This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, (...) Kendall Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)
In Part V of his Discourse on the Method, Descartes introduces a test for distinguishing people from machines that is similar to the one proposed much later by Alan Turing. The Cartesian test combines two distinct elements that Keith Gunderson has labeled the language test and the action test. Though traditional interpretation holds that the action test attempts to determine whether an agent is acting upon principles, I argue that the action test is best (...) understood as a test of common sense. I also maintain that this interpretation yields a stronger test than Turing's, and that contemporary artificial intelligence should consider using it as a guide for future research. (shrink)
Culture has always led a problematic existence. As a result, the diagnosis and treatment of various cultural diseases continue to depend on the embarrassing double identity of culture as both patient and doctor, hence making it difficult for culture to explore its own obscure recesses. The question of whether culture is autonomous and can be itself in its own way should therefore be considered theoretically. Since culture is closely associated with civilization, real culture must be generated from the florescence of (...) a civilization based on a logic of human integrity within a certain historical period of time. In order to illuminate and adhere to this cultural attribute, some cultural truths must be made clear by establishing and maintaining public order and good customs from a properly lofty spiritual view. We must prudently and critically inquire after the ideological promise of culture regarding reasonable existence and the evolution of humans, and present an ideal prophecy in line with the human demand for a good life so as to assure culture’s healthy, benign, and sustainable advancement and stable performance of its function of molding graceful, noble, and tasteful means of life. (shrink)
Epiphenomenalism is the view that mental events are caused by physical events in the brain, but have no effects upon any physical events. Behavior is caused by muscles that contract upon receiving neural impulses, and neural impulses are generated by input from other neurons or from sense organs. On the epiphenomenalist view, mental events play no causal role in this process. Huxley (1874), who held the view, compared mental events to a steam whistle that contributes nothing to the work of (...) a locomotive. James (1879), who rejected the view, characterized epiphenomenalists' mental events as not affecting the brain activity that produces them "any more than a shadow reacts upon the steps of the traveller whom it accompanies". (shrink)
Are we the robots? This question surfaces often in current psychological re- search, as various kinds of robot parts-automatic actions, mental mechanisms, even neural circuits-keep appearing in our explanations of human behavior. Automatic processes seem responsible for a wide range of the things we do, a fact that may leave us feeling, if not fully robotic, at least a bit nonhuman. The complement of the automatic process in contemporary psychology, of course, is the controlled process (Atkinson & Shiffrin, 1968; Bargh, (...) 1984; Posner & Snyder, 1975; Shiffrin & Schnieder, 1977), and it is in theories of controlled processes that vestiges of our humanity reappear. Controlled processes are viewed as conscious, effortful, and intentional. and as drawing on more sources of information than automatic processes. With this power of conscious will, controlled processes seem to bring the civilized quality back to psychological explanation that automatic processes leave out. Yet by reintroducing this touch of humanity, the notion of a controlled process also brings us within glimpsing range of a fatal theoretical error-the idea that there is a controller. (shrink)
Cognitive scientists have long noted that automated behavior is the rule, while consciousness acts of self-regulation are the exception to the rule. On the face of it automated actions appear to be immune to moral appraisal because they are not subject to conscious control. Conventional wisdom suggests that sleepwalking exculpates, while the mere fact that a person is performing a well-versed task unthinkingly does not. However, our apparent lack of conscious control while we are undergoing automaticity challenges the idea that (...) there is a relevant moral difference between these two forms of unconscious behavior. In both cases the agent lacks access to information that might help them guide their actions so as to avoid harms. In response it is argued that the crucial distinction between the automatic agent and the agent undergoing an automatism, such as somnambulism or petit mal epilepsy, lies in the fact that the former can preprogram the activation and interruption of automatic behavior. Given that, it is argued that there is elbowroom for attributing responsibility to automated agents based on the quality of their will. (shrink)
In view of the excellent arguments that have been put forth recently in favour of qualia, internal sensory presentations, it would strike an impartial observer - one could imagine a future historian of philosophy - as extremely odd why so many philosophers who are opposed to qualia, that is, sensory experiences internal to the brain, have largely ignored those arguments in their own. There has been a fashionable assumption that any theory of perception which espouses qualia has long since been (...) overcome by a number of 'formidable' objections, in particular, the Homunculus/Infinite Regress Objection, the Solipsism Objection, Austin's Illusion/Delusion Objection, the Ludicrousness-of-Colours-in-the-Brain Objection, the Indirect-Realist-has-to-assume-Direct-Realism Objection, the Impossibility-of-Comparing-Internal-with-External Objection, the Impossibility of Intrinsic Experience, and several more minor varieties of these. It is uncanny how they continue to be repeated, indeed, with a kind of automatism, evidenced by the fact that none of those who repeat them appear to have taken note of the answers to the objections. Indeed, they only appear to refer to those philosophers with whom they agree: it has long been insisted upon in the study of rhetoric that one of the weakest things to do in an argument is to ignore the main points made by one's opponent:
[it is] the wisest plan _to state Objections in their full force_ ; at least, wherever there does exist a satisfactory answer to them; otherwise, those who hear them stated more strongly than by the uncandid advocate who had undertaken to repel them, will naturally enough conclude that they are unanswerable. It is but a momentary and ineffective triumph that can be obtained by man. (shrink)
The experience of conscious will is the feeling that we are doing things. This feeling occurs for many things we do, conveying to us again and again the sense that we consciously cause our actions. But the feeling may not be a true reading of what is happening in our minds, brains, and bodies as our actions are produced. The feeling of conscious will can be fooled. This happens in clinical disorders such as alien hand syndrome, dissociative identity disorder, and (...) schizophrenic auditory hallucinations. And in people without disorders, phenomena such as hypnosis, automatic writing, Ouija board spelling, water dowsing, facilitated communication, speaking in tongues, spirit possession, and trance channeling also illustrate anomalies of will – cases when actions occur without will or will occurs without action. This book brings these cases together with research evidence from laboratories in psychology to explore a theory of apparent mental causation. According to this theory, when a thought appears in consciousness just prior to an action, is consistent with the action, and appears exclusive of salient alternative causes of the action, we experience conscious will and ascribe authorship to ourselves for the action. Experiences of conscious will thus arise from processes whereby the mind interprets itself – not from processes whereby mind creates action. Conscious will, in this view, is an indication that we think we have caused an action, not a revelation of the causal sequence by which the action was produced. Key Words: apparent mental causation; automatism; conscious will; determinism; free will; perceived control. (shrink)
Merleau-Ponty’s explication of concrete or practical movement by way of the Schneider case could be read as ending up close to automatism, neglecting its flexibility and plasticity in the face of obstacles. It can be contended that he already goes off course in his explication of Schneider’s condition. Rasmus Jensen has argued that he assimilates a normal person’s motor intentionality to the patient’s, thereby generating a vacuity problem. I argue that Schneider’s difficulties with certain movements point to a means (...) of broadening Merleau-Ponty’s account of concrete movement, one that he broaches without exploiting. What could do more work is his recognition of a transposition capacity - and hence of a plasticity - in the healthy body’s skill schema. As well as avoiding vacuity, he could forestall the appearance of a dichotomy between practical coping and creativity. (shrink)
We propose that the isomorphism generally observed between the representations composing our momentary phenomenal experience and the structure of the world is the end-product of a progressive organization that emerges thanks to elementary associative processes that take our conscious representations themselves as the stuff on which they operate, a thesis that we summarize in the concept of Self-Organizing Consciousness (SOC). Key Words: Associative learning; automatism; consciousness; development; implicit learning; incubation; language; mental representation; perception; phenomenal experience.
Wegner's monograph presents the view that conscious will is a feeling that we experience when we perform an action through a mechanistic process of the brain, rather than a mental force that causes the action. The view is supported by several lines of evidence in which conscious will is dissociated from the actual performance of voluntary movements, as in automatism. The book further extends an insightful analysis of the mental system behind the illusion of conscious will and inspires neuroscientists (...) to reflect on its neural substrates. (shrink)
The principles of automation (automatism and programming) in the unfolding of spatio-temporal patterns during animal development are deduced from experimental data reconsidered from the point of view of cell sociology. The developmental programme in the egg is not part of the genetic information but a part of the cytoplasmic information. Throughout development cells store extra-cellular information released by their neighbours in the form of cytoplasmic information. Successive determinations cannot be considered as successive reprogrammings of cells: each one consists of (...) a selection of one specific programme from the total information previously stored. This programme specifies cell interactions in the determined population as a whole; it is very imprecise and is progressively completed during the course of further differentiation by information released by neighbouring cell populations. Complicated patterns may emerge from only two homogeneous populations involved in distinct differentiation pathways and confronting each other. Consequently the egg developmental programme provides gene effectors and specific physico-chemical conditions necessary for the starting of at least two distinct differentation pathways. Experimental data suggest that there are two components in this programme. One is a molecular machinery which starts at fertilization in the whole cytoplasm. It yields two programmes of differentiation, typically first an endodermal and then an ectodermal one. The other component of the egg developmental programme, which does not require specific information, allows the interception of the first (endodermal) programme. The application of informatics to developmental automatism is discussed in the latter part of the paper. (shrink)
The principles of automation in animal development, as previously inferred from the concept of Cell Sociology do not fit in well with the current concept of sequential gene derepression. A more adequate explanation for those principles has been found in the literature dealing with the biochemical aspects of differentiation. Since oocytes and embryonic cells contain a greater variety of mRNAs than differentiated cells, as well as many tissue-specific (luxury) substances, it is concluded that the diversification of tissues consists of a (...) progressive selection of specific metabolic strategies, mediated by cell-to-cell contacts, from a broad range of pre-existing strategies. For each tissue, prior to its final determination, one luxury metabolic strategy is progressively intensified and becomes dominant. The others are either suppressed or maintained as latent metabolic strategies. The latter may on occasion become dominant again (transdifferentiation). These phenomena require a theory which considers gene regulation as the activation of otherwise repressed genes by specific activator RNAs. The high (apparently maximal) transcriptional activity on the lampbrush chromosomes may represent the synthesis of all the kinds of activator RNAs which are required for the reactivation of the genes during early development. A general conception is propounded of the automatism and programming of animal development, as inferred from the confrontation of these ideas with the concept of Cell Sociology. (shrink)
Admirers of Robert Bresson often remark on the commitments he shares with the philosopher and activist Simone Weil. Both stubbornly idiosyncratic, they subscribe to what modernists call ?a poetics of impersonality?: a deep desire to shed the ego and find some space empty of will, intention and even consciousness. Bresson pursued this ideal through his anti-theatrical practice, his resistance to expression and interpretation, and his war against ?acting.? In Weil's religious thinking, the possibility of achieving a state of automatism (...) in the soul, and thus leaving room for God to occupy all, was central. ?Decreation,? her term for this principle, sounds like a will to suicide (a recurring theme in Bresson) but she explains it as motivated by love. Bresson's writerly films ? the Bernanos adaptations (especially Diary of a Country Priest) ? and Au hasard Balthazar ? take as their theme the problem of grace. As in Weil, the path to grace goes through an acceptance of brutal necessity and incomprehensible accident. This is also the conclusion of Rossellini's Europa ?51. While André Bazin is a thinker with a keen sensitivity to grace and spiritual accident ? his interest in depth of field is motivated by a desire to keep the free exercise of chance in play ? his notion of love is more compassionate than anything we meet in Weil, Bresson or Rossellini. As Truffaut remarked, Bazin is a Christian from the days before the Fall. (shrink)
At present the theory of Russian Formalism becomes actual once again owing to the rapid development of cognitive science. Aesthetic theories recently put forward within the framework of cognitive science turned out to be consonant with the Formalist’s views on the general principles of artistic activity. In my paper I argue that (1) the theory of Russian Formalism contains a number of methodological assumptions that are close to a cognitive approach; (2) some of the main principles of the Formalist theory (...) (e.g., “elimination of automatism of perception” or “the dominant”) permit the reformulation into cognitive terms; (3) such reformulation is not only possible, but useful because it makes the theory more powerful for explanation of the artistic phenomena. The findings from the new field of cognitive science not only prove some Formalist theses, but deepen and specify them as well. (shrink)
A Bazinian commitment to cinematic realism, grounded as it is in the ontology of the photograph, sets up the aesthetic ambition of cinema as irreparably opposed to the structures and ambitions of high modernism ? whether high modernism be taken to have its essence in formal experiment, medium specificity, or negation. Bazin himself licenses such an opposition, but the sense of a divide here is not his alone: there are structural and grammatical reasons why realism (photographic or otherwise) and modernism (...) appear as incompatible. Yet however strong this opposition is ? and however much he himself sometimes endorses it ? Bazin equally offers us resources for closing the gap. In his distinction between aesthetic and psychological realism, his sense of the importance of automatism in cinema's significance, and finally in his insistence that true representation is achieved through poetry, Bazin uncovers a concept of realism as transformative, not transparent, fidelity. This idea of poetic, formalist realism allows for a tentative reconciliation between modernism and realism generally. However, it does so by giving up on a robust idea of photographic transparency as the basis of cinema's power, and thus threatens to efface its specificity as a medium. Stanley Cavell's redescription of medium as automatism helps uncover a Bazinian version of cinematic specificity, one which allows for cinema's appetite for realism without reducing that capacity to a mere inflexible fact of the medium. (shrink)
Recent debates about the legacy (and, sometimes, surpassing) of Derridean philosophy have often oriented themselves around questions of a new austerity in relation to the implicit philosophical functioning of God. Indeed, an increasing philosophical vigilance about the death or nonexistence of God has begun to be presented as a hallmark of recent criticisms of earlier receptions of Derrida and, by way of messianic structures of time, of Derridean politics as well. We argue that the inflating value of atheism in recent (...) texts operates most effectively within a broader forgetfulness of the many modes in which a serial dying of gods constitutes a more fundamental quality of the religio-political archive than the stability or life of these gods. We find, moreover, there to be something comical about a reconfiguration of the ontotheological archive around a tableau of serially dying Gods, this God who cannot stabilize or maintain for long any system of divine life support. Most importantly, we find that our sense of comedy is itself indicative of important shifts within the stylistics of Derridean discussions of auto-immunity and supplement which have yet to be worked through with any real seriousness. In this respect, our reflections pair Bergson's reflections on the universe as a ‘machine for the manufacture of gods’ with Bergson's explorations of comedy as a fundamentally mechanical affair. The serially dying gods of our religious and philosophical traditions are best understood in the same modes as Bergson's comedy, often marked by an automatism of everyday mechanisms of life which outlive their useful functioning. (shrink)
This paper takes issue with the idea recently promulgated by film-philosophers that the relationship between philosophy and film is untroubled by the encounter between reason and art. To do this I consider how in Je vous salue, Marie Jean-Luc Godard uses allegory, cinematic automatism and montage not to provide rational arguments but to raise questions about the legacy of the Christian aesthetics for contemporary cinema.
