Cognitive neuropsychology is that branch of cognitive psychology that investi- gates people with acquired or developmental disorders of cognition. The aim is to learn more about how cognitive systems normally operate or about how they are normally acquired by studying selective patterns of cognitive break- down after brain damage or selective dif?culties in acquiring particular cogni- tive abilities. In the early days of modern cognitive neuropsychology, research focused on rather basic cognitive abilities such as speech comprehension or production at the (...) single-word level, reading and spelling, object and face recognition, and short-term memory. More recently the cognitive-neuro- psychological approach has been applied to the study of rather more complex domains of cognition such as belief ?xation (e.g. Coltheart and Davies, 2000; Langdon and Coltheart, 2000) and pragmatic aspects of communication (e.g. McDonald and Van Sommers, 1993). Our paper concerns the investigation of pragmatic disorders in one clinical group in which such disorders are common, patients with schizophrenia, and what the study of such people can tell us about the normal processes of communication. (shrink)
Cognitive neuropsychology is that branch of cognitive psychology that investigates people with acquired or developmental disorders of cognition. The aim is to learn more about how cognitive systems normally operate or about how they are normally acquired by studying selective patterns of cognitive breakdown after brain damage or selective difficulties in acquiring particular cognitive abilities. In the early days of modern cognitive neuropsychology, research focused on rather basic cognitive abilities such as speech comprehension or production at the single-word level, reading (...) and spelling, object and face recognition, and short-term memory. More recently the cognitive-neuropsychological approach has been applied to the study of rather more complex domains of cognition such as belief fixation (e.g. Coltheart and Davies, 2000; Langdon and Coltheart, 2000) and pragmatic aspects of communication (e.g. McDonald and Van Sommers, 1993). Our paper concerns the investigation of pragmatic disorders in one clinical group in which such disorders are common, patients with schizophrenia, and what the study of such people can tell us about the normal processes of communication. (shrink)
I review and reconsider some of the themes of ‘Two notions of necessity’ (Davies and Humberstone, 1980) and attempt to reach a deeper understanding and appreciation of Gareth Evans’s reflections (in ‘Reference and contingency’, 1979) on both modality and reference. My aim is to plot the relationships between the notions of necessity that Humberstone and I characterised in terms of operators in two-dimensional modal logic, the notions of superficial and deep necessity that Evans himself described, and the epistemic notion (...) of a priority. (shrink)
In sections I-VII of this chapter I outline the theoretical background for a research programme considering whether the expressiveness of a culture’s music can be recognised by people from different musical cultures, that is, by people whose music is syntactically and structurally distinct from that of the target culture. In sections VIII-IX, I examine and assess the cross-cultural studies that have been undertaken by psychologists. Most of these studies are compromised by methodological inadequacies.
Sober (1992) has recently evaluated Brandon's (1982, 1990; see also 1985, 1988) use of Salmon's (1971) concept of screening-off in the philosophy of biology. He critiques three particular issues, each of which will be considered in this discussion.
With business cycles and office politics everpresent in the workplace, conversations often hinge on topics such as market share, "rightsizing," and "the bottom line." In today's business climate the focus is often not so much on the facts of the decision, but rather how and why the decision is being made. Ethical issues now permeate the language of business. This collection of essays explores current issues in business ethics through the eyes of leading authorities. Analyzing the deeper questions which underlie (...) business activities, the first part argues that the prime object for a legitimate business must be sustainability. Part two looks at the relationship between individuals and businesses, asking whether businesses can support their employees as an alternative to family and church. Lastly, the impact of recent trends in business is examined including the activities of global corporations, the changing gender balance, and privatization. (shrink)
In his paper ‘Scmantic Theory and Tacit Knowlcdgc’, Gareth Evans uscs a familiar kind of cxamplc in ordcr to render vivid his account of tacit knowledge. We arc to consider a finite language, with just one hundrcd scntcnccs. Each scntcncc is made up of a subjcct (a name) and a prcdicatc. The names are ‘a’, ‘b’, . . ., T. The prcdicatcs arc ‘F’, ‘G’, . . ., ‘O’. Thc scntcnccs have meanings which dcpcnd in a systematic way upon their (...) construction. Thus, all scntcnccs containing ‘a’ mean something about john; all scntcnccs containing ‘b’ mean something about Harry; all scntcnccs containing ‘F’ mean something about being bald; all scntcnccs containing ‘G’ mean something about being happy; and so 011. For this vcry simple language L, wc arc to consider various semantic theories. We could consider thcorics whosc dclivcranccs about wholc scntcnccs are of.. (shrink)
In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...) literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)
As an undergraduate from 1964 to 1967, Gareth Evans, a British philosopher of language and mind, studied for the PPE degree (philosophy, politics and economics) at University College, Oxford, where his philosophy tutor was Peter Strawson. He was then a Senior Scholar at Christ Church, Oxford (1967–68) and a Kennedy Scholar visiting Harvard and Berkeley (1968–69). In 1968, less than a year after completing his degree, Evans was elected to a Fellowship at University College. He took up the position (...) in 1969, succeeding Strawson who had become Waynflete Professor of Metaphysical Philosophy at Oxford. During the 1970s, Evans and his University College colleague John McDowell played leading roles in developing a distinctive conception of truth-theoretic semantics, drawing on the work of Strawson, Michael Dummett, and especially Donald Davidson. Their co-edited collection, Truth and Meaning: Essays in Semantics, appeared in 1976. While philosophy of language enjoyed a central position in Oxford philosophy of that period, Evans did not share the view (regarded by Dummett as constitutive of analytic philosophy) that philosophy of language is foundational and so takes priority over philosophy of mind in the order of philosophical explanation. He attached particular importance to the mentalistic notion of understanding, and his work on the theory of reference was set within a theory of thought and especially thought about particular objects. Evans’s published work ranged over philosophy of language, metaphysics, philosophy of mind, and philosophy of psychology. In 1979 he was elected to the Wilde Readership in Mental Philosophy at Oxford. He died in August 1980, at the age of thirtyfour. His book, The Varieties of Reference (1982), incomplete at the time of his death, was edited and brought to publication by McDowell. A collection of thirteen of his papers and two shorter notes appeared in 1985 and a further note was published in 2004.. (shrink)
Fred Dretske asserts that the conscious or phenomenal experiences associated with our perceptual states—e.g. the qualitative or subjective features involved in visual or auditory states—are identical to properties that things have according to our representations of them. This is Dretske's version of the currently popular representational theory of consciousness . After explicating the core of Dretske's representational thesis, I offer two criticisms. I suggest that Dretske's view fails to apply to a broad range of mental phenomena that have rather distinctive (...) subjective or qualitative features. I also suggest that Dretske's view, in identifying conscious experiences with features of our perceptual states, casts its aim too low. It deflates further than it should and, in consequence, fails to capture what are arguably some of the most important phenomena associated with our conscious lives. (shrink)
According to Peter Kivy, to be profound, music would have to be about a profound subject that is treated in an exemplary way. Instrumental music does not satisfy this definition; usually it is not about anything humanly important, and when it is, it can convey no more than banalities. Like others, I argue against the propositional character of Kivy's ‘aboutness’ criterion; profundity can be revealed or displayed other than via statements and descriptions. I am less inclined than some of (...) Kivy's critics to argue that music conveys profound insights into the emotions or abstract metaphysical ideas, such as unity and identity. Instead, I draw a parallel with great chess, which illustrates the fecundity, flexibility, insight, vitality, subtlety, complexity, and analytical far-reachingness of which the human mind is capable. That demonstration is of deep significance, given the wider importance of an appreciation of our intellectual and imaginative powers, even if chess says nothing about the skills to which it draws attention. My thesis is that some instrumental music is profound in a similar way; namely, for what it exemplifies and thereby reveals about the capacities of the human mind. (shrink)
This paper notes and discusses some key arguments in Part One of The Problem of Evil and the Problem of God by D. Z. Phillips. With an eye on some texts of Thomas Aquinas, I reject Phillips's view that belief in divine omnipotence leads to absurd claims concerning God, but I defend his rejection of anthropomorphism when it comes to talk of God, and, with qualifications, I defend and elaborate on his suggestion that God is not a moral agent. I (...) also commend his critique of certain well-known theodicies (e.g. that provided by Richard Swinburne), although I challenge his appeal to what he calls “the grammar of God.”. (shrink)
Sitting in the philosopher’s armchair, I am not engaged in any detailed empirical investigation of the world. But, as I pursue philosophy’s distinctive armchair methodology, I sometimes come upon arguments that appear to disclose requirements for thought. According to some of these arguments, being a thinking person requires having the right kind of history, or having the right kind of cognitive architecture. According to other arguments, being able to think about particular topics requires being a member of a community of (...) speakers, or being in contact with the right kinds of stuff. These arguments have the potential to raise an epistemological problem. For, suppose that armchair philosophical arguments such as these can yield knowledge about requirements for thought, and suppose too that I can know from the armchair that I am a thinking being who has thoughts about various particular topics. Then I seem to have a route to armchair knowledge about my history, my cognitive architecture, my community, and my material environment – knowledge about these things that does not depend on detailed empirical investigation of the world. (shrink)
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)
Philosophical interest in introspection has a long and storied history, but only recently – with the 'scientific turn' in philosophy of mind – have philosophers sought to ground their accounts of introspection in psychological data. In particular, there is growing awareness of how evidence from clinical and developmental psychology might be brought to bear on long-standing debates about the architecture of introspection, especially in the form of apparent dissociations between introspection and third-person mental-state attribution. It is less often noticed that (...) this evidence needs to be interpreted with due sensitivity to distinctions between different types of introspection, for example, introspection of propositional attitudes (beliefs, desires) vs. introspection of phenomenally conscious states (pains, emotional feelings). As contemporary debates about the machinery of introspection – and debates about mindreading in general – move forward, these distinctions are likely to figure more prominently. Author Recommends: Peter Carruthers, 'Simulation and Self-Knowledge: A Defense of Theory-Theory', in Theories of Theories of Mind, eds. P. Carruthers and P. K. Smith (Cambridge: Cambridge University Press, 1996), 22–38. Defends a sophisticated form of the theory-theory of introspection, according to which we come to know at least some of our mental states (e.g., propositional attitudes) by reasoning from an innate folk-psychological theory. Fred Dretske, 'Introspection', in Naturalizing the Mind (Cambridge, MA: MIT Press, 1995), 39–63. Introduces and defends the idea of introspection as 'displaced perception'. Alvin Goldman, 'Self-Attribution', in Simulating Minds: The Philosophy, Psychology, and Neuroscience of Mindreading (Oxford: Oxford University Press, 2006), 223–57. Defends a version of the 'inner sense' view of introspection in which mental state types are classified via their neural properties, and mental contents are classified via 'redeployment'. Alison Gopnik, 'How We Read Our Own Minds: The Illusion of First-Person Knowledge of Intentionality', Behavioral and Brain Sciences 16 (1993): 1–14. A noted psychologist defends a version of the theory-theory of introspection, citing evidence of developmental symmetries between first-person and third-person mental-state attribution. Robert Gordon, 'Simulation without Introspection or Inference from Me to You', in Mental Simulation: Evaluations and Applications, eds. T. Stone and M. Davies (Oxford: Blackwell, 1995), 53–67. Develops the idea of ascent routines – the rough analog of 'displaced perception' for the introspection of propositional attitudes. Uta Frith and Francesca Happé, 'Theory of Mind and Self-Consciousness: What Is It Like to Be Autistic?'Mind and Language 14 (1999): 1–14. Appeals to evidence from autism to motivate the idea that first-person and third-person mental-state attribution have a common basis. Shaun Nichols and Stephen Stich, 'Reading One's Own Mind', in Mindreading: An Integrated Account of Pretence, Self-awareness, and Understanding other Minds (Oxford: Oxford University Press, 2003), 150–99. Presents a comprehensive critique of leading theories of introspection (especially the theory-theory), then introduces and defends the authors' preferred alternative, the 'monitoring mechanism' account. Jesse Prinz, 'The Fractionation of Introspection', Journal of Consciousness Studies 11 (2004): 40–57. Develops the idea that introspection admits of several varieties. Philip Robbins, 'Knowing Me, Knowing You: Theory of Mind and the Machinery of Introspection', Journal of Consciousness Studies 11 (2004): 129–43. Defends a hybrid view of introspection for propositional attitudes, according to which both theoretic inference and monitoring play a role. Sample Syllabus: Week 1: Theory-theory Alison Gopnik, 'How We Read Our Own Minds: The Illusion of First-Person Knowledge of Intentionality', Behavioral and Brain Sciences 16 (1993): 1–14. Peter Carruthers, 'Simulation and Self-Knowledge: A Defense of Theory-Theory', in Theories of Theories of Mind, eds. P. Carruthers and P. K. Smith (Cambridge: Cambridge University Press, 1996), 22–38. Week 2: Displaced perception and semantic ascent Fred Dretske, 'Introspection', in Naturalizing the Mind (Cambridge, MA: MIT Press, 1995), 39–63. Robert Gordon, 'Simulation without Introspection or Inference from Me to You', in Mental Simulation: Evaluations and Applications, eds. T. Stone and M. Davies (Oxford: Blackwell, 1995), 53–67. Week 3: Monitoring theory Shaun Nichols and Stephen Stich, 'Reading One's Own Mind', in Mindreading: An Integrated Account of Pretence, Self-awareness, and Understanding Other Minds (Oxford: Oxford University Press, 2003), 150–99. Week 4: Hybrid approaches Alvin Goldman, 'Self-Attribution', in Simulating Minds: The Philosophy, Psychology, and Neuroscience of Mindreading (Oxford: Oxford University Press, 2006), 223–57. Philip Robbins, 'Knowing Me, Knowing You: Theory of Mind and the Machinery of Introspection', Journal of Consciousness Studies 11 (2004): 129–43. Focus Questions:1. What distinguishes 'inside access' from 'outside access' views of introspection?2. To what extent is the theory-theoretic approach to introspection wedded to the idea that first-person and third-person mindreading are mechanistically symmetric capacities?3. What reasons are there for distinguishing between different types of introspection, and why might those taxonomic distinctions matter for theory construction in this area?4. In what sense, if any, are personality traits introspectible?5. Debates about third-person mindreading have revolved around the relative merits of theory-theory and simulation theory, whereas debates about introspection have taken a slightly different focus. For example, no one has defended a simulation-theoretic account of introspection. Why might that be? (shrink)
The topic of this paper is the role played by context in art. In this regard I examine three theories linked to the names of J. Levinson, G. Currie and D. Davies. Levinson’s arguments undermine the structural theory. He finds it objectionable because it makes the individuation of artworks independent of their histories. Secondly, such a consequence is unacceptable because it fails to recognise that works are created rather than discovered. But, if certain general features of provenance are always (...) work-constitutive, as it seems that Levinson is willing to claim, these features must always be essential properties of works. On the other hand, consideration of our modal practice suggests that whether a given general feature of provenance is essential or non-essential depends upon the particular work in question or is “work relative”. D. Davies builds his performance theory on the basis of the critical evaluation of Currie’s action-type hypotheses (ATH). Performances, says Davies, are not to be identified with “basic actions” to which their times belong essentially, but with “doings” that permit of the sorts of variation in modal properties required by the work-relativity of modality. He is also a fierce critic of the contextualist account. Contextualism is in his view unable to reflect the fact that aspects of provenance bear upon our modal judgements with variable force. In the second part of the paper I consider Davies’s “modality principle”. Davies is inclined to defend the claim that labels used for designation of works are rigid designators. Such a view offers a ground for discussion about the historicity of art. What has been meant when people claim that art is an historical concept? I argue that any historical theory implies a two-dimensional notion of “art”. At the end of the paper I suggest that Davies should embrace the theory of contingent identity and not the colocationist view about the relationship that exists between a particular artwork and its physical bearer. (shrink)
I have argued previously that the art of absolute music, unlike, for example, the art of literature, is not capable of profundity, which I characterized as treating a profound subject matter, at the highest artistic level, in a manner appropriate to its profundity. Stephen Davies has recently argued that there is another way of being profound, which he calls non-propositional profundity, and for which chess provides his principal example. He argues, further, that absolute music also exhibits this non-propositional profundity. (...) I argue in the present paper that Davies's attempt to rescue profundity for absolute music will not work, because it does not allow what I take to be the crucial distinction between great works of absolute music that are profound and great works of absolute music that are not. In other words, it has the unwelcome implication that all great works of absolute music are profound works. (shrink)
To ascribe a telos is to ascribe a norm or standard of performance. That fact underwrites the plausibility of, say, teleological theories of mind. Teleosemantics, for example, relies on the normative character of teleology to solve the problem of “intentional inexistence”: a misrepresentation is just a malfunction. If the teleological ascriptions of such theories to natural systems, e.g., the neurological structures of the brain, are to be literally true, then it must be literally true that norms can exist independent of (...) intentional and psychological agency. Davies, for one, has argued that such norms are impossible within a naturalistic worldview. Consequently, teleological theories of mind, for example, cannot be literally true. I will show, however, that the truth conditions on normative statements do not presuppose intentional and psychological agency and, further, that a selectional regime is one naturalistic mechanism that satisfies those truth conditions. Norms, then, exist in the world independent of intentional and psychological agency. (shrink)
Recent discoveries in physics, cosmology and biochemistry have captured the public imagination and made the Design Argument - the theory that God created the world according to a specific plan - the object of renewed scientific and philosophical interest. This accessible but serious introduction to the design problem brings together new perspectives from prominent scientists and philosophers including Paul Davies, Richard Swinburne, Sir Martin Rees, Michael Behe, Elliot Sober and Peter van Inwagen.
In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical (...) work—is the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory. (shrink)
G.E. Moore thought that he could prove the existence of external things as follows: ‘Here is one hand, and here is another, therefore there are external things.’ Many readers of this proof find it obviously unsatisfactory, but Moore’s Proof has recently been defended by Martin Davies and James Pryor. According to Davies and Pryor, Moore’s Proof is capable of transmitting warrant from its premises to its conclusion, even though it is not capable of rationally overcoming doubts about its (...) conclusion. In this paper, I argue that Davies and Pryor have it exactly backwards: Moore’s Proof is not capable of transmitting warrant from its premises to its conclusion, even though it is capable of rationally overcoming doubts about its conclusion. (shrink)
`splendidly provocative ... enjoy it as a feast for the imagination.' John Gribbin, Sunday Times -/- Why is the future so different from the past? Why does the past affect the future and not the other way round? The universe began with the Big Bang - will it end with a 'Big Crunch'? This exciting book presents an innovative and controversial view of time and contemporary physics. Price urges physicists, philosophers, and anyone who has ever pondered the paradoxes of time (...) to look at the world from a fresh perspective and he throws fascinating new light on some of the great mysteries of the universe. -/- `a significant contribution, remarkable for its scope ... written with great clarity and conviction.' Ilya Prigogine, THES -/- `a useful addition to the literature on time, particularly as it reveals the influence of modern science on the way a philosopher thinks.' Peter Coveney, New Scientist -/- `the author has done physicists a great service in laying out so clearly and critically the nature of the various time-asymmetry problems of physics.' John Barrow, Nature -/- `a thoughtful (and thought-provoking) analysis of the time-asymmetry problem of physics which is in many ways deeper and more illuminating than accounts to be found elsewhere.' Roger Penrose -/- `Huw Price is one of a handful of philosophers with a thorough grasp of the notorious arrow of time problem ... Price applies critical reasoning and penetrating insight to the current theories of physics and cosmology that have a bearing on this problem. Among the many ideas discussed here is the controversial claim that time's arrow would reverse in a recontracting universe.' Paul Davies. (shrink)
Recently, much work has been done on G.E. Moore's proof of an external world with the aim of diagnosing just where the Proof `goes wrong'. In the mainstream literature, the most widely discussed debate on this score stands between those who defend competing accounts of perceptual warrant known as dogmatism (i.e. Pryor and Davies) and conservativism (i.e. Wright). Each account implies a different verdict on Moore's Proof, though both share a commitment to supposing that an examination of premise-conclusion dependence (...) relations will sufficiently reveal what's wrong with the Proof. Parallel to this debate on Moore stands perhaps an equally interesting (though less discussed) debate within which the Proof is critiqued as it stands in the context of the skeptical debate. On this score, Michael Fara and Ernest Sosa have weighed in with a markedly different take on Moore's anti-skeptical ambitions and on the nature of skeptical challenges more generally. The aim of this paper will be to critically evaluate these two very distinct strands of recent work on Moore's Proof. Part I of the paper will focus on the mainstream debate, and in Part II of the paper, I'll focus on the parallel debate about skepticism. My critical discussion will be aimed throughout at showing how the various proposals I've taken as representative of these two parallel debates surrounding Moore's Proof ultimately fall short-each for different reasons-of what a satisfactory diagnosis of the Proof would require. (shrink)
One important point that has emerged from recent work on the history and philosophy of experiment is that technology plays an integral role in experiment, and therefore in science. Technology determines what experimenters can measure and how well it can be measured. The importance of technology, along with several new questions that its use raises, has been made quite clear in the papers presented in this session.
Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. (...) Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject. -/- Table of Contents -/- Introduction \ 1. Plato, Robert Stecker \ 2. Aristotle, Angela Curran \ 3. Medieval Aesthetics, Gian Carlo Garfagnini \ 4. David Hume, Alan Goldman \ 5. Immanuel Kant, Elisabeth Schellekens \ 6. G.W.F. Hegel, Richard Eldridge \ 7. Arthur Schopenhauer and Friedrich Nietzsche, Scott Jenkins \ 8. Benedetto Croce and Robin Collingwood, Gary Kemp \ 9. Roger Fry and Clive Bell, Susan Feagin \ 10. John Dewey, Thomas Leddy \ 11. Martin Heidegger, Joseph Shieber \ 12. Walter Benjamin and T.W. Adorno, Gerhard Richter \ 13. Monroe Beardsley, Noël Carroll \14. Nelson Goodman, Alessandro Giovannelli \ 15. Richard A.Wollheim, Malcolm Budd \ 16. Arthur C. Danto, Sondra Bacharach \ 17. Kendall L. Walton, David Davies \ Some Contemporary Developments, Alessandro Giovannelli . (shrink)
John Lloyd Ackrill 1921-2007; Maurice Warwick Beresford 1920-2005; Malcolm MacNaughtan Bowie 1943-2007; Peter Astbury Brunt 1917-2005; Norman Rufus Colin Cohn 1915-2007; John Anthony Crook 1921-2007; Robert Rees Davies 1938-2005; David Fairweather Foxon 1923-2001; Terence Wilmot Hutchison 1912-2007; Philip James Jones 1921-2006; Michael Vincent Levey 1927-2008; John Macquarrie 1919-2007; Charles Francis Digby Moule 1908-2007; Anthony David Nuttall 1937-2007; Alan William Raitt 1930-2006; Joseph Burney Trapp 1925-2005; William Watson 1917-2007; Bryan Ronald Wilson 1926-2004.
Machine generated contents note: Part I. General: 1. The Gödel editorial project: a synopsis Solomon Feferman; 2. Future tasks for Gödel scholars John W. Dawson, Jr., and Cheryl A. Dawson; Part II. Proof Theory: 3. Kurt Gödel and the metamathematical tradition Jeremy Avigad; 4. Only two letters: the correspondence between Herbrand and Gödel Wilfried Sieg; 5. Gödel's reformulation of Gentzen's first consistency proof for arithmetic: the no-counter-example interpretation W. W. Tait; 6. Gödel on intuition and on Hilbert's finitism W. W. (...) Tait; 7. The Gödel hierarchy and reverse mathematics Stephen G. Simpson; 8. On the outside looking in: a caution about conservativeness John P. Burgess; Part III. Set Theory: 9. Gödel and set theory Akihiro Kanamori; 10. Generalizations of Gödel's universe of constructible sets Sy-David Friedman; 11. On the question of absolute undecidability Peter Koellner; Part IV. Philosophy of Mathematics: 12. What did Gödel believe and when did he believe it? Martin Davis; 13. On Gödel's way in: the influence of Rudolf Carnap Warren Goldfarb; 14. Gödel and Carnap Steve Awodey and A. W. Carus; 15. On the philosophical development of Kurt Gödel Mark van Atten and Juliette Kennedy; 16. Platonism and mathematical intuition in Kurt Gödel's thought Charles Parsons; 17. Gödel's conceptual realism Donald A. Martin. (shrink)
two-dimensional modal framework introduced by Evans [2] and developed by Davies and Humberstone. [3] This framework provides Chalmers with a powerful tool for handling the most serious objection to conceivability arguments for dualism: the problem of..
[Introduction]: Curiosity is now widely regarded, with some justification, as a vital ingredient of the inquiring mind and, more particularly, as a crucial virtue for the practitioner of the pure sciences. We have become accustomed to associate curiosity with innocence and, in its more mature manifestations, with the pursuit of truth for its own sake. It was not always so. The sentiments expressed in Sir John Davies's poem, published on the eve of the seventeenth century, paint a somewhat different (...) picture. To seek knowledge with no particular end in mind was to indulge in "fruitlesse curiositie," while the "desire to know" was associated with those catastrophic events that took place at the dawn of history in the Garden of Eden and with the ensuing curse that fell upon succeeding generations. Davies's poem neatly sets out two of the chief impediments to the advancement of learning in seventeenth-century England: the fact that the Genesis narrative attributes the Fall of the human race to the desire for knowledge, and the moral disapprobation associated with the vice of curiosity. In short, the traditional classification of curiosity amongst the vices and its complicity in the commission of the first sin represented a major obstacle to early modern projects to enlarge human learning. This essay will explore the changing fortunes of curiosity, from its construction as an intellectual vice in the patristic era to its subsequent transformation, over the course of the seventeenth century, to a virtue. Particular attention will be paid to the way in which Francis Bacon dealt with prevailing conceptions of curiosity and forbidden knowledge and how he modified an existing view of the moral legitimacy of knowledge of nature in order to provide rhetorical justification for his proposed instauration of learning. This change in the status of knowledge of nature, initiated by Bacon and promoted by his successors, highlights the morally charged character of early modem debates over the status of natural philosophy and the particular virtues required of its practitioners. As we shall see, the rehabilitation of curiosity was a crucial element in the objectification of scientific knowledge and led to a shift of focus away from the moral qualities of investigators and the propriety of particular objects of knowledge to specific disciplines, procedures, and methods. (shrink)
I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, Davies, (...) and the meaning of "meaning" -- Another go at musical profundity : Stephen Davies and the game of chess -- From ideology to music : Leonard Meyer's theory of style change -- Sibley's last paper -- In defense of musical representation : music, representation, and the hybrid arts -- Music, language, and cognition : which doesn't belong? (shrink)
In this compelling book, John B. Davis examines the change and development in Keynes's philosophical thinking, from his earliest work through to The General Theory, arguing that Keynes came to believe himself mistaken about a number of his early philosophical concepts. The author begins by looking at the unpublished 'Apostles' papers, written under the influence of the philosopher G. E. Moore. These display the tensions in Keynes's early philosophical views, and outline his philosophical concepts of the time, including the concept (...) of intuition. Davis then shows how Keynes's later philosophy is implicit in the economic argument of The General Theory. He argues that Keynes's philosophy had by this time changed radically, and that he had abandoned the concept of intuition for the concept of convention. The author sees this as being the central idea in The General Theory, and looks at the philosophical nature of this concept of convention in detail. (shrink)
J. B. Schneewind's "The Invention of Autonomy" has been hailed as a major interpretation of modern moral thought. Schneewind's narrative, however, elides several serious interpretive issues, particularly in the transition from late medieval to early modern thought. This results in potentially distorted accounts of Thomas Aquinas, Hugo Grotius, and G. W. Leibniz. Since these thinkers play a crucial role in Schneewind's argument, uncertainty over their work calls into question at least some of Schneewind's larger agenda for the history of ethics.
Words denoting “mother” in baby talk and in languages usually include nasal sounds, supporting Falk's suggestion that infant nasalized demand vocalizations might have motivated a first word. The linguistic contrast between maternal terms and paternal terms, which favor oral consonants, and the simple phonetic patterns of parental terms in both baby talk and languages also suggest parental terms could have been first words.
Arbib's gestural-origins theory does not tell us why or how a subsequent switch to vocal language occurred, and shows no systematic concern with the signalling affordances or constraints of either medium. Our frame/content theory, in contrast, offers both a vocal origin in the invention of kinship terms in a baby-talk context and an explanation for the structure of the currently favored medium.
Hurford presents a much-needed lowly origins scenario for the evolution of conceptual precursors to lexical items. But more is still needed on action, regarding both the message level of lexical concepts and the medium. We summarize our complementary action-based lowly origins (frame/content) scenario for the vocal auditory medium of language, which, like Hurford's scenario, is anchored in a phylogenetically old neurological dichotomy.
In addition to this being the centenary of Kurt Gödel’s birth, January marked 75 years since the publication (1931) of his stunning incompleteness theorems. Though widely known in one form or another by practicing mathematicians, and generally thought to say something fundamental about the limits and potentialities of mathematical knowledge, the actual importance of these results for mathematics is little understood. Nor is this an isolated example among famous results. For example, not long ago, Philip Davis wrote me about what (...) he calls The Paradox of Irrelevance: “There are many math problems that have achieved the cachet of tremendous significance, e.g. Fermat, 4 color, Kepler’s packing, Gödel, etc. Of Fermat, I have read: ‘the most famous math problem of all time.’ Of Gödel, I have read: ‘the most mathematically significant achievement of the 20th century.’ … Yet, these problems have engaged the attention of relatively few research mathematicians—even in pure math.” What accounts for this disconnect between fame and relevance? Before going into the question for Gödel’s theorems, it should be distinguished in one respect from the other examples mentioned, which in any case form quite a mixed bag. Namely, each of the Fermat, 4 color, and Kepler’s packing problems posed a stand-out challenge following extended efforts to settle them; meeting the challenge in each case required new ideas or approaches and intense work, obviously of different degrees. By contrast, Gödel’s theorems were simply unexpected, and their proofs, though requiring novel techniques, were not difficult on the scale of things. Setting that aside, my view of Gödel’s incompleteness theorems is that their relevance to mathematical logic (and its offspring in the theory of computation) is paramount; further, their philosophical relevance is significant, but in just what way is far from settled; and finally, their mathematical relevance outside of logic is very much unsubstantiated but is the object of ongoing, tantalizing efforts.. (shrink)
Individual differences in ethical ideology are believed to play a key role in ethical decision making. Forsyths (1980) Ethics Position Questionnaire (EPQ) is designed to measure ethical ideology along two dimensions, relativism and idealism. This study extends the work of Forsyth by examining the construct validity of the EPQ. Confirmatory factor analyses conducted with independent samples indicated three factors – idealism, relativism, and veracity – account for the relationships among EPQ items. In order to provide further evidence of the instruments (...) nomological and convergent validity, correlations among the EPQ subscales, dogmatism, empathy, and individual differences in the use of moral rationales were examined. The relationship between EPQ measures of idealism and moral judgments demonstrated modest predictive validity, but the appreciably weaker influence of relativism and the emergence of a veracity factor raise questions about the utility of the EPQ typology. (shrink)
This book deals with the need to rethink the aims and methods of contemporary linguistics. Orthodox linguists' discussions of linguistic form fail to exemplify how language users become language makers. Integrationist theory is used here as a solution to this basic problem within general linguistics. The book is aimed at an interdisciplinary readership, comprising those engaged in study, teaching and research in the humanities and social sciences, including linguistics, philosophy, sociology and psychology.
based on a list which I distributed at the Turing Conference in Brighton some years ago, with some further additions. In the Proceedings, Machines and Thought, ed. Peter Millican and Andy Clark, Oxford, 1996, Robin Gandy gives a much earlier reference: Emil L. Post, `Absolutely Unsolvable Problems and Relatively Undecidable Propositions—Account of an Anticipation’, in Martin Davis, (ed.), The Undecidable (New York: Raven Press, 1965), pp.340-435, esp. pp.417-24. Chalmers gives a more up-to-date list in his bibliography—which used to (...) be http://www.artsci.wustl.edu/~philos/papers/chalmers.biblio.4.html but has now moved to Arizona: click here for pursuing his references I am grateful to various correspondents who have helped me to up-date the list given here, and welcome further items. (shrink)
In part 4 of Meaning, Expression, and Thought, Davis rejects what he calls Fregean ideational theories, according to which the meaning of an expression is an idea; and then presents his own account, which states that, e.g., the meaning of ‘Primzahl’ in German is the property of meaning prime number. Before casting doubt on the latter ontology of meanings, I come to Frege’s defence by pointing out that he was not an advocate of the position Davis named after him because (...) Fregean senses are not lexical meanings and Fregean thoughts are not types of mental events. (shrink)
Recent scandals in the business world have intensified the demand for an explanation of the causes of corporate wrongdoing. This study empirically tests the effects of mutual fund management fees and control structures on the likelihood of illegal activity within mutual fund organizations. Specific attention is given to the presence of agency duality issues in the mutual fund industry and how this influences the motivations and decisions of fund managers. Findings provide support for the hypothesized relationship that higher levels of (...) management fees decrease the likelihood of illegal behavior. Additionally, control of the mutual fund by external management is found to have a negative impact on the likelihood of illegal activity while also acting as a moderator of the management fee-illegal behavior relationship. (shrink)
The late twentieth century has provided both reasons and occasions for reassessing just war theory as an organizing framework for the moral analysis of war. Books by G. Scott Davis, James T. Johnson, and John Kelsay, together with essays by Jeffrey Stout, Charles Butterworth, David Little, Bruce Lawrence, Courtney Campbell, and Tamara Sonn, signal a remarkable shift in war studies as they enlarge the cultural lens through which the interests and forces at play in political violence are identified and evaluated. (...) In his review of the contribution made by these texts, the author focuses on the cohesion of just war theory, the asymmetry between Christian and Islamic attitudes toward holy war, and the need to develop just war theory into a tool adequate to assist in the moral evaluation of violent conflicts within, not just between, nation-states. (shrink)
This experiment examined the effects of three elements comprising Jones' (1991) moral intensity construct, (social consensus, personal proximity, and magnitude of consequences) in a cross-cultural comparison of ethical decision making within a human resource management (HRM) context. Results indicated social consensus had the most potent effect on judgments of moral concern and judgments of immorality. An analysis of American, Eastern European, and Indonesian responses also indicted socio-cultural differences were moderated by the type of HRM ethical issue. In addition, individual differences (...) in personal ethical ideology (relativism and idealism) varied reliably with moral judgments after controlling for issue characteristics and socio-cultural background. (shrink)
In part 4 of Meaning, Expression, and Thought, Davis rejects what he calls Fregean ideational theories, according to which the meaning of an expression is an idea; and then presents his own account, which states that, e.g., the meaning of 'Primzahl' in German is the property of meaning prime number. Before casting doubt on the latter ontology of meanings, I come to Frege's defence by pointing out that he was not an advocate of the position Davis named after him because (...) Fregean senses are not lexical meanings and Fregean thoughts are not types of mentalevents. (shrink)
