Van Gelder presents the distinction between dynamical systems and digital computers as the core issue of current developments in cognitive science. We think this distinction is much less important than a reassessment of cognition as a neurally, bodily, and environmentally embedded process. Embedded cognition lines up naturally with dynamical models, but it would also stand if combined with classic computation.
This paper will suggest a mapping for human dynamics to see where emerging digital technology currently and could further affect the dynamics of the human, technological and natural, and the cultural forms that define them. Emerging technology will be seen to reveal and surpass the limitations of human measures built on human abilities and perception. and the social structures that are derived from them. The formation of this conceptual mapping is based on the premise that digital technology has the ability (...) to better relay and hence refine dynamics working at points where culture is created and necessitated in our perception of a shared reality. Technology thus alleviates the layering, representation, labelling, and reification notions of culture that are based in human perceptual limitations. Information as referential will be seen against the tendency of technology to offer succinct mediation and direct actions as a format for any change and application with refined cultural constructions. The mapping presents a notion of homeostasis or more bereft of balance at the point where the proximal dynamics of the unit, that is, the individual, is closely supported by the technology with a changing orientation to the dynamics of a natural environment. The notion of a person as an individual is also reconsidered in terms of technology and how this changing definition is part of how we conceptualize a balanced world. Nonlinear mapping rendered in a complex will be introduced to align these mixed dynamics. Complex is here defined as a concurrence of dynamics evident in shifts of change that act as a whole and where each action affects the whole. As measures are revealed so, too, will be the source of notions of linearity and nonlinearity; mapping; point of view as a basis of complexity; and evolutionary theory as a function of a labeling of cultural dynamics. (shrink)
The sensation-perception distinction did not appear before the seventeenth century, but since then various formulations of it have gained wide acceptance. This is not an historical accident and the article suggests an explanation for its appearance. Section 1 describes a basic assumption underlying the sensation-perception distinction, to wit, the postulation of a pure sensory stage--viz. sensation--devoid of active influence of the agent's cognitive, emotional, and evaluative frameworks. These frameworks are passive in that stage. I call this postulation the passivity assumption. (...) Section 2 suggests three major reasons for the emergence of this assumption in the seventeenth century: the mental-physical gap, the causal theory of perception, and epistemological considerations regarding the status of the sensory given. In the last section a critical discussion is presented. The passivity assumption is found to have serious empirical and theoretical flaws. (shrink)
Emotions are fascinating phenomena which occupy a pivotal position in our lives. I have presented elsewhere (Ben-Ze'ev, 2000) a comprehensive framework for understanding emotions in our everyday life. The paper briefly describes the characterization of typical emotions, while indicating their relevance to online personal relationships. It discusses issues such as emotional complexity; the typical emotional cause, concern, and object; emotions and intelligence; and managing the emotions. The paper then goes on to examine whether the emotions elicited in online relationships are (...) similar to those in face-to-face relationships or whether we are witnessing the emergence of new types of emotions. (shrink)
Intriguing, and occasionally unsettling, In Defense of Sin is a refreshingly frank exploration of some real facts of life. Portmann gathers an on-target collection of great writers on transgressions large and small. Read about defenses for promiscuity, greed, deceit, gossip, lust, breaking the golden rule, and more--and use this unusual guide to decide for yourself if sin has a place in our contemporary, and virtually unshockable, society. Provocative and illuminating, this book may change how you think about sin, morality, and (...) what's right. Contributors include Aaron Ben-Ze'ev, Anthony Ellis, Jane English, Ludwig Feuerbach, Sigmund Freud, Bernard Mandeville, Jerome Neu, Friedrich Nietzsche, David Novitz, Joyce Carol Oates, David A.J. Richards, Seneca, Jonathan Swift, Richard Wasserstrom, and Oscar Wilde. (shrink)
Byrne & Hilbert defend color realism, which assumes that: (a) colors are properties of objects; (b) these objects are physical; hence, (c) colors are physical properties. I accept (a), agree that in a certain sense (b) can be defended, but reject (c). Colors are properties of perceptual objects – which also have underlying physical properties – but they are not physical properties.
The moral status of emotions has recently become the focus of various philosophical investigations. Certain emotions that have traditionally been considered as negative, such as envy, jealousy, pleasure-in-others'-misfortune, and pride, have been defended. Some traditionally "negative" emotions have even been declared to be moral emotions. In this brief paper, I suggest two basic criteria according to which an emotion might be considered moral, and I then examine whether envy, anger, and resentment are moral emotions.
In this article, I attempt to resuscitate the perennially unfashionable distinctive feeling theory of pleasure (and pain), according to which for an experience to be pleasant (or unpleasant) is just for it to involve or contain a distinctive kind of feeling. I do this in two ways. First, by offering powerful new arguments against its two chief rivals: attitude theories, on the one hand, and the phenomenological theories of Roger Crisp, Shelly Kagan, and Aaron Smuts, on the other. Second, (...) by showing how it can answer two important objections that have been made to it. First, the famous worry that there is no felt similarity to all pleasant (or unpleasant) experiences (sometimes called ‘the heterogeneity objection’). Second, what I call ‘Findlay’s objection’, the claim that it cannot explain the nature of our attraction to pleasure and aversion to pain. (shrink)
This paper critically examines Ortony, Clore & Collins's book The Cognitive Structure of Emotions. The book is found to present a very valuable, comprehensive and systematic account of emotions. Despite its obvious value the book has various flaws; these are discussed and an alternative is suggested.
A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)
Hanoch Ben-Yami has argued that the theory of the semantics of natural kind terms proposed by Kripke and Putnam is false and has proposed an allegedly novel account of the semantics of kind terms. In this article, I critically examine Ben-Yami’s arguments. I will argue that Ben-Yami’s objections do not show that Kripke and Putnam’s theory is false, but at most that the specific versions of it held by Kripke and Putnam have some weaknesses. Moreover, I will argue that Ben-Yami’s (...) account is not a novel account but it is only an unsatisfactory version of Kripke and Putnam’s theory. (shrink)
Rolls's book, The brain and emotion is an important and valuable contribution to our understanding of the brain mechanisms that underlie emotional processes. Its explanatory value is less obvious when it comes to psychological and philosophical issues concerning the nature of emotions.
This study examines two recent cases of ethical responses to crisis management; the 1995 fire at Malden Mills and Aaron Feuerstein''s response, and a 1998 fire at Cole Hardwoods, followed by the response of CEO Milt Cole. The authors describe these crises, the responses of Feuerstein and Cole, their motivations and the impact on crisis stakeholders using the principles of virtue ethics and effective crisis management. What emerges is set of post-crisis virtues grounded in values of corporate social responsibility (...) and entrepreneurial ethics. These include virtues of immediacy of response, supportiveness of victims, and rebuilding and renewal. (shrink)
Many testimonies, as well as fictional works, describe situations in which people find themselves hating the person that they love. This might initially appear to be contradiction, as how can one love and hate the same person at the same time? A discussion of this problem requires making a distinction between logical consistency and psychologically compatibility. Hating the one you love may be a consistent experience, but it raises difficulties concerning its psychological compatibility.
This article describes the racial integration of Emory University and the subsequent creation of Pre-Start, an affirmative action program at Emory Law School from 1966 to 1972. It focuses on the initiative of the Dean of Emory Law School at the time, Ben F. Johnson, Jr. (1914-2006). Johnson played a number of leadership roles throughout his life, including successfully arguing a case before the United States Supreme Court while he was an Assistant Attorney General of Georgia, promoting legislation to create (...)Atlanta's subway system as a state senator, and representing Emory in its lawsuit to strike down the state statute that would have rescinded its tax exemption if it admitted African American students (Emory v. Nash, 218 Ga. 317 (Ga. 1962)). This account supplements my related article on Pre-Start, "'A Bulwark against Anarchy': Affirmative Action, Emory Law School, and Southern Self-Help" (SSRN abstract 1007006), providing more information about historical context generally, and particularly about Emory v. Nash. Johnson was ambitious for Emory as a whole, and particularly for the Law School, and he saw in segregation the single largest impediment to making Emory a nationally prominent research university. The story of Emory's integration, and Johnson's leadership, requires revision of the prevailing story of integration generally, and especially of universities. Integration at Emory came about because of the pressure that African Americans and their supporters created through the civil rights movement, but Emory administrators responded to such pressure more constructively than most (e.g., Universities of Alabama, Mississippi, Georgia, and Vanderbilt). Their actions provide an interesting case study in effective leadership during a period of significant moral and political conflict. (shrink)
This is a reply to H. Ben-Yami, 'Generalized quantifiers, and beyond' (this journal, 2009), where he argues that standard GQ theory does not explain why natural language quantifiers have a restricted domain of quantification. I argue, on the other hand, that although GQ theory gives no deep explanation of this fact, it does give a sort of explanation, whereas Ben-Yami's suggested alternative is no improvement.
Today appraisal theories are the foremost approach to emotions in philosophy and psychology. The general assumption underlying these theories is that evaluations (appraisals) are the most crucial factor in emotions. This assumption may imply that: (a) evaluative pattems distinguish one emotion from another; (b) evaluative pattems distinguish emotions from nonemotions; (e) emotional evaluations of the eliciting event determine emotional intensity. These claims are not necessarily related. Accepting one of them does not necessarily imply acceptance of the others. I believe that (...) whereas (b) is false, (a) and (c) are basically true. (shrink)
Henry re. your recent reply to Aaron. OK, current physics does not allow us to retreat into a comfortable assumption of Newtonian regularity. However, given the following range of options, I know which I find the 'spookiest'.
It has long been considered that Arabic algebra scarcely left any traces in mathematical literature of Hebrew expression. Thanks to the unpublished sources we have discovered, and to an attentive examination of already-known texts, one can no longer subscribe to such a judgement. The evidence we examine in this first article sheds light on the circulation, in erudite Jewish circles, of Arabic algebraic knowledge in Spain, Italy, Provence, and Sicily, between the 12th and the 14th centuries. The Epistle on number (...) by the Castillian astronomer Isaac ben Salomon al-A[hudot]dab was written in Sicily at the end of the 14th century, and based on the Talkhi[sudot] a'mal al-[hudot]isab of Ibn al-Banna' (1256-1321). That part of the Epistle that is devoted to algebra follows the tradition of al-Karaji. It offers, for the first time in Hebrew, a rational presentation of arithmetical operations extended to algebraic expressions. (shrink)
We yearn to experience the idealized love depicted in so many novels, movies, poems, and popular songs. Ironically, it is the idealization of love that arms it with its destructive power. Popular media consistently remind us that love is all we need, but statistics concerning the rate of depression and suicides after divorce or romantic break up remind us what might happened if "all that we need" is taken away. This book is about our ideals of love, our experiences, of (...) love, the actual disparity between the two, and the manners of coping with this disparity. A major study case of the book concerns men who have murdered their wives or partners allegedly 'out of love'. It is estimated that over 30% of all female murder victims in the United States die at the hands of a former or present spouse or boyfriend. How can murdering a loved one be associated with the assumed moral and altruistic love? Not only is love intrinsically ambivalent, but it can also give rise to dangerous consequences. Some of the worst evils have been committed in the name of love (as in the name of God). A unique collaboration between a leading philosopher in the field of emotions and a social scientist, In the Name of Love presents fascinating insights into romantic love and its future in modern society. (shrink)
