Since its publication in 1959, Individuals has become a modern philosophical classic. Bold in scope and ambition, it continues to influence debates in metaphysics, philosophy of logic and language, and epistemology. Peter Strawson's most famous work, it sets out to describe nothing less than the basic subject matter of our thought. It contains Strawson's now famous argument for descriptive metaphysics and his repudiation of revisionary metaphysics, in which reality is something beyond the world of appearances. Throughout, Individuals advances some highly (...) influential and controversial ideas, such as 'non-solipsistic consciousness' and the concept of a person a 'primitive concept'. (shrink)

The concept of scientific history / Isaiah Berlin -- The limits of scientific history / W.H. Walsh -- The objectivity of history / J.A. Passmore -- Explanation in science and in history / C.G. Hempel -- The Popper-Hempel theory reconsidered / Alan Donagan -- The autonomy of historical understanding / Louis O. Mink -- Historical continuity and causal analysis / Michael Oakeshott -- Causal judgment in history and in the law / H.L.A. Hart and A.M. Honoré -- Causes, connections and (...) conditions in history / Michael Scriven -- The historical individual / A.C. Danto -- Methodological individualisms : definition and reduction / May Brodbeck -- Societal laws / Maurice Mandelbaum -- Determinism in history / Ernest Nagel. (shrink)

On the extended mind hypothesis (EM), many of our cognitive states and processes are hybrids, unevenly distributed across biological and nonbiological realms. In certain circumstances, things - artifacts, media, or technologies - can have a cognitive life, with histories often as idiosyncratic as those of the embodied brains with which they couple. The realm of the mental can spread across the physical, social, and cultural environments as well as bodies and brains. My independent aims in this chapter are: first, to (...) describe two compatible but distinct movements or "waves" within the EM literature, arguing for the priority of the second wave (and gesturing briefly toward a third); and, second, to defend and illustrate the interdisciplinary implications of EM as best understood, specifically for historical disciplines, by sketching two case studies. (shrink)

If it is true, as one of its founders, George Miller, tells us, that cognitive science was born in 1956, then by human aging standards it is coming upon a mid-life crisis. Crises, as Kuhn has taught us, often precipitate radical change, in science as well as in individuals. It should therefore not be surprising to find that cognitive scientists have begun to look to the future and predict, or hope, that it will include both the beautiful and the good. (...) Thus it is that the neuroscientist, Semir Zeki, has recently declared: “We are at the threshold of a great enterprise” which he calls neuroesthetics. His optimism about that enterprise has been echoed by a number of other researchers; and for the most part, their hopefulness is based on discoveries about how pictures are perceived. So, for example, V. S. Ramachandran and William Hirstein have said that by understanding the neuropsychological principles of picture perception, we may come to understand the very “essence of art”. Indeed, by identifying perceptual principles in the right way, according to David Gilden, we may discover common ground for normative disciplines of all stripes; a theory of “what is sexy, what is virtue, or what is a good buy”. (shrink)

This article considers how people judge the identity of objects (e.g., how people decide that a description of an object at one time, t₀, belongs to the same object as a description of it at another time, t₁). The authors propose a causal continuer model for these judgments, based on an earlier theory by Nozick (1981). According to this model, the 2 descriptions belong to the same object if (a) the object at t₁ is among those that are causally close (...) enough to be genuine continuers of the original and (b) it is the closest of these close-enough contenders. A quantitative version of the model makes accurate predictions about judgments of which a pair of objects is identical to an original (Experiments 1 and 2). The model makes correct qualitative predictions about identity across radical disassembly (Experiment 1) as well as more ordinary transformations (Experiments 2 and 3). (shrink)

This article combines findings from cognitive psychology on the role of processing fluency in truth judgments with epistemological theory on justification of belief. We first review evidence that repeated exposure to a statement increases the subjective ease with which that statement is processed. This increased processing fluency, in turn, increases the probability that the statement is judged to be true. The basic question discussed here is whether the use of processing fluency as a cue to truth is epistemically justified. In (...) the present analysis, based on Bayes’ Theorem, we adopt the reliable-process account of justification presented by Goldman (1986) and show that fluency is a reliable cue to truth, under the assumption that the majority of statements one has been exposed to are true. In the final section, we broaden the scope of this analysis and discuss how processing fluency as a potentially universal cue to judged truth may contribute to cultural differences in commonsense beliefs. (shrink)

Why did Homo erectus begin to craft symmetric tools? A parsimonious account assumes that preference for symmetry is inherent in all visual systems. This preference can be explained by a broader preference for perceptual fluency. The perceptual fluency account does not assume that selection for mate health or the production of symbolic art is a prerequisite for symmetry preference.

Function theorists routinely speculate that a viable function theory will be equally applicable to biological traits and artifacts. However, artifact function has received only the most cursory scrutiny in its own right. Closer scrutiny reveals that only a pluralist theory comprising two distinct notions of function--proper function and system function--will serve as an adequate general theory. The first section describes these two notions of function. The second section shows why both notions are necessary, by showing that attempts to do away (...) with one of them fail. This demonstration draws on examples from the artifactual realm to motivate major points of the argument. The third section is an outline of artifact function. It confirms the conclusions of the second section, and also begins the task of describing some of the special features of artifact function needing accommodation within the general theory. (shrink)

How do humans manage to keep track of a gradually changing object or person as the same persisting individual despite the fact that the extraction of information about this individual must often rely on heterogeneous information sources and heterogeneous tracking methods? The article introduces the Empirical Tracking of Individuals theory to address this problem. This theory proposes an analysis of the concept of integrated tracking, which refers to the capacity to acquire, store, and update information about the identity and location (...) of individuals in our environment. It hypothesizes that certain functions of attention are a key to explaining how the cognitive flexibility of the human mind overcomes the heterogeneity of sources and methods in integrated tracking. At least two premises lend support to this hypothesis. First, heterogeneity of tracking sources is overcome by the combination of information from multiple perceptual modalities and a phenomenon of multisensory 'transparency'. Second, heterogeneity of tracking sources and methods may also be overcome by inferences that combine information across domains to acquire reasons to believe propositions about the target's location and identity. (shrink)

There are no "special sciences" in Fodor's sense. There is a large group of sciences, "historical sciences," that differ fundamentally from the physical sciences because they quantify over a different kind of natural or real kind, nor are the generalizations supported by these kinds exceptionless. Heterogeneity, however, is not characteristic of these kinds. That there could be an univocal empirical science that ranged over multiple realizations of a functional property is quite problematic. If psychological predicates name multiply realized functionalist properties, (...) then there is no single science dealing with these: human psychology, ape psychology, Martian psychology and robot psychology are necessarily different sciences. (shrink)

I here defend hypothetical intentionalism, the view of literary and cinematic interpretation that I endorse, from some recent criticisms, and then illustrate the appeal of the view in connection with a recent film of enigmatic cast.

In recent decades, epistemology has witnessed the development and growth of externalist theories of knowledge and justification. Critics of externalism have focused a bright spotlight on this approach and judged it unsuitable for realizing the true and original goals of epistemology. Their own favored approach, internalism, is defended as a preferable approach to the traditional concept of epistemic justification. I shall turn the spotlight toward internalism and its most prominent rationale, revealing fundamental problems at the core of internalism and challenging (...) the viability of its most popular rationale. Although particular internalist theories such as (internalist) foundationalism and coherentism will occasionally be discussed, those specific theories are not my primary concern. The principal concern is rather the general architecture of internalism, and the attempt to justify this architecture by appeal to a certain conception of what justification consists in. (shrink)

Since Edmund L. Gettier reminded us recently of a certain important inadequacy of the traditional analysis of "S knows that p," several attempts have been made to correct that analysis. In this paper I shall offer still another analysis (or a sketch of an analysis) of "S knows that p," one which will avert Gettier's problem. My concern will be with knowledge of empirical propositions only, since I think that the traditional analysis is adequate for knowledge of nonempirical truths.

This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work. Werner Pluhar’s more recent translation, which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable, this supplementary material makes the present edition into a valuable resource even for those able to read the text in German. (shrink)

I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety of values (...) (moral, cognitive, aesthetic, etc.) that may be possessed by works of art and their value qua works of art. (shrink)

Europeans seeking to understand tribal arts face obvious problems of comprehending the histories, values, and ideas of vastly remote cultures. In this respect the issues faced in understanding tribal art (or folk art, primitive art, traditional art, third or fourth-world art — none of these designations is ideal) are not much different from those encountered in trying to comprehend the distant art of “our own” culture, for instance, the art of medieval Europe. But in the case of tribal or so-called (...) primitive art, there are special complications. First, objects of tribal art are sometimes so strange to us that we cannot tell immediately whether they are intended to be works of art (or some local analogue of what we would call art) at all.1An African head-rest I once came across had an odd, extravagant extrusion which made the whole piece reminiscent of Arp. It seemed to my baffled, ignorant eyes to be much more than a mere head-rest, but I couldn’t tell what more it was supposed to be. Maybe that extension on the side of the object had some purely utilitarian function, acting as a handle, or perhaps it was a natural part of the original block of wood, left there merely because it looked nice to the eye of the carver. Though the head-rest seemed beautiful, I still don’t know if I was admiring as an essentially expressive object some simple item of practical use, or something that combined expression and utility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Interpreting ContextualitiesStephen DaviesIf, as so often demanded, the context of a literary work should be considered in interpreting it, which context is that? Is it the past context within which the work was created, or, rather, the different context in which the book and interpreter presently are located? In this essay, I consider theories of interpretation that disagree on the answers to these questions. To appropriate terms that have (...) become fashionable, one presents a model for interpretation that is “readerly” in being restrained and backward-looking, while the second allows for interpretations that are “writerly” in being creative and forward-looking. Both kinds of interpretation are used in literary criticism, with the first paying homage to the efforts of the work’s creator and the second showing respect for meanings the work presents to the critic’s contemporary audience. I argue that, despite appearances to the contrary, the first theory is no less capable than the second of accounting for actual critical practice. If not by seeing which account better matches the practice, how might we adjudicate between them? This is to be done by considering whether the creation and appreciation of literature answers primarily to an interest in works alone, or to works as the product of human authors. I prefer the second alternative and suggest that an interest in works as of their authors can be consistent with the widely held view that literary works admit of multiple interpretations.II call the first account of interpretation the Original Context Theory. It holds that the meaning of a literary work is fixed by factors holding at the time of the work’s creation. (A work might be revolutionary in style, [End Page 20] of course, but in that case it will be apparent that standard literary practices are invoked only to be challenged or repudiated.) The original context theory comes in at least three versions, depending on which of the factors present at the work’s creation is given primacy.Actual intentionalism maintains that the author’s successfully realized intentions determine the work’s meaning. 1 This variant of the original context theory holds that a literary work has the meaning that its author intends, provided that the author carries through the relevant intentions in appropriately employing the language of the day, as well as the then recognized conventions of the given genre and artistic practice. The artist’s intentions, if successfully executed, are publicly manifest in the work but will be recognized only by those familiar with the linguistic and artistic practices by which their expression is facilitated. The meaning of a work can be ambiguous or multi-layered, but usually this is because it is created to be so. The intentions need not be present to the author’s mind; they need not be self-consciously formulated as he works. Moreover, the author might have difficulty in articulating or formulating his intentions if asked, just as one often has difficulty in describing what one does in performing a familiar yet complex action. But they are nonetheless his intentions, nor are they the more difficult to discern in the product of those actions, for these facts.Hypothetical intentionalism holds that the work’s meaning is determined by inferences made by a suitably placed audience to the intentions of a hypothetical author, where these inferences are founded on a grasp of the linguistic conventions and artistic practices of the day, as well as publicly available knowledge concerning the creation of the given work. 2 Here the meaning of the work is generated by hypothesizing intentions authors might have had, given the context of creation, rather than relying on their actual intentions. Such inferences must have interpersonal validity if they are to reveal a meaning that can be attributed legitimately to the work. Because more than one set of inferences can be justifiable, a work might possess or display a multiplicity of meanings, even if the actual author intended only one of these.Conventionalism maintains that the conventions of language and art in place when the work was created are sufficient to secure the work’s meaning. 3 This last variant focuses on “utterance” rather than “utterer... (shrink)

Where does the mind stop and the rest of the world begin? The question invites two standard replies. Some accept the demarcations of skin and skull, and say that what is outside the body is outside the mind. Others are impressed by arguments suggesting that the meaning of our words "just ain't in the head", and hold that this externalism about meaning carries over into an externalism about mind. We propose to pursue a third position. We advocate a very different (...) sort of externalism: an _active externalism_, based on the active role of the environment in driving cognitive processes. (shrink)

This response defends the view that human metacognition results from us turning our mindreading capacities upon ourselves, and that our access to our own propositional attitudes is through interpretation rather than introspection. Relevant evidence is considered, including that deriving from studies of childhood development and other animal species. Also discussed are data suggesting dissociations between metacognitive and mindreading capacities, especially in autism and schizophrenia.

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation of (...) an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation of (...) an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.

This commentary suggests that understanding the “Folk Psychology of Souls” requires studying a problem articulating ontology with psychology: How do human beings, both as perceivers and thinkers, track and refer to (1) living and dead intentional agents and (2) supernatural agents? The problem is discussed in the light of the principle of the ontological commitment in agent tracking.

In contrast to Constructivist Views, which construe perceptual cognition as an essentially reconstructive process, this article recommends the Deictic View, which grounds perception in perceptual-demonstrative reference and the use of deictic tracking strategies for acquiring and updating knowledge about individuals. The view raises the problem of how sensory-motor tracking connects to epistemic and integrated forms of tracking. To study the strategies used to solve this problem, we report a study of the ability to track distal individuals when only their directions (...) can be perceived and not their locations. We introduce a new experimental paradigm named the 'Modified Traveling Salesman Problem' (MTSP), which requires subjects to visit n invisible targets in a 2D display once each. Surprisingly, subjects are competent at this task for up to 10 targets. We consider two types of tracking strategies that subjects might use: 'location-based' strategies and 'deictic direction-based' strategies. A number of observations suggest that subjects used the latter, at least for larger numbers of targets. We hypothesize that subjects used perceptual-demonstrative reference and deictic strategies (i) to perform the sensory-motor tracking of directional segments, (ii) to bind the segments with their updated status in the task, and (iii) to perform the epistemic tracking of invisible targets by means of perception-based inferences. (shrink)