Challenging, with several powerful arguments, some of our deepest beliefs about rationality, morality, and personal identity, Parfit claims that we have a false view about our own nature. It is often rational to act against our own best interersts, he argues, and most of us have moral views that are self-defeating. We often act wrongly, although we know there will be no one with serious grounds for complaint, and when we consider future generations it is very hard to avoid conclusions (...) that most of us will find very disturbing. (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)

The extended-mind thesis says that mental states can extend beyond one’s skin. Clark and Chalmers infer from this that the subjects of such states also extend beyond their skin: the extended-self thesis. The paper asks what exactly the extended-self thesis says, whether it really does follow from the extended-mind thesis, and what it would mean if it were true. It concludes that the extended-self thesis is unattractive, and does not follow from the extended mind unless thinking beings are literally bundles (...) of mental states. (shrink)

This first volume contains discussions of the brain, methods for analyzing behavior, thought, consciousness, attention, association, time, and memory.

Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.

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)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

Williams (1970) argues that our intuitions about personal identity vary depending on how a given thought experiment is framed. Some frames lead us to think that persistence of self requires persistence of one's psychological characteristics; other frames lead us to think that the self persists even after the loss of one's distinctive psychological characteristics. The current paper takes an empirical approach to these issues. We find that framing does affect whether or not people judge that persistence of psychological characteristics is (...) required for persistence of self. Open-ended, abstract questions about what is required for survival tend to elicit responses that appeal to the importance of psychological characteristics. This emphasis on psychological characteristics is largely preserved even when participants are exposed to a concrete case that yields conflicting intuitions over whether memory must be preserved in order for a person to persist. Insofar as our philosophical theory of personal identity should be based on our intuitions, the results provide some support for the view that psychological characteristics really are critical for persistence of self. (shrink)

The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

The present studies investigated children’s and adults’ intuitive beliefs about the physical nature of essences. Adults and children (ranging in age from 6 to 10 years old) were asked to reason about two different ways of determining an unknown object’s category: taking a tiny internal sample from any part of the object (distributed view of essence), or taking a sample from one specific region (localized view of essence). Results from three studies indicated that adults strongly endorsed the distributed view, and (...) children showed a developmental shift from a localized to distributed view with increasing age. These results suggest that even children go beyond mere placeholder notions of essence, committing to conceptual frameworks of how essences might be physically instantiated. (shrink)

We investigate the problem of how nonnatural entities are represented by examining university students’ concepts of God, both professed theological beliefs and concepts used in comprehension of narratives. In three story processing tasks, subjects often used an anthropomorphic God concept that is inconsistent with stated theological beliefs; and drastically distorted the narratives without any awareness of doing so. By heightening subjects’ awareness of their theological beliefs, we were able to manipulate the degree of anthropomorphization. This tendency to anthropomorphize may be (...) generalizable to other agents. God (and possibly other agents) is unintentionally anthropomorphized in some contexts, perhaps as a means of representing poorly understood.. (shrink)