, что) «Скончаюсь? – нечему (скончаться), но «Я» есть.», за показанную реальность того, что скончаться не исключено, а в идеале, за осознание: «скончаюсь (не исключено)» я был бы признателен. -/- (Сноски) (1) Именно «скончаюсь, скончался», то есть – как реальности (реального, реалии) нет окончательно. (2) Реалия, реально, реален, реальность, реальное – само то, что (каково это) непосредственно, как само таковое – само то, каково познаваемое и как-либо моделируемое вне его познания и иного (вообще) моделирования. То есть, само само-осознание себя реальностью, например, «я-реалия», «я есть» или «скончаться – нечему, но «Я» есть.» – реальность. То есть – нам ничто не запрещает ответить на вопрос «скончаюсь?» несомненно и окончательно. (3) Психически (психическое) – то, как (каково) я сам непосредственно, несомненно, и та моя непосредственная реальность, как и посредством чего я сам и всё вообще для меня есть, и которое для меня исключительно единственное. Следует заметить, что пока бываю без сознания (травма мозга или сон без сновидений), ничего и никак нет вообще. Также само обозначение того, что это сама собственная непосредственная реальность (то есть – несомненно). И чтобы её осознать, представьте себя экспериментатором, который не подменяет реальность рассуждениями о ней. – Теперь для вас, как экспериментатора, то, как (каково) психически, это – несомненно (непосредственная несомненная реальность). Не философствуй (не рассуждай, не моделируй её), а экспериментируй! (4) «Я-Лик» – специфическое выражение, соответствующее психическому в данный момент СПЭ. (5) «Я» – целевой (конечный, «предельный») и «ключевой» результат данной работы. «Я» в данной работе не склоняется, выделено полужирным подчеркнутым шрифтом и заключено в кавычки. (6) «Каково психически» – то, как (каково) «Я» сам непосредственно, несомненно – само «первое лицо» (субъект психического), а также обозначение принятия позиции «первого лица» и сообщения «от первого лица». (7) Пока я бываю без сознания («бессознание», например, сплю без сновидений), моего сознания нет (оно сведено на нет, угасло) – ничего и никак нет вообще (это моё абсолютное небытие) – (каково) психически, мне скончаться нечем. А в целевом результате данной работы, психически (то есть – непосредственно), «Я» таков, что скончаться не нечем, а именно нечему, но при этом «Я» есть. (shrink)

Francis Bacon (15611626) wrote that good scientists are not like ants (mindlessly gathering data) or spiders (spinning empty theories). Instead, they are like bees, transforming nature into a nourishing product. This essay examines Bacon's "middle way" by elucidating the means he proposes to turn experience and insight into understanding. The human intellect relies on "machines" to extend perceptual limits, check impulsive imaginations, and reveal nature's latent causal structure, or "forms." This constructivist interpretation is not intended to supplant inductivist or experimentalist (...) interpretations, but is designed to explicate Bacon's account of science as a collaborative project with several interdependent methodological goals. (shrink)

Heidegger argues that modern technology is quantifiably different from all earlier periods because of a shift in ethos from in situ craftwork to globalised production and storage at the behest of consumerism. He argues that this shift in technology has fundamentally shaped our epistemology, and it is almost impossible to comprehend anything outside the technological enframing of knowledge. The exception is when something breaks down, and the fault ‘shows up’ in fresh ways. Stiegler has several important addendums to Heidegger’s thesis. (...) Firstly, that Heidegger fails to fully appreciate the early Greek myth of Prometheus, and the technological depth that fire offers all human societies. Secondly, the fall, or failure, which is doubled in the myth of Prometheus, and shows up in epistemology accordingly. Thirdly the acceleration of technology since the onset of Information Technology, and the way this is disorientating our Being. I argue the fall in both Heidegger and early Stiegler has encaptured their imagination. In later work, Stiegler argues that acceleration is fused with algorithmic pretensions, that are distorting and undermining the creative political imaginary, and making it difficult to revalue the values that underpin the nihilist Anthropocene. The overcoming of the Anthropocene engages politics, economics, power, physics, and ecology. (shrink)

‘‘COGNITIVE ECOLOGY’’ is a fruitful model for Shakespearian studies, early modern literary and cultural history, and theatrical history more widely. Cognitive ecologies are the multidimensional contexts in which we remember, feel, think, sense, communicate, imagine, and act, often collaboratively, on the fly, and in rich ongoing interaction with our environments. Along with the anthropologist Edwin Hutchins,1 we use the term ‘‘cognitive ecology’’ to integrate a number of recent approaches to cultural cognition: we believe these approaches offer productive lines of (...) engagement with early modern literary and historical studies.2 The framework arises out of our work in extended mind and distributed cognition.3 The extended mind hypothesis arose from a post-connectionist philosophy of cognitive science. This approach was articulated in Andy Clark’s Being There: Putting Brain, Body, and World Together Again, and further developed by Susan Hurley and Mark Rowlands, among others.4 The distributed cognition approach arose independently, from work in cognitive anthropology, HCI (Human-Computer Interaction), the sociology of education and work, and science studies. The principles of distributed cognition were articulated in Hutchins’s ethnography of navigation, Cogni- tion in the Wild,5 and developed by theorists such as David Kirsh and Lucy Suchman.6 These models share an anti-individualist approach to cognition. In all these views, mental activities spread or smear across the boundaries of skull and skin to include parts of the social and material world. In remembering, decision making, and acting, whether individually or in small groups, our complex and structured activities involve many distinctive dimensions: neural, affective, kines-. (shrink)

In hyper-modern society, food has become a source of endemic discontent. Many food products are seen as ‘tainted’; literally, figuratively or both. A psychoanalytic approach, I will argue, may help us to come to terms with our alimentary predicaments. What I envision is a ‘depth ethics’ focusing on some of the latent tensions, conflicts and ambiguities at work in the current food debate. First, I will outline some promising leads provided by two prominent psychoanalytic authors, namely Sigmund Freud and Jacques (...) Lacan. Subsequently, I will elucidate why our chronic dependency on high-tech food production apparently fails to meet consumer needs, focusing on some scenarios of escape, such as anorexia, cultured meat and ersatz food. And I will use ‘genres of the imagination’ to flesh out how food consumption has become a podium for enacting cultural symptoms, moral outcries, provocative identities and practices of the Self. Notably, I will discuss a story by Franz Kafka, a painting by Pablo Picasso and a food novel by Margaret Atwood. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Epistemic Leaks and Epistemic Meltdowns: A Response to William Morris on Scepticism with Regard to Reason Mikael M. Karlsson I. In an excellent paper which appeared in the April, 1989 issue of this journal,2 William Morris attemptsto demonstrate thatthe arguments which make up Hume's notorious chapter, "Of scepticism with regard to reason, are, in the first place, coherent—both internally and with the overall strategy of the Treatise—and, in the (...) second place, successful. Morris' paper is an exercise in the noble art of what I style constructive exegesis, an enterprise to which many readers of Hume Studies, and myself as much as any, are committed. It is a guiding principle ofthis art that we donotunderstandaphilosophical textuntil we can interpret it in such a way as to render it both coherent and correct. From this point ofview, coherence and correctness are not as independent of one another as they may seem to be to others who are differently committed. Some texts, such as Hume's chapter, "Ofscepticism with regard to reason," are notoriously resistant to constructive exegesis, despite the formidable bag of tricks which scholars and interpreters have developed; so resistant, that in gloomier moments we may be brought to wonder about our interpretative enterprise itself. Constructive exegesis is indeed a strange, and peculiarly optimistic, enterprise. Someday, I imagine, in a leisurely moment, I will think more reflectively about the principles ofour art. But not now.6 As a fellow practitioner of constructive exegesis, I am in full sympathy with what Morris tries to do in his paper; and I think that he does contribute substantially to our understanding of what Hume is up to in the chapter, "Ofscepticism with regard to reason." The third section of Morris' paper is, in my judgement, particularly successful in showing how Hume's chapter fits into the larger framework of the Treatise: Hume is, we see, attacking both what Morris labels "intellectualist rationalism" and its counterpart, which we may call 'unmitigated scepticism', although the chapter's two main arguments go primarily to the former. I also think that Morris gives very helpful, Volume XVI Number 2 121 MIKAEL M. KARLSSON and to my mind accurate, accounts of these two arguments, which I dub, respectively, the epistemic leak argument, and the epistemic meltdown argument. However, I have personally never found either of these arguments remotely convincing; and I still do not, despite Morris' clarification and defense. In what follows, I shall indicate some ofthe reasons for my dissatisfaction.?. Theepistemicleakargumentpurportsto"prove"(in Hume's sense)that reason or demonstration cannot support knowledge. Morris rightlyreminds us that whatHume meansby knowledge is perfect assurance or conviction: Knowledge is, in short, subjective certainty. This has caused confusion, for this is not what we usually mean nowadays by knowledge; nor was it what people, philosophers included, generally meant prior to Descartes. In Hume itis the product ofthe attempttoresolve all epistemic statesintomental eventsorwhat he calls "perceptions." In any case, we must—as Morris rightly explains—be clear that the epistemic leak argument is aimed at showing that demonstration cannot supportperfect conviction. Inoutline, the argumentissimple: Itworks, asMorrismakes clear, by shifting attention away from the subject-matter or "objects" of demonstration, that is, relations of ideas, to the exercise of demonstrative reason by human agents. The necessity of relations of ideas may suggest to us that we can be certain about them. Against this, one may point out that people do err in the conclusions arrived at by demonstration; this presumably shows that our (rational) understandingis fallible. And once we recognize this, our confidence in any conclusion produced by exercising this facultyislessened—thus do we move from knowledge, or subjective certainty, toprobability: belief, or imperfect conviction. Arguments ofthis general type (we can call them, using Descartes' famous figure, Totten-apple arguments ) were around long before Hume, although they were more commonly directed against the senses than against reason. We find them in antiquity—in Plato and Sextus Empiricus, for instance —and in Descartes, in parallel passages in the Discourse on Method, the First Meditation and the Principles of Philosophy, wherein one can discern a version directed precisely against reason and demonstration.12 To find out what, if anything, Hume has... (shrink)

In a 1978 lecture in Tokyo, Foucault drew a comparison between his own philosophical methodology and that of ‘Anglo-Saxon analytic philosophy’, claiming the label ‘analytic philosophy of politics’ for his own approach. This may seem like a somewhat surprising comparison given the gulf between contemporary analytic and continental philosophy, but I argue that it is a very productive one which indeed might help us reconsider this gulf. I proceed through a comparison between Foucault and the speech act theory of (...) J. L. Austin, one of the analytic philosophers Foucault had in mind in his Tokyo lecture. By focusing on the methodological commonalities between Foucault and Austin, this article identifies the core of a philosophical methodology that cuts across the analytic/continental divide in philosophy in general while constituting a powerful alternative to the methods applied by analytic political philosophers specifically. This approach, which I term ‘analytic critique’, is one that starts from a critical analysis of what happens in ordinary lived experience and theorizes ‘bottom-up’ in an avowedly politically engaged way – thereby challenging the conceptual and political aloofness of contemporary political philosophy in the liberal-Rawlsian tradition. Foucault’s appropriation of the label ‘analytic philosophy’, it is argued, ought to function as a call to more imaginative methodological-theoretical engagement across the traditional division between continental and analytic approaches. (shrink)

Genevieve Lloyd’s Spinoza is quite a different thinker from the arch rationalist caricature of some undergraduate philosophy courses devoted to “The Continental Rationalists”. Lloyd’s Spinoza does not see reason as a complete source of knowledge, nor is deductive rational thought productive of the highest grade of knowledge. Instead, that honour goes to a third kind of knowledge—intuitive knowledge (scientia intuitiva), which provides an immediate, non-discursive knowledge of its singular object. To the embarrassment of some hard-nosed philosophers, intellectual intuition has (...) an affective component; it is a form of love, and ultimately given that human beings are finite modes of God/Nature (Deus sive Natura), it is a form of the intellectual love of God (amor Dei intellectualis). Some philosophers do not know what to make of this mysterious aspect of Spinoza’s philosophy, which is nonetheless firmly anchored in a reading of Part V of the Ethics. Nonetheless, this note will insist with Lloyd’s “Reconsidering Spinoza’s Rationalism” that such doctrine is an integral part of Spinoza’s philosophy. Moreover, it will be shown that Spinoza is well aware of the limitations of reason (ratio) in gaining scientific knowledge of the world and requires intuition precisely because of the inability of reason to represent individuals in their full particularity. Imagination too has a role to play in shaping scientific knowledge, although reason performs a vital critical role in disciplining and liberating the human mind from inadequate imaginary ideas. The result is an interpretation of Spinoza’s epistemology as both rationalist and intuitionist. DOI: 10.1080/24740500.2021.1962652. (shrink)

The paper aims to give an account of practical knowledge by outlining a hylomorphic and conceptualist account of intentional action in analogy to McDowell's conceptualist account of experience. On this view, practical concepts provide the ideal or formal structure that unifies a manifold of bodily movements into a single intentional action, and hence intentional actions are structured conceptually. -/- - §1 sets out the basic features of this view in contrast to a common dualistic or two-component view of practical knowledge, (...) as an "inner" mental state with propositional content that functions as the efficient cause of some bodily movement in the "external" world, and introduces the claim that practical knowledge is the constitutive form of intentional action. - §2 illustrates the hylomorphic unity of concept and movement in action, and thus (contra Dreyfus) the corporeality of practical reason, by means of an account of practical concept formation, on which both the formation and tradition of practical concepts take place in bodily movement iself. - §3 elucidates the concept of a self-conscious disposition or rational capacity for action, actualizations of which are characterized by a syllogistic structure that accounts for both the explanation and the justification of action and thereby renders intelligible in what sense practical judgment is internal to acting itself. - Skillful exercises of such capacities express a knowledge-how that manifests itself in practical representations. §4 characterizes representations of this kind as a perceptually situated recognition of a practical pattern that amounts to the imaginative anticipation of a movement form by which the agent determines their next steps; a practical perception of the agent's particular situation that is both normative and motivational for them. - §5 starts by developing an identity theory of practical truth, on which the conceptual content of a (true) practical judgment is numerically identical with the formal structure of a (good) action, and concludes with explaining the unity of four features commonly attributed to practical knowledge, viz. that it is at the same time descriptive, normative, causally productive, and non-observational (or self-conscious). (shrink)

I argue that the Doctrine of Double Effect is accepted because of unreliable processes of belief-formation, making it unacceptably likely to be mistaken. We accept the doctrine because we more vividly imagine intended consequences of our actions than merely foreseen ones, making our aversions to the intended harms more violent, and making us judge that producing the intended harms is morally worse. This explanation fits psychological evidence from Schnall and others, and recent neuroscientific research from Greene, Klein, Kahane, and Schaich (...) Borg. It explains Mikhail and Hauser’s “universal moral grammar” and an interesting phenomenon about Double Effect cases noted by Bennett. When unequally vivid representations determine our decisions, we typically misjudge the merits of our options and make mistakes. So if Double Effect is a product of unequal vividness, it is likely to be mistaken. This argument, I claim, fits Berker’s specifications for good empirically grounded arguments in ethics. (shrink)

Locke and Leibniz deny that there are any such beings as ‘monsters’ (anomalies, natural curiosities, wonders, and marvels), for two very different reasons. For Locke, monsters are not ‘natural kinds’: the word ‘monster’ does not individuate any specific class of beings ‘out there’ in the natural world. Monsters depend on our subjective viewpoint. For Leibniz, there are no monsters because we are all parts of the Great Chain of Being. Everything that happens, happens for a reason, including a monstrous birth. (...) But what about materialism? Well, beginning with the anatomical interest into ‘monstrous births’ in the French Académie des Sciences in the first three decades of the eighteenth century, there is a shift away from ‘imaginationist’ claims such as those of Malebranche, that if a woman gives birth to a monstrous child it is a consequence of something she imagined. Anatomists such as Lemery and Winslow try to formulate a strictly mechanical explanation for such events, rejecting moral and metaphysical explanations. Picking up on this work, materialist thinkers like Diderot are compelled to reject the very idea of monsters. We are all material beings produced according to the same mechanisms or laws, some of us are more ‘successful’ products than others, i.e. some live longer than others. In his late Eléments de physiologie he says “L’homme est un effet commun, le monstre un effet rare.” Ultimately he arrives at a materialist version of Leibniz’s position: there are no monsters, we are all monsters in each other’s eyes, at one time or another. This conclusion is a pregnant one in light of twentieth century interest in the problem of ‘the normal and the pathological’ (Canguilhem), and the broader question of how materialism relates to the biological world. (shrink)

In this paper we introduce Critical Praxeological Analysis (CPA). CPA respecifies critical studies and research by operationalising insights from gestalt psychology and, in particular, the praxeological and linguistic gestalts identified by Harold Garfinkel and Ludwig Wittgenstein. CPA offers a framework for analysing the in-situ production, maintenance, challenging, repair and overcoming of norms and structures. Using naturally occurring data, as well as fictional and imagined examples, CPA examines the meanings that situations have for the participants who constitute them. The paper provides (...) brief praxeological analyses, which draw upon themes from Frantz Fanon’s work to illustrate CPA in practice. We conclude by inviting others to apply CPA to themes drawn from the critical studies literature, in the hope that such analyses will deepen our understanding of how norms and structures are produced, maintained, challenged, repaired and overcome in interaction. (shrink)

Kant’s distinction between intuitions and concepts attracts perennial interpretive interest. To the extent that they discuss the imagination at all, most Kant scholars maintain that the imagination’s primary role is to generate intuitions. This dissertation argues that “image” (Bild, Einbildung) is an overlooked technical term in Kant’s work and that images—and not intuitions—are products of the imagination. The project explains how, for Kant, the imagination (as image-maker) and the senses (as intuition-maker) make distinct but essential contributions (...) to cognition and perception. I begin by showing that “image” is a terminologically marked notion in Kant, and that the imagination is responsible for generating images (chapter 1). I call these claims the Image Thesis. I then show that for Kant, intuitions are representations that depend only on the senses for their essential features (chapter 2). I call this the Strong Independence Thesis. -/- How should we understand Kant’s ubiquitous references to the imagination, then? I argue that we should understand the imagination’s activities as image-producing activities (chapter 3). I argue that images and intuitions are fundamentally distinct representations, which I label the Distinctness Thesis. Though intuitions and images are had by both rational and non-rational beings, the capacity for consciousness or apperception found in rational beings makes a difference in the structure of images but not the structure of intuitions (chapter 4). I call this the penetration view of the imagination. With this account of images in hand, I indicate why images are a necessary ingredient in theoretical cognition for Kant (chapter 5). I call this the Image-Centric Cognition Thesis. The result is a novel account of sensibility—the counterpart of the understanding—that recognizes Kant’s systematic discussion of mental imagery. (shrink)