Lehar's revival of phenomenology and his all-encompassing Gestalt Bubble model are ambitious and stimulating. I offer an illustrated caution about phenomenology, a more fractured alternative to his Bubble model, and two lines of phenomena that may disqualify his isomorphism. I think a perceptual-inquiry model can contend.

Norman's assigning of the constructivist percept-percept coupling approach and the ecological affordances approach to the ventral and dorsal visual systems, respectively, makes a more workable metatheory than each taken separately, but brings both under closer inspection.

The theoretical proposal that perceptual experience be thought of as expectancies about sensorimotor contingencies, rather than as expressions of mental representations, is endorsed; examples that effectively enforce that view are discussed; and one example (of perceptual coupling) that seems to demand a mental representation, with all of the diagnostic value such a tool would have, is raised for consideration.

In agreement with Barsalou's point that perceptions are not the records or the products of a recording system, and with a nod to an older system in which perception is an activity of testing what future glances bring, I argue that the behavior of perceptual inquiry necessarily makes choices in what is sampled; in what and how the sample is encoded, and what structure across samples is pursued and tested; and when to conclude the inquiry. Much of this is now (...) being hectically rediscovered, but a comprehensive approach like the one Barsalou proposes should help preserve what progress is made. (shrink)

The Theory of Event Coding (TEC) is a significant contribution to the study of purposeful perceptual behavior, and can be made more so by recognizing a major context (the work of Tolman, Liberman, Neisser); some significant problems (tightening predictions and defining distal stimuli); and an extremely important area of potential application (ongoing anticipation and perceptual inquiry, as in reading and movies).

This book contains three essays: "The Mask and the Face: The Perception of Physiognomic Likeness in Life and Art" by Gombrich, the renowned art historian and critic; "The Representation of Things and People" by psychologist, Julian Hochberg; and "How Do Pictures Represent" by philosopher, Max Black. The book is based upon lectures delivered in the Johns Hopkins 1970 Thalheimer Lectures, where, taking off from the question "how there can be an underlying identity in the manifold and changing facial (...) expression of a single individual," there is an interdisciplinary attempt at clarifying the problem of representation. Gombrich’s central thesis is that the key to artistic representation is empathy and projection, which is guided by the interlocking display of the permanent and mobile features of the object represented. Perceptual activity and empathy rely more on the muscular imitation than on passive visual reception. He holds that what is singled out as the likeness-factor uniting the permanent and mobile features in, for example, the photograph of the four-year old Lord Russell and such factors in the ninety-year old Russell is the "general tonus, the melody of transition from given ranges of relaxations to forms of tenseness." Hochberg’s essay spells out the position that perception is purposive behavior, wherein the purpose is the information sought and behavior is the "succession of glances in different directions." Holding that perceptual activity is grounded in expectations, he lays aside Gombrich’s muscularity-thesis in favor of a learned expectation of feature characteristics. Black’s essay is a conceptual analysis of "depiction," or more precisely, of "P displays a subject S if and only if R, where R ‘will constitute the necessary and sufficient condition for P displaying S'." The essay, which proceeds in a Wittgensteinian Investigations-type fashion ends where the reader would hope it begin. He concludes that the problem can only be adequately answered by moving from logical investigation to the world of the artisan and art lover. To arrive at this conclusion he debunks six candidates that claim to meet the depiction conditions: causal history, selective information, intention, mimesis, resemblance, and "looking-like." At best, depiction may be considered a "cluster" concept of all six. Further determination, he holds, requires knowledge of the purpose of a particular depiction, and this takes us out of logic and into art; and so Black stops, unfortunately.—W. A. F. (shrink)

The book contains the first systematic study of the ontology and metaphysics of Gustav Bergmann, tracing their development from early (1940s) criticisms of Carnap’s semantical theories in Introduction to Semantics, to their culmination in his 1992 _New Foundations of Ontology_. This involves a detailed study of the implicit metaphysical doctrines in Carnap’s important, but long neglected, 1942 book and their connection to his influential views on reference, truth and modality, (including, contrary to current opinion, Carnap’s initiating the development of predicate (...) modal logic) that culminated in _Meaning and Necessity_. In dealing with various fundamental issues in ontology and metaphysics, the book discusses relevant views of major philosophers, such as Russell, Moore, Bradley, Wittgenstein, Meinong, Brentano, Husserl, Broad, McTaggart, and Quine, and of contemporary and recent figures, including D. M. Armstrong, D. Lewis, S. Kripke, J. Searle, W. Sellars, D. Davidson, J. J. C. Smart, and H. Feigl. Building on the critical studies of Bergmann, Carnap and such other philosophers, the author argues for a form of Logical Realism derived from important, but long misunderstood and ignored, aspects of Russell’s theories of descriptions, reference and truth. (shrink)

The generative AI boom is unleashing its minions. Enterprise software vendors have rolled out legions of automated assistants that use large language model (LLM) technology, such as ChatGPT, to offer users helpful suggestions or to execute simple tasks. These so-called copilots and chatbots can increase productivity and automate tedious manual work. In this article, we explain how that leads to the risk that users' ethical competence may degrade over time — and what to do about it.

Criminal behaviour is but one behavioural tendency for which a genetic influence has been suggested. Whilst this research certainly raises difficult ethical questions and is subject to scientific criticism, one recent research project suggests that for some families, criminal tendency might be predicted by genetics. In this paper, supposing this research is valid, we consider whether intervening in the criminal tendency of future children is ethically justifiable. We argue that, if avoidance of harm is a paramount consideration, such an intervention (...) is acceptable when genetic selection is employed instead of genetic enhancement. Moreover, other moral problems in avoiding having children with a tendency to criminal behaviour, such as the prospect of social discrimination, can also be overcome. (shrink)

This book, the first comprehensive study in English of Heidegger's philosophy of art, starts in the mid-1930s with Heidegger's discussion of the Greek temple and his Hegelian declaration that a great artwork gathers together an entire culture in affirmative celebration of its foundational 'truth', and that, by this criterion, art in modernity is 'dead'. His subsequent work on Hölderlin, whom he later identified as the decisive influence on his mature philosophy, led him into a passionate engagement with the art of (...) Rilke, Ce;zanne, Klee and Zen Buddhism, liberating him not only from the overly restrictive conception of art of the mid-1930s but also from the disastrous politics of the period. Drawing on material hitherto unknown in the anglophone world, Young establishes a new account of Heidegger's philosophy of art and shows that his famous essay 'The Origin of the Work of Art' is its beginning, not its end. (shrink)

In a revolutionary new book, a theoretical physicist attacks the foundations of modern scientific theory, including the notion of time, as he shares evidence of ...

Both entertaining and startling, The Pig That Wants to Be Eaten offers one hundred philosophical puzzles that stimulate thought on a host of moral, social, and personal dilemmas. Taking examples from sources as diverse as Plato and Steven Spielberg, author Julian Baggini presents abstract philosophical issues in concrete terms, suggesting possible solutions while encouraging readers to draw their own conclusions: Lively, clever, and thought-provoking, The Pig That Wants to Be Eaten is a portable feast for the mind that is (...) sure to satisfy any intellectual appetite. BACKCOVER: “Thinking again is what this taut, incisive, bullet-hard book is dedicated to promoting.” —The Sunday Times (London) “This book is like the Sudoku of moral philosophy: apply your mind to any of its ‘thought experiments’ while stuck on the Tube, and quickly be transported out of rush-hour hell.” —New Statesman. (shrink)

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

This groundbreaking work considers one of the central themes of archaeology, time, which until recently has been taken for granted. It considers how time is used and perceived by archaeology and also how time influences the construction of identities. The book presents case studies, eg, transition from hunter gather to farming in early Neolithic, to examine temporality and identity. Drawing upon the work of Martin Heidegger, Thomas develops a way of writing about the past in which time is seenm as (...) central to the emergence of the identities of peoples and things. He questions the modern western distinction between nature and culture, mind and body, object and subject, and argues that in some senses the temporal structure of human beings, artefacts and places are similar. (shrink)

Great Thinkers A-Z is the ideal book for anyone interested in the history of Western thought and a valuable reference resource for students of philosophy and related disciplines.

En el siglo XX se ha realizado un " punto de inflexión " en la filosofía, que ha sido conocido por muy pocos, que ha sido abandonado apenas entrevisto. Este libro es el intento de tomarlo en serio y ensayar una visión de los problemas morales que no lo pase por alto; dicho con otras palabras, que no sea arcaico.

This chapter questions the causal-constitution fallacy raised against the extended mind. It does so by presenting our signature temporal thesis about how to understand constitutive relations in the context of the extended mind, and with respect to dynamical systems, more broadly. We call this thesis diachronic constitution. We will argue that temporalising the constitution relation is not as remarkable (nor problematic) as it might initially seem. It is (arguably) inevitable, given local interactions between microscale and macroscale states of (coupled) dynamical (...) systems. We focus primarily on the metaphysics of the extended mind in this paper. However, we also show how our account of diachronic constitution has important implications for the metaphysics of dependence relations more generally as well as an emerging literature on inter-level explanations in the mechanistic framework applied to the discussion over extended, enactive and embodied cognition. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art (...) into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

Theoretical ethics includes both metaethics (the meaning of moral terms) and normative ethics (ethical theories and principles). Practical ethics involves making decisions about every day real ethical problems, like decisions about euthanasia, what we should eat, climate change, treatment of animals, and how we should live. It utilizes ethical theories, like utilitarianism and Kantianism, and principles, but more broadly a process of reflective equilibrium and consistency to decide how to act and be.

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art (...) into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

The publication of the first study to use gene editing techniques in human embryos (Liang et al., 2015) has drawn outrage from many in the scientific community. The prestigious scientific journals Nature and Science have published commentaries which call for this research to be strongly discouraged or halted all together (Lanphier et al., 2015; Baltimore et al., 2015). We believe this should be questioned. There is a moral imperative to continue this research.