Traditionally economists have based their economic predictions on the assumption that humans are super-rational creatures, using the information we are given efficiently and generally making selfish decisions that work well for us as individuals. Economists also assume that we're doing the very best we can possibly do - not only for today, but over our whole lifetimes too. But increasingly the study of behavioural economics is revealing that our lives are not that simple. Instead, our decisions are complicated by our (...) own psychology. Each of us makes mistakes every day. We don't always know what's best for us and, even if we do, we might not have the self-control to deliver on our best intentions. We struggle to stay on diets, to get enough exercise and to manage our money. We misjudge risky situations. We are prone to herding: sometimes peer pressure leads us blindly to copy others around us; other times copying others helps us to learn quickly about new, unfamiliar situations. This Very Short Introduction explores the reasons why we make irrational decisions; how we decide quickly; why we make mistakes in risky situations; our tendency to procrastination; and how we are affected by social influences, personality, mood and emotions. The implications of understanding the rationale for our own financial behaviour are huge. Behavioural economics could help policy-makers to understand the people behind their policies, enabling them to design more effective policies, while at the same time we could find ourselves assaulted by increasingly savvy marketing. Michelle Baddeley concludes by looking forward, to see what the future of behavioural economics holds for us.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable. (shrink)

(2013). Herding, social influence and expert opinion. Journal of Economic Methodology: Vol. 20, Methodology, Systemic Risk, and the Economics Profession, pp. 35-44. doi: 10.1080/1350178X.2013.774845.

... PREFACE Paul Gochet (Liege) "[...] une entite physique ne peut etre envisagee que comme une sorte de concretisation, de consolidation locale dans un ...

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they reflect (...) deep-seated theoretical and methodological commitments to transparency of exposition. (shrink)

Michel Weber, Éléments de routine ayurvédique. Autonomie, rituel et ascèse, Les Éditions Chromatika, 2021. (978-2-930517-82-7 ; pdf 978-2-930517-83-4 ; 104 pp., 14€) -/- L’Ayurvéda propose une philosophie de vie qui articule un vaste système métaphysique (une cosmologie théorique) avec une visée thérapeutique profonde (une anthropologie pratique). -/- À la croisée de la théorie et de la pratique, on trouve la routine (« dinacharya ») dont le but est de susciter l’individuation et la solidarité, c’est-à-dire l’autonomie (de chacun) respectueuse de la (...) communauté (de tous). Ce faisant, elle constitue une ascèse dont l’efficacité a été longuement éprouvée et rarement égalée. (shrink)

‘Philosophical dialogue’ indicates both a form of philosophical inquiry and its corresponding literary genre. In its written form, it typically features two or more characters who engage in a discussion concerning morals, knowledge, as well as a variety of topics that can be widely labelled as ‘philosophical’. Our philosophical dialogue takes place in Krakow, Poland. It is a rainy morning and two strangers are waiting at a tram stop. One of them is dressed neatly, and cannot stop fidgeting with his (...) closed umbrella. The other was caught unprepared by the morning downpour and water is dripping from his worn, soaked jacket. (shrink)

'Working Memory, Thought, and Action' is the magnum opus of one of the most influential cognitive psychologists of the past 50 years. This new volume on the model he created discusses the developments that have occurred within the model in the past twenty years, and places it within a broader context.

Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of creation. (...) I introduce palaeoart—the depiction of extinct prehistoric fauna and flora, especially from the Mesozoic—as a paradigmatic case of remote art, showing that its remoteness is secured both by the deceptively rich cognitive load required for its creation and appreciation, and by its existence at the margins of the institutional artworld, which ensures that this cognitive loading is largely obscured. Too often, remote art is not just inscrutable, it is invisible to us. (shrink)

We answer three questions: 1. Can we give a wholly mathematical explanation of a physical phenomenon? 2. Can we give a wholly mathematical explanation for a whole physical theory? 3. What is gained or lost in giving a wholly, or partially, mathematical explanation of a phenomenon or a scientific theory? To answer these questions we look at a project developed by Hajnal Andréka, Judit Madarász, István Németi and Gergely Székely. They, together with collaborators, present special relativity theory in a three-sorted (...) first-order formal language. (shrink)

The term 'episodic memory' refers to our memory for unique, personal experiences, that we can date at some point in our past - our first day at school, the day we got married. It has again become a topic of great importance and interest to psychologists, neuroscientists, and philosophers. How are such memories stored in the brain, why do certain memories disappear (especially those from early in childhood), what causes false memories (memories of events we erroneously believe have really taken (...) place)? Since Endel Tulving's classic book 'Episodic memory' (OUP, 1983) very few books have been published on this topic. In recent years however, many of the assumptions made about episodic memory have had to be reconsidered as a result of new techniques, which have allowed us a far deeper understanding of episodic memory. In 'Episodic memory: new directions in research' three of the worlds leading researchers in the topic of memory have brought together a stellar team of contributors from the fields of cognitive psychology, neuropsychology, and neuroscience, to present an account of what we now know about about this fundamentally important topic. The list of contributors includes, amongst others, Daniel Schacter, Richard Morris, Fareneh Vargha-Khadem, and Endel Tulving. The work presented within this book will have a profound effect on the direction that future research in this topic will take. (shrink)

Over 100 years ago, Frances Galton began the empirical study of autobiographical memory by devising a technique in which he explored the capacity for a cue word to elicit the recollection of events from earlier life (Galton, 1883). After a century of neglect, the topic began to re-emerge, stimulated by the work of Robinson (1976) using the technique on groups of normal subjects, by Crovitz’s work on its application to patients with memory deficits (Crovitz & Schiffman, 1974), and by the (...) detailed diary study of her own autobiographical memory carried out by Marigold Linton (Linton, 1975). This early wave of interest was focused by Rubin’s edited book on the topic (Rubin, 1986) which captured a broad and growing interest in autobiographical memory. This trend was reflected very strongly in the submissions to the second conference on Practical Aspects of Memory, in which the study of autobiographical memory represented one of the major strands (Gruneberg, Morris & Sykes, 1988), featuring prominently in both the opening and concluding addresses (Baddeley, 1988; Neisser, 1988). (shrink)

Comment Bachelard, fils d'un cordonnier, professeur de physique et chimie, a-t-il pu devenir cet humaniste aussi savant que philosophe, aussi penseur que poète? Il n'a pas emprunté les chemins balisés, ceux des élites universitaires et culturelles. Il a contrarié les pronostics et les conventions. Il s'est adjugé contre vents et marées le droit de penser par lui-même en bousculant les frontières des savoirs et de la culture et en dérangeant les us et coutumes établis. "Un ouvrage aussi lumineux que la (...) destinée et l'oeuvre de Gaston Bachelard. Au plus près de sa vie et de sa pensée". (Philippe Meirieu). (shrink)

Cowan's revisiting of the magic number is very timely and the case he makes for a more moderate number than seven is persuasive. It is also appropriate to frame his case within a theoretical context, since this will influence what evidence to include and how to interpret it. He presents his model however, as a contrast to the working memory model of Baddeley. I suggest that this reflects a misinterpretation of our model resulting in a danger of focusing attention (...) on pseudo-problems rather than genuine disparities between his approach and my own. (shrink)

Il y a des questions concernant le droit auxquelles il n'est pas possible de répondre par la simple analyse du droit en vigueur et que pourtant ni les juristes, ni les philosophes ne peuvent éviter. Ce sont celles qui font l'objet de la philosophie du droit. Elles concernent notamment la définition du droit et d'abord celle du droit en vigueur lui-même, des rapports que le droit entretien avec d'autres phénomènes, comme le pouvoir, la force ou la morale, la possibilité d'une (...) science du droit, la structure du système juridique ou encore la spécificité du raisonnement juridique et des concepts employés par les juristes. (shrink)