Speaking is so closely associated with making noises that such descriptions as ‘silent soliloquy’ and ‘soundless monologue’ have an air of paradox. Yet people frequently say things to themselves in such a way that not even a close observer has any reason to think they have done so. It is therefore tempting to suppose that on such occasions a sequence of surrogate speech sounds is produced in the person's head which he alone hears or introaudits, as if what distinguishes silent (...) inner speech from normal speech is that the word substitutes are conveniently hidden from all save their producer. (shrink)

What is the connection between a representation, such as a painting, statue or engraving, and its subject? For example, what makes a painting a painting of McX? The problem is not how to paint McX, which belongs to art experts. So the answer is not, for example, ‘The painter starts at the top with an egg-shape for the head …” The question is rather: what makes the results of such efforts a painting of McX? What conditions must a painting satisfy (...) to warrant such a description? What is the force or meaning of the word ‘of’ in phrases like ‘painting of McX’? (shrink)

The popular idea that mental calculation involves covert operations as counterparts to the scribblings, sayings or manipulations involved in classroom calculation is rejected by familiar arguments in Section I. Philosophers do not readily agree on an alternative account. Section II considers reasons why they are puzzled, reasons which encourage a return to the discredited position. The currently fashionable Causal or Functionalist view is criticised in Section III. Section IV reconsiders the stubborn fact that when someone calculates in their head they (...) do something at the time which explains their arithmetical successes or failures. Some dispositional descriptions are rejected as inadequate. Though a restrained dispositionalism is finally supported, it does not have the implication that nothing was going on in the silence. (shrink)

1. The scientific study of sleep has recently been stimulated by comparisons between people and advanced computers, whose normal activities need to be suspended periodically for reprogramming. I quote from a popular account by Dr Christopher Evans, which appeared in the Sunday Times during 1969: Sleep is of course the state in which the brain-computer is ‘off-line’, during which time the vast mass of existing programmes are sorted, outdated ones revised in the light of recent experiences and useless ones or (...) the remnants of modified ones cleared and eliminated. These processes take place for a substantial part of the night, but because the brain is ‘off-line’ and consciousness suppressed, we are mostly not aware of them. However, if for some reason our sleep is disturbed or when we wake in the morning, as the conscious mind ‘comes to’ it catches the programme operations at work, and for a moment has no way of knowing whether the events are internal or external in origin. It sets to work therefore to try to make sense of the programme or fragments thereof that are being run through, and the result is what we call a dream— though we should presumably call it an interrupted dream. (shrink)

Roger Squires; Discussions: Dream Time, Proceedings of the Aristotelian Society, Volume 95, Issue 1, 1 June 1995, Pages 83–92, https://doi.org/10.1093/aristotel.

Roger Squires; Discussions: Dream Time, Proceedings of the Aristotelian Society, Volume 95, Issue 1, 1 June 1995, Pages 83–92, https://doi.org/10.1093/aristotel.

(1979). Some Observations on the Problems of Grading Examinations with Several Components: a reply to P. J. Squire. Educational Studies: Vol. 5, No. 3, pp. 225-230.

Introduction: Conversion and the practice of transformation -- The philosophical structure of Jonathan Edwards's religious affections -- Habit, habit change, and conversion in C.S. Peirce -- Reconstructing faith : religious overcoming in Dewey's pragmatism -- Transforming obligation in William James -- Dwelling in absence: the reflective origin of conversion -- Creative transformation : the work of conversion -- The evasion of conversion in recent American philosophy.

Uskali Mäki has offered an innovative scientific realist account of Milton Friedman’s 1953 essay, ‘The Methodology of Positive Economics’, which directly challenges the dominant instrumentalist interpretation. This paper offers critical reflections on Mäki’s approach and interpretation. It is argued that Mäki’s method of rereading-rewriting the text is problematic; that an unforced instrumentalist account of unrealistic assumptions can be extracted from the text itself; and that seemingly realist passages can be plausibly read as expressing an instrumentalist stance.

This paperback edition is fully updated with new chapters on the livestoick crisis, fishing and BSE and a layman's guide introduction to philosophical concepts, ...

Argues that the only way to understand the Confucian vision of the consummate moral life is to take the tradition on its own terms.

Roger North's The Musicall Grammarian 1728 is a treatise on musical eloquence in all its branches. Of its five parts, I and II, on the orthoepy, orthography and syntax of music, constitute a grammar; III and IV, on the arts of invention and communication, form a rhetoric; and V, on etymology, consists of a history. Two substantial chapters of commentary introduce the text, which is edited here for the first time in its entirety: Jamie Kassler places his treatise within (...) the broader context not only of North's musical and non-musical writings but also their relation to the intellectual ferment of the seventeenth and eighteenth centuries and Mary Chan describes physical and textual aspects of the treatise as evidence for North's processes of thinking about musical thinking. (shrink)

Descartes and the last Scholastics: objections and replies -- Descartes and the Scotists -- Ideas, before and after Descartes -- The Cartesian destiny of form and matter -- Descartes, Basso, and Toletus: three kinds of Corpuscularians -- Scholastics and the new astronomy on the substance of the heavens -- Descartes and the Jesuits of La Fleche: the Eucharist -- Condemnations of Cartesianism: the extension and unity of the universe -- Cartesians, Gassendists, and censorship -- The cogito in the seventeenth century.

In this lucid and engaging introductory volume on the nature of society, Roger Trigg examines the scientific basis of social science and shows that philosophical presuppositions are a necessary starting point for the study of society.

_The Undiscovered Dewey_ explores the profound influence of evolution and its corresponding ideas of contingency and uncertainty on John Dewey's philosophy of action, particularly its argument that inquiry proceeds from the uncertainty of human activity. Dewey separated the meaningfulness of inquiry from a larger metaphysical story concerning the certainty of human progress. He then connected this thread to the way in which our reflective capacities aid us in improving our lives. Dewey therefore launched a new understanding of the modern self (...) that encouraged intervention in social and natural environments but which nonetheless demanded courage and humility because of the intimate relationship between action and uncertainty. Melvin L. Rogers explicitly connects Dewey's theory of inquiry to his religious, moral, and political philosophy. He argues that, contrary to common belief, Dewey sought a place for religious commitment within a democratic society sensitive to modern pluralism. Against those who regard Dewey as indifferent to moral conflict, Rogers points to Dewey's appreciation for the incommensurability of our ethical commitments. His deep respect for modern pluralism, argues Rogers, led Dewey to articulate a negotiation between experts and the public so that power did not lapse into domination. Exhibiting an abiding faith in the reflective and contestable character of inquiry, Dewey strongly engaged with the complexity of our religious, moral, and political lives. (shrink)

My intention is to show that, starting from an empiricist philosophy of mind, it is possible to give a systematic account of aesthetic experience. I argue that empiricism involves a certain theory of meaning and truth; one problem is to show how this theory is compatible with the activity of aesthetic judgment. I investigate and reject two attempts to delimit the realm of the aesthetic: one in terms of the individuality of the aesthetic object, and the other in terms of (...) 'aesthetic properties'. I go on to argue that aesthetic descriptions must not be thought to ascribe properties to their objects, and I show how the suggestion that they are non-descriptive need not conflict with the empiricist view of meaning. The problem is then seen to lie with the analysis of the 'acceptance-conditions' of aesthetic descriptions. I counter certain idealist objections to this approach, and then present a theory of imagination, in terms of which the acceptance conditions of aesthetic judgments may be described. This theory attempts to explain how the element of thought in aesthetic appreciation may become inseparable from an experience of its object, and how the aesthetic emotions are both like and unlike their equivalents in life. The first part concludes with an analysis of the general conditions of aesthetic experience. I try to show that aesthetic experience can be described in terms of certain 'formal' properties, independently of its material object. In the second part I am concerned to show that this empiricist theory of aesthetics does not, like most empiricist theories, make nonsense of our appreciation of art. First, I attempt to show that 'understanding' art is not merely a cognitive process, but involves certain experiences that can be accounted for in terms of the previous theory. I then analyse the concepts of representation and expression, and in the course of this analysis I attempt to refute what I take to be the most serious rival analysis of our appreciation of art - the semantic theory. (shrink)

Brings together essays on the philosophy of art in which a philosophical theory of aesthetic judgment is tested and developed through its application to particular examples. Each essay approaches, from its own field of study, what Roger Scruton argues to be the central problems of aesthetics -- what is aesthetic experience, and what is its importance for human conduct? The book is divided into four parts. The first contains a resume of modern analytical aesthetics, which also serves as an (...) introduction to subsequent chapters. It also includes an essay that reviews current theories of literary criticism. The second part is devoted to musical aesthetics and contains the theoretical core of the work. Here Scruton describes the contours of aesthetic understanding, and defends the view that the object of aesthetic experience is inherently significant, even when it has no "content" that can be described in propositional terms. He rebuts the view that music is representational, and in the third part goes on to propose a theory of representation whereby to refute the suggestion that photography is a representational art. This third section also contains a study of film. The final part comprises essays relating aesthetic judgment to the understanding of culture, humor, and design. It covers many subjects, including the prose works of Samuel Beckett and the architecture of Leninism. The essays in this book form parts of a single intellectual enterprise, which is to give analytical foundations to the criticism of literature, visual art, music, and culture. (shrink)