Robert Stalnaker has recently argued that a pair of natural thoughts are incompatible. One of them is the view that items of non-indexical factual knowledge rule out possibilities. The other is the view that knowing what sensuous experience is like involves non-indexical knowledge of its phenomenal character. I argue against Stalnaker’s take on things, elucidating along the way how our knowledge of what experience is like fits together with the natural idea that items of non-indexical factual knowledge rule out possibilities.
I argue that our knowledge of the world's causal structure does not generate a sound argument for physicalism. This undermines the popular view that physicalism is the only scientifically respectable worldview.
The mind-body problem continues to be the focus of many of our philosophical concerns. Matters of Mind tackles how the problem has spanned and how it has changed from the earlier theories of reducing aboutness to empirical cases for physicalism. The theories of perception, property explanation, content and knowledge, reliabilism and the problem of zombies and ghosts are all carefully assessed.
I argue against a Disjunctive approach to visual experience. I then critique three 'common-factor' views: Qualia Theory, Intentionalism and Sense-Date Theory. The latter two are combined to form Intentional Trope Theory; and that view is defended.
Research has demonstrated that employee reactions to monitoring systems depend on both the characteristics of the monitoring system and how it is implemented. However, little is known about the role individual differences may play in this process. This study proposes that individuals have generalized attitudes toward organizational control and monitoring activities. We examined this argument by assessing the relationship between employees’ baseline attitudes toward a set of monitoring and control techniques that span the employment relationship. We further explore the effects (...) of employees’ generalized attitudes toward monitoring and their individual ethical orientations on their attitudinal reactions to an Internet monitoring system implemented in their workplace. Results of a longitudinal study indicate that as expected, prior beliefs and ethical orientation interact to affect employees’ reactions to monitoring systems. Implications for research and practice are discussed. (shrink)
In recent years, the practices of work organizations have raised increasing concerns regarding individual privacy at work. It is clear that people expect and value privacy in their personal lives. However, the extent to which privacy perceptions influence individuals’ work attitudes is less clear. Research has explored the extent to which employee perceptions of privacy derive from characteristics of the programs themselves. However, there is a paucity of research that examines how the characteristics of the individual employee may influence perceptions (...) of these programs. In this study we seek to shed light on this issue, as we examine how the individual ethical orientation of employees influences perceptions of a variety of human resource programs that have the potential to be perceived as invasive. Results indicate that ethical orientation exerts direct effects on perceived invasiveness of programs and exerts both direct and indirect effects on perceived appropriateness of programs. Implications for research and for managers adopting privacy-related programs are discussed. (shrink)
Alan Turing devised his famous test (TT) through a slight modificationof the parlor game in which a judge tries to ascertain the gender of twopeople who are only linguistically accessible. Stevan Harnad hasintroduced the Total TT, in which the judge can look at thecontestants in an attempt to determine which is a robot and which aperson. But what if we confront the judge with an animal, and arobot striving to pass for one, and then challenge him to peg which (...) iswhich? Now we can index TTT to a particular animal and its syntheticcorrelate. We might therefore have TTTrat, TTTcat,TTTdog, and so on. These tests, as we explain herein, are abetter barometer of artificial intelligence (AI) than Turing's originalTT, because AI seems to have ammunition sufficient only to reach thelevel of artificial animal, not artificial person. (shrink)
This paper explores the relationship between science and ethics and its implications for educational refonn and environmental change. It is a personal account of my search to find a place for ethics in an environmental science dass and how, in the process, the dass itself is being transfonned. I document how I have come to believe that the dassroom is a model of the world: within my own development, thetransfonnation of a course is implicated and, within the development of the (...) course, the potential transfonnation of an educational system and the world is enfolded. (shrink)
This paper examines various claims by Noël Carroll about narrative closure and its relationship to narrative connections, which are, roughly, causal connections generously conceived to include necessary conditions for sufficient conditions for an effect. I propose supplementing the expanded notion of a cause with Michael Bratman’s notion of a psychological connection to account for the particular role that human agents play in narratives. A novel and a film are used as examples to illustrate how the concept of a psychological (...) connection eliminates the need for Carroll's condition that narratives must be globally forward-looking. (shrink)
Noel Hendrickson believes that free will is separable from the “evaluative intuitions” with which it has been traditionally associated. But what are these intuitions? Answer: principles such as PAP, Β, and UR (6). The thesis that free will is separable from these principles, however, is hardly unique, as they are also eschewed by compatibilists who are unwilling to abdicate altogether evaluative intuitions. We are told in addition that there are “metaphysical senses” of free will that are not “relevant to responsibility” (...) (4). Yet Hendrickson’s rejection of the above principles depends upon them being less certain than his “intuitions of responsibility” (6). Moreover, he later speculates about the relationship between free will’s “metaphysical (and) responsibility securing roles” (8-10). Our evaluative intuitions are finally said to “concern when a person should be evaluated as responsible (and so blameworthy and praiseworthy)” (3). If these intuitions are not “evidence of the set of the conditions for responsibility,” as Hendrickson supposes, then those conditions entail neither blameworthiness (BW) nor praiseworthiness (PW). Thus, I shall take Hendrickson’s 1 thesis (A) to be that responsibility entailing either BW or PW (BW/PW) can be separated from free will (but not responsibility per se). Symbolically. (shrink)
In separate reviews of The Copernican Question published in the Summer 2012 issue of this journal, Noel Swerdlow and John Heilbron find little that meets their approval while failing to provide readers with a full and accurate summary of the book’s major claims and arguments.* The reviewers engage in an exercise in deconstructive surgery, essentially breaking down and reconstituting the work into separate studies. Swerdlow, who devotes most of his twenty-five page treatment to chapter 3 (with brief side-glances at the (...) introduction, chapters 1, 8, and 11), leaves the impression that my book is almost entirely about Copernicus. Heilbron, who confines himself mostly to what I have to say about Galileo, identifies a .. (shrink)
In “Defining the Moving Image” Noël Carroll proposes the following necessary conditions for achieving his task: in his view, x is a moving image (1) only if x is a detached display, (2) only if x belongs to the class of things from which the impression of movement is technically possible, (3) only if performance tokens of x are generated by a template that is a token, and (4) only if performance tokens of x are not artworks in their (...) own right.”1 Later he adds a fifth condition: (5) x is a moving image only if it is twodimensional.2 I will argue that the third condition is circular, while none of the remaining conditions are in fact necessary. The first condition. Something is a “moving image” only if it is a “detached display.” To use one of Carroll’s examples, if I’m watching a horse race (even through binoculars), “I can still orient myself spatially to the finish line.” But “Suppose that I am watching Casablanca and what I see on the screen is Rick’s bar. I cannot, on the basis of the image, orient my body to the bar – to the spatial coordinates of that structure as it existed some time in the early forties in California (nor could I orient my body by means of the image to the putative fictional locale [in North Africa] of the film).”. (shrink)
The idea that films can be philosophical, or in some sense 'do' philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The Matrix , make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important (...) observation is that some films can be used to provide philosophy students with vivid and thought-provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to 'the film itself' or to the 'specificity of the cinematic medium'. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio-visual display, the film-maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film-makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta-philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology , Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento . London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema's philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy . Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for a partial intentionalist account of a work's meanings. Part 3 illustrates the intentionalist principles in a discussion of Ingmar Bergman's philosophical sources, providing insight into themes of motivated irrationality, inauthenticity, and self-knowledge in some of Bergman's works. Livingston, Paisley and Carl Plantinga, eds. 2009. The Routledge Companion to Philosophy and Film , Part IV: Film as Philosophy. London: Routledge. 547–659. Offers a succinct survey by Wartenberg as well as entries on Ingmar Bergman, Terrence Malick, and Andrei Tarkovsky, discussions of film and specific philosophical topics (morality, skepticism, personal identity, and practical wisdom), and examples of philosophically motivated interpretations of three specific films: The Five Obstructions , Gattaca , and Memento . Smith, Murray and Thomas E. Wartenberg, eds. 2006. Thinking Through Cinema: Film as Philosophy . Malden, MA: Blackwell. A collection of papers that combines essays devoted to general positions on the cinema as philosophy topic as well as specific interpretations of works in different genres. Turvey, Malcolm. 2008. Doubting Vision: Film and the Revelationist Tradition . Oxford: Oxford University Press. A probing critical investigation into the assumptions underlying influential philosophical claims about the epistemic value of cinema. Wartenberg, Thomas E. 2008. Thinking on Screen: Film as Philosophy . London: Routledge. Ably surveys and responds to arguments against the idea that films can 'do philosophy'. It defends a conditionalist form of intentionalism in response to the 'imposition objection' according to which it is only the commentator who reads philosophical themes 'into' the movie; illustrates the favored account of film as philosophy with interpretations of specific cinematic fictions. Online Materials Film-Philosophy http://www.film-philosophy.com/ > Founded in 1996, this peer-reviewed online journal is dedicated to philosophically oriented interpretations of films and cinema studies more generally. The e-mail salon encourages discussion of related topics. Includes essays, festival reports, calls for papers, conference and job information, and book reviews. The archive includes contributions from 1997 to the present. Wartenberg, Thomas E. 'Philosophy of Film.' The Stanford Encyclopedia of Philosophy ; http://plato.stanford.edu/entries/film/ > A brief survey of a range of issues in the philosophy of cinema including a few paragraphs on the film as philosophy topic. Philosophical Films http://www.philfilms.utm.edu/2/filmlist.htm > A briefly annotated list of philosophical films grouped in rubrics such as 'The Meaning of Life' and 'Environmental Ethics'. Sample Syllabus What follows is a 4-week 'start-up module' followed by samples of optional units that focus on particular topics and cinematic examples. Introductory Module Week I: Introduction & Overview Livingston, Paisley. 'Recent Work on Cinema as Philosophy.' Philosophy Compass 3 (2008): 1–14, 20 (DOI: 10.1111/j.1747-9991.2008.00158.x ). Wartenberg, Thomas E. 2009. 'Film as Philosophy.' The Routledge Companion to Philosophy and Film . Ed. Paisley Livingston and Carl Plantinga. London: Routledge. 549–59. Russell, Bruce. 2008. 'The Philosophical Limits of Film.' The Philosophy of Film and Motion Pictures: An Anthology . Ed. Noël Carroll and Jinhee Choi. Malden, MA: Blackwell. 387–390. Week II: The Bold Thesis on Film as Philosophy Reading: Livingston, Paisley, 'Theses on Cinema as Philosophy.' Cinema, Philosophy, Bergman, Chapter One. 11–38. Screening: October (dir. Sergei Eisenstein 1928). Week III: Debating the Bold Thesis: The Case of October Carroll, Noël. 1998. 'For God and Country.' Interpreting the Moving Image . Cambridge: Cambridge University Press. 80–91. Smuts, Aaron. 2009. 'Film as Philosophy: In Defense of a Bold Thesis.' Journal of Aesthetics and Art Criticism , 67:4: 409–20. Week IV: Cinema as Philosophy: Objections and Replies Livingston, Paisley. 2009. 'Arguing over Cinema as Philosophy.' Cinema, Philosophy, Bergman, Chapter Two. 39–59. Additional Optional Units Depending on the instructor's areas of interest and expertise, any of the following units could be added (and in some cases, easily expanded into longer segments). The Case of Ingmar Bergman Livingston, Paisley. 2009. 'Ingmar Bergman.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 560–568. Screening(s): Wild Strawberries (dir. Ingmar Bergman 1957), or The Seventh Seal (dir. Ingmar Bergman 1957), or Persona (dir. Ingmar Bergman 1966). Skepticism Fumerton, Richard. 2009. 'Skepticism.' In The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 601–10. Screening: The Matrix (dir. Andy and Larry Wachowski 1999) or Total Recall (dir. Paul Verhoeven 1990). Ethics Kupfer, Joseph. 1999. Visions of Virtue in Popular Film . Boulder, CO: Westview. 35–60. Falzon, Chris. 2009. 'Why be Moral?' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 591–599. Screening: Groundhog Day (dir. <span class='Hi'>Harold</span> Ramis 1993), or Crimes and Misdemeanors (dir. Woody Allen 1989), or Hollow Man (dir. Paul Verhoeven 2000). Personal Identity Knight, Deborah. 2009. 'Personal Identity.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 611–619. Hanley, Richard. 2009. ' Memento and Personal Identity: Are We Getting it Backwards?' Memento . Ed. Andrew Kania. London: Routledge. 107–126. Martin, Raymond. 2009. 'The Value of Memory: Reflections on Memento. ' Memento . Ed. Andrew Kania. London: Routledge. 87–106. Screening: Memento (dir. Christopher Nolan 2000). Freedom and (Genetic) Determinism Sesardic, Neven. 2009. 'Gattaca.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 641–649. Screening: Gattaca (dir. Andrew Niccol 1997). Focus Questions • Is there anything special about the experience of fiction films that is especially well suited to the stimulation of worthwhile philosophical reflection? • Have any novel and philosophically significant ideas found their first expression in a cinematic work? • Under what circumstances can the film medium be used as an expression of a cinematic author's views? • What sort of background knowledge has to be in place for a film to be interpreted as articulating reasonably precise philosophical theses and arguments? • Does the goal of spelling out a film's philosophical meaning sometimes conflict with the goal of appreciating its value as a work of art? (shrink)
Nicholas Sturgeon has claimed that moral explanations constitute one area of disagreement between moral realists and noncognitivists. He claims that the correctness of such explanation is consistent with moral realism but not with noncognitivism. Does this difference characterize all other anti-realist views. This paper argues that it does not. Moral relativism is a distinct anti-realist view. And the correctness of moral explanation is consistent with moral relativism.
Metalinguistic negation (MN) is interesting for at least the following two reasons: (a) it is one instance of the much broader, very widespread and various, phenomenon of metarepresentational use in linguistic communication, whose semantic and pragmatic properties are currently being extensively explored by both linguists and philosophers of language; (b) it plays a central role in recent accounts of presupposition-denial cases, such as "The king of France is not bald; there is no king of France". It is this latter employment (...) that discussion of metalinguistic negation has focused on since Horn (1985)'s key article on the subject. While Burton-Roberts (1989a, 1989b) saw the MN account of presupposition-denials as providing strong support for his semantic theory of presupposition, I have offered a multi-layered pragmatic account of these cases, which also involves MN, but maintains the view that the phenomenon of presupposition is pragmatic (Carston 1994, 1996, 1998a). (shrink)
Scott Sturgeon has claimed to undermine the principal argument for Physicalism, in his words, the view that 'actuality is exhausted by physical reality' (Sturgeon 1998, p. 410). In noting that actuality is exhausted by physical reality, the Physicalist is not claiming that all that there is in actuality are those things identified by physics. Rather the thought is that actuality is made up of all the things identified by physics and anything which is a compound of these things. (...) So there are tables as well as their microphysical constituents. The argument that Sturgeon has in his sights is the Overdetermination Argument. In what follows, I shall argue that Sturgeon's criticism of the Overdetermination argument fails. I shall also argue that physicalism can accommodate his claim that causal statements concerning the mental and physical respectively may require diverse patterns of counterfactual activity for their truth. (shrink)
