Critical notice of Derk Pereboom's "Consciousness and the Prospects of Physicalism". Discusses Pereboom's idea that conscious states might be misrepresented in introspection, and his idea that instantiations of mental properties are composed of instantiations of physical properties.

Joel Feinberg : In Memoriam. Preface. Part I: INTRODUCTION TO THE NATURE AND VALUE OF PHILOSOPHY. 1. Joel Feinberg: A Logic Lesson. 2. Plato: "Apology." 3. Bertrand Russell: The Value of Philosophy. PART II: REASON AND RELIGIOUS BELIEF. 1. The Existence and Nature of God. 1.1 Anselm of Canterbury: The Ontological Argument, from Proslogion. 1.2 Gaunilo of Marmoutiers: On Behalf of the Fool. 1.3 L. Rowe: The Ontological Argument. 1.4 Saint Thomas Aquinas: The Five Ways, from Summa Theologica. 1.5 Samuel (...) Clarke: A Modern Formulation of the Cosmological Argument. 1.6 William L. Rowe: The Cosmological Argument. 1.7 William Paley: The Argument from Design. 1.8 Michael Ruse: The Design Argument. 1.9 David Hume: Dialogues Concerning Natural Religion. 2. The Problem of Evil. 2.1 Fyodor Dostoyevsky: Rebellion. 2.2 J. L. Mackie: Evil and Omnipotence. 2.3 Peter van Inwagen: The Argument from Evil. 2.4 Michael Murray and Michael Rea: The Argument from Evil. 2.5 B. C. Johnson: God and the Problem of Evil. 3. Reason and Faith. 3.1 W. K. Clifford: The Ethics of Belief. 3.2 William James: The Will to Believe. 3.3 Kelly James Clark: Without Evidence or Argument. 3.4 Blaise Pascal: The Wager. 3.5 Lawrence Shapiro: Miracles and Justification. 3.6 Simon Blackburn: Infini-Rien. Part III. HUMAN KNOWLEDGE: ITS GROUNDS AND LIMITS. 1. Skepticism. 1.1 John Pollock: A Brain in a Vat. 1.2 Michael Huemer: Three Skeptical Arguments. 1.3 Robert Audi: Skepticism. 2. The Nature and Value of Knowledge. 2.1 Plato: Knowledge as Justified True Belief. 2.2 Edmund Gettier: Is Justified True Belief Knowledge? 2.3 James Cornman, Keith Lehrer, and George Pappas: An Analysis of Knowledge. 2.4 Gilbert Ryle: Knowing How and Knowing That. 2.5 Plato: "Meno". 2.6 Linda Zagzebski, Epistemic Good and The Good Life. 3. Our Knowledge of the External World. 3.1 Bertrand Russell: Appearance and Reality and the Existence of Matter. 3.2 René Descartes: Meditations on First Philosophy. 3.3 John Locke: The Causal Theory of Perception. 3.4 George Berkeley: Of the Principles of Human Knowledge. 3.5 G. E. Moore: Proof of an External World. 4. The Methods of Science. 4.1 David Hume: An Inquiry Concerning Human Understanding. 4.2 Wesley C. Salmon: An Encounter with David Hume. 4.3 Karl Popper: Science: Conjectures and Refutations. 4.4 Philip Kitcher: Believing Where We Cannot Prove. Part IV: MIND AND ITS PLACE IN NATURE. 1. The Mind-Body Problem. 1.1 Brie Gertler: In Defense of Mind--Body Dualism. 1.2 Frank Jackson: The Qualia Problem. 1.3 David Papineau: The Case for Materialism. 1.4 Paul Churchland: Functionalism and Eliminative Materialism. 2. Can Non-Humans Think? 2.1 Alan Turing: Computing Machinery and Intelligence. 2.2 John R. Searle: Minds, Brains, and Programs. 2.3 William G. Lycan: Robots and Minds. 3. Personal Identity and the Survival of Death. 3.1 John Locke: The Prince and the Cobbler. 3.2 Thomas Reid: Of Mr. Locke’s Account of Our Personal Identity. 3.3 David Hume: The Self. 3.4 Derek Parfit: Divided Minds and the Nature of Persons. 3.5 Shelly Kagan: What Matters. 3.6 John Perry: A Dialogue on Personal Identity and Immortality. Part V: DETERMINISM, FREE WILL, AND RESPONSIBILITY. 1. Libertarianism: The Case for Free Will and Its Incompatibility with Determinism. 1.1 Roderick M. Chisholm: Human Freedom and the Self. 1.2 Robert Kane: Free Will: Ancient Dispute, New Themes. 2. Hard Determinism: The Case for Determinism and its Incompatibility with Its Incompatibility with Any Important Sense of Free Will. 2.1 James Rachels: The case against Free Will. 2.2 Derk Pereboom: Why We Have No Free Will and Can Live Without It. 3. Compatibilism: The Case for Determinism and Its Compatibility with the Most Important Sense of Free Will. 3.1 David Hume: Of Liberty and Necessity. 3.2 Helen Beebee: Compatibilism and the Ability to do Otherwise. 4. Freedom and Moral Responsibility. 4.1 Galen Strawson: Luck Swallows Everything. 4.2 Harry Frankfurt: Alternate Possibilities and Moral Responsibility. 4.3 Thomas Nagel: Moral Luck. 4.4 Susan Wolf: Sanity and the Metaphysics of Responsibility. Part VI: MORALITY AND ITS CRITICS. 1. Changes to Morality. 1.1 Joel Feinberg: Psychological Egoism. 1.2 Plato: The Immoralist’s Challenge. 1.3 Friedrich Nietzche: Master and Slave Morality. 1.4 Richard Joyce: The Evolutionary Debunking of Morality. 2. Proposed Standards and Right of Conduct. 2.1 Russ Shafer-Landau: Ethical Subjectivism. 2.2 Mary Midgley: Trying Out One’s New Sword. 2.3 Aristotle: Virtue and the Good Life. 2.4 Thomas Hobbes: Leviathan. 2.5 Plato: Euthyphro. 2.6 Immanuel Kant: The Good Will and the Categorical Imperative. 2.7 J.S. Mill: Utilitarianism, Chapters 2 and 4. 2.8 W. D. Ross: What Makes Right Acts Right? 2.9 Hilde Lindemann: What Is Feminist Ethics? 3. Ethical Problems. 3.1 Kwame Anthony Appiah: What Will Future Generations Condemn Us For? 3.2 Peter Singer: Famine, Affluence and Morality. 3.3 John Harris: The Survival Lottery. 3.4 James Rachels: Active and Passive Euthanasia. 3.5 Mary Anne Warren: The Moral and Legal Status of Abortion. 3.6 Don Marquis: Why Abortion Is Immoral. 4. The Meaning of Life. 4.1 Epicurus: Letter to Menoeceus. 4.2 Richard Taylor: The Meaning of Life. 4.3 Richard Kraut: Desire and the Human Good. 4.4 Leo Tolstoy: My Confession. 4.5 Susan Wolf: Happiness and Meaning. 4.6 Thomas Nagel: The Absurd. (shrink)

This article discusses the relation between prioritarian and egalitarian principles, whether and why we need to appeal to both kinds of principle, how prioritarians can answer various objections, especially those put forward by Michael Otsuka and Alex Voorhoeve, the moral difference between cases in which our acts could affect only one person or two or more people, veil of ignorance contractualism and utilitarianism, what prioritarians should claim about cases in which the effects of our acts are uncertain, the relative moral (...) importance of actual and expectable benefits, whether people should sometimes be given various chances of receiving benefits, and principles that appeal to competing claims. (shrink)

Examines the relevance of empirical studies of responsibility judgments for traditional philosophical concerns about free will and moral responsibility. We argue that experimental philosophy is relevant to the traditional debates, but that setting up experiments and interpreting data in just the right way is no less difficult than negotiating traditional philosophical arguments. Both routes are valuable, but so far neither promises a way to secure significant agreement among the competing parties. To illustrate, we focus on three sorts of issues. For (...) illustration, we discuss an error theory for incompatibilist intuitions proposed by Eddy Nahmias and colleagues, the role that empirical studies might have in the assessment of manipulation arguments for incompatibilism, and the suggestion that empirical studies reveal that core criteria for moral responsibility ought not to be applied invariantly across different sorts of cases. (shrink)

Matravers examines how emotions form the bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts (...) of the nature of fiction, attacks contemporary cognitivist accounts of expression, and offers an uncompromising defense of a controversial view about musical expression: that music works by expressing the emotions it causes its listeners to feel. (shrink)

In the nearly 30 years since Premack and Woodruff famously asked, “Does the chimpanzee have a theory of mind?”, the question of exactly how much non‐human primates understand about the mental lives of others has had an unusually dramatic history. As little as ten years ago it appeared that the answer would be a simple one, with early investigations of non‐human primates’ mentalistic abilities yielding a steady stream of negative findings. Indeed, by the mid‐1990s even very cautious researchers were ready (...) to flatly assert that Theory of Mind was a uniquely human capacity. Recently, however, an exciting new theoretical perspective on primate social cognition has arisen, and with it the distinct possibility that our evolutionary relatives may understand far more of the social world than we previously believed. In this paper we review new theory and evidence suggesting that non‐human primates may indeed represent the mental states of others, at least within the domains for which their distinctive social ecology has prepared them. Having asserted that Premack and Woodruff's original question can be answered with a qualified yes, we then consider the new questions that arise in its place, particularly how and why our own Theory of Mind became more domain‐general than that of other primates. (shrink)

Discusses Eddy Nahmias' “Is Free Will an Illusion?”.

About the book: Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, (...) and especially commissioned for the volume. Lively debate format sharply defines the issues, and paves the way for further discussion. Will serve as an accessible introduction to the major topics in aesthetics, while also capturing the imagination of professional philosophers. (shrink)

Constructivism claims to be a postepistemology that replaces ‘traditional’ concepts of knowledge. Supporters of constructivism have argued that progress requires that pre‐service teachers be weaned off traditional approaches and that they should adopt constructivist views of knowledge. Constructivism appears to be gaining ground rapidly and should no longer be viewed as an exercise in radical thinking primarily aimed at generating innovative teaching. It has become an integral part of the pedagogic mainstream. Close examination of the theoretical foundations of constructivism, however, (...) reveals that the basic assumptions of constructivism are flawed. Far from being a postepistemology, constructivism simply regresses to a pre‐Renaissance mindset with theology replaced with a psychologism. Constructivists should be aware that the implications of constructivism for future generations may be both profound and non‐benign. (shrink)

When is a moral theory self-defeating? I suggest the following. There are certain things we ought to try to achieve. Call these our moral aims. Our moral theory would be self-defeating if we believed we ought to do what will cause our moral aims to be worse achieved. Is this ever true? If so, what does it show?

This article criticises existing solutions to the 'puzzle of imaginative resistance', reconstrues it, and offers a solution of its own. About the Book : Imagination, Philosophy and the Arts is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of (...) sustained, critical attention it deserves. This collection of seventeen brand new essays critically examines just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. (shrink)

The Act of Thinking opens up a large new area for philosophical research.

The reasoning in this anthology shows how hard it is to form acceptable theories in cases that involve different numbers of people. That's highly important. And it gives us ground for worry about our appeal to particular theories in the other two kinds of case: those which involve the same numbers, in the different outcomes, though these are not all the same people, and those which do involve all and only the same people. But there is still a clear distinction (...) between these three kinds of case. And there may be some hope of 'quarantining' the impossibility, and the resulting scepticism, to Different Number Choices. Her's a partial analogy, which may be worth mentioning. It's very difficult to formulate acceptable welfarist theories that could apply to cases that involve infinite quantities of such things as suffering and happiness. That's a worry, but it doesn't undermine our confidence in the theories that can handle cases with only finite quantities. (shrink)

Examines recent changes and future developments in human geography.

The debate of nativisim versus empiricism is over the relative importance of evolutionary versus ontogenetic mechanisms. This is mostly seen today as a false dichotomy. The synthesis of these positions provides a modern viewpoint of grounded category formation. This combined view places equal importance on feedback between these levels in guiding development, and is more appropriately compared to culturalist positions.

In his book _The Nature of Fiction_ Greg Currie makes the following proposal concerning the contents of works of fiction: 'Fs' is an abbreviation of 'P is true in fiction S', where P is some proposition and S is some work of fiction. 'Fs' is true iff it is reasonable for the informed reader to infer that the fictional author of S believes that P. In reading a fiction we engage in a make-believe, and the fictional author is that fictional (...) character constructed within our make-believe whom we take to be telling us the story as known fact. Currie's view applies a general account of communication to understanding fiction. This is an advantage for a number of reasons, not least that the capacities I use to understand a novel do seem to be those I use in understanding written factual information. From what the fictional author 'says', we infer what he believes; reading a book is 'an exploration of the fictional author's belief structure'. From this simple and plausible basis, Currie gives a convincing philosophical account of the nature of fiction. Convincing though the account is, it cannot be quite right. (shrink)

The paper examines certain aspects of institutionalist definitions of art, in particular whether they are committed to ‘indexing’, whereby calling something art makes it art. It is argued that there is no such commitment and that institutionalist definitions need not abandon the idea that works of art become art for specific, and substantial, reasons. The question is how reasons can be accommodated. A proposal from defenders of ‘cluster theories’ is considered and rejected. Another proposal is advanced according to which the (...) reasons, which might change over time, are those acceptable within the artworld at any given time. The idea is explored and its merits identified. (shrink)

In this paper I want to return to some well-worn ideas; specifically, the attempt to show that there is a distinctive subject-matter of the aesthetic via consideration of the difference between aesthetic and non-aesthetic concepts. The classic exposition of this distinction is Frank Sibley's 'Aesthetic Concepts'. Sibley claimed that, given a set of relevant terms, there will be widespread non-collusive agreement as to which are aesthetic and which non-aesthetic. Non-aesthetic terms include _'red, noisy, brackish, clammy, square, docile, curved, evanescent, intelligent, (...) faithful, derelict, tardy, freakish'_. Aesthetic terms include _'unified, lifeless, serene, sombre, dynamic, powerful, vivid, delicate, moving, trite, sentimental, tragic'_. Further examples have been given by other philosophers working in the field. Given the widespread agreement, I shall assume there is a distinction of some sort whose nature is open to be discussed. (shrink)

This paper joins recent attempts to defend a notion of aesthetic experience. It argues that phenomenological facts and facts about aesthetic value support the Kantian notion that aesthetic experience lies between, but differs from, pleasures of the agreeable and pleasures stemming from cognitions. It then shows that accounts by Beardsley, Levinson, and Savile fail to resolve clear tensions that surface in attempting to characterize such an experience. An account of aesthetic experience—as involving experienced cognitions that are the bearers of value—is (...) presented. The paper ends on a sceptical note as to whether aesthetic experience can be clearly delimited. (shrink)

I am going to assume, in what follows, that when we engage with a fiction we are participating in a game of make-believe; that is, that we are engaging in an imaginative effort. In this paper I shall attempt to identify the kind of game we are playing. I begin with two words of caution. First, identifying the kind of game will be a matter of finding a game whose structure best reflects the facts about our engagement with fiction. The (...) fit, however, will not be exact. In a game of mud pies, the fact that the cardboard box holds a maximum of six globs of mud may make it true in the game that the oven holds a maximum of six pies, but the fact that the box has "Fyffes bananas" written on the side of it will probably not make it true in the game that the oven has the same. Second the variety of works of fiction makes it unwise to assume that one kind of game will cover all cases. These two provisos might be thought to vitiate my project before it begins. In the face of an objection to my first proviso, namely, that the kind of make-believe I maintain we play with fiction does not mirror the facts of our relations with fiction, I can reply that the structure is not isomorphic in that particular respect. In reply to the claim that in some particular instance we do not play the game of make-believe that I suggest we do, I can simply agree and count it as one of the many exceptions to the rule. (shrink)

The primary use of such terms as "sadness" and "joy" is to refer to the mental states of people. In such cases, the claim that someone is sad is equivalent to the claim that they feel sad. However, our use of emotion terms is broader than this; a funeral is a sad occasion, a wedding is a happy event. In such cases, a justification can be given for the use of the word. For example, it is part of what is (...) meant by "sadness" that events such as funerals are an appropriate object for such emotions and the epithet is transferred. Sometimes in criticism a similar justification can be given; it explains, for example, why the death of Little Nell is sad. On other occasions such a justification is not available. A poem can express sadness without representing a sad state of affairs. More obviously, to take a medium that is not representational, a piece of music can be sad. What we need is some way of making sense of these uses of the emotion terms. (shrink)

About the book: One of the issues underlying current debates between practitioners of art history, visual culture and aesthetics is whether the visual is a unique, irreducible category, or whether it can be assimilated with the textual or verbal without any significant loss. Can paintings, buildings or installations be 'read' in the way texts are read or deciphered, or do works of visual art ask for their own kind of appreciation? This is not only a question of choosing the right (...) method in dealing with visual works of art, but also an issue that touches on the roots of the disciplines involved: can a case be made for the visual as an irreducible category of art, and if so, how is it best studied and appreciated? In this anthology, this question is approached from the angles of three disciplines: aesthetics, visual culture and art history. Unlike many existing overviews of visual culture studies, it includes both painting and architecture, and investigates historical ways of defining and appreciating the visual in their own, contemporary terms. Dealing with the Visual will be of great use to advanced students because it offers an overview of current debates, and to graduate students and professionals in the field because the essays offer in-depth investigations of the methodological issues involved and various historical ways of defining visuality. The topics included range from early modern ways of viewing pictures and sixteenth-century views of Palladio's villas in their landscape settings to contemporary debate about whether there is life yet in painting. (shrink)

It is hard not to sympathise with Professor Honderich's starting point. It is easy to feel pessimistic about philosophy's ability to throw light on the nature of consciousness. What, then, to do? One option is to persist with the various current approaches. It is clear that Honderich thinks this would be akin to putting more effort into trying to work out the temporal priority of the chicken and the egg. The thought of the orthodox is that an account of consciousness (...) is going to be either fundamentally materialist or fundamentally dualist. The first of these is untenable as consciousness has other or more than neural properties. The second is untenable for various reasons, Honderich's favoured one being that it renders consciousness as out of space and of a mysterious nature. A second option would be to follow Colin McGinn's lead, and think that the problem is of such a nature that it is necessarily unsolvable (McGinn, 1989). Alternatively, we should be more radical and think creatively, not necessarily respecting our current conceptual boundaries between the mental and the physical, the inside and the outside. The solution, Honderich says, lies in the thought that `my consciousness now consists in the existence of a world' (Honderich, 2004, p. 130). I shall say a little about what I understand by this claim, by raising what I take to be three obvious questions, looking at Honderich's answers them, and inviting some further clarification. Throughout I will address only the question of perceptual consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Oxford Handbook of AestheticsDerek MatraversThe Oxford Handbook of Aesthetics, edited by Jerrold Levinson. Oxford: Oxford University Press, 2003, 821pp., $99.00 Hardback.The aesthetics community has much for which to thank Jerrold Levinson. His papers are required reading on a number of topics in aesthetics, and he is renowned as a generous commentator and critic. The considerable labor he must have expended in editing this book is yet another (...) reason to be grateful for his industry. As well as a useful Preface, which lays out the editor's rationale for the content, the book contains two survey articles and thenforty-six individual articles that, according to the Preface, cover "virtually all the major issues in philosophical aesthetics that are active topics of discussion and research" (p. v). I shall begin this review with a brief overview of the book. I shall then comment on the extent to which it fulfils it stated purpose, on its usefulness in teaching, and what it might show us about the current state of our discipline. Finally, I shall compare it with similar books that are currently available.The first of four parts consists of the two overview articles: the first covering debates on contemporary aesthetics, and the second an account of recent work in the history of aesthetics. The first, by Levinson himself, usefully demarcates the subject before organizing the discussion into three foci of aesthetics (art, the aesthetic property, and the aesthetic experience) and then five problems (the concept of the aesthetic, the definition of art, the ontology of art, representation in art, and expression in art). The piece is skillfully organized, and Levinson's grasp of the details of the various topics is unsurpassed. It is very much a teaser, however, as thebrevity means that only the bare outlines of the various problems get discussed. The second article, by Paul Guyer (once again, it is difficult to think of anyone more suitable to the task) does not attempt to give an overview of the history of aesthetics, but rather an overview of the recent work in the history of modern aesthetics. Although descriptive, this is informed by Guyer's view that the Anglo-American tradition has been unduly restricted in both the history it has studied and in the range of its current concerns. The article aims to be comprehensive: the bibliography takes up eight of its thirty-five pages.The second part, which is the most extensive, consists of twenty-five essays of general issues in aesthetics. It begins with two essays on aesthetic realism. The first, by Nick Zangwill, advocating the position and the second, by John Bender, opposing it. This is the only instance of such a debate: the other twenty-three essays cover all the general issues currently being discussed (at least, this reviewer could not see any obvious gaps). The third part covers aesthetic issues of specific artforms including, it is nice to see, Architecture, Sculpture, Dance, Theatre,Poetry, Photography, and Film as well as Music, Painting, and Literature. [End Page 104] The final part certainly has the most intriguing heading: "Further Directions in Aesthetics." This pushes out the boundaries, including articles that relate aesthetics to evolutionary psychology, cognitive science, the everyday, postmodernism, cultural studies, and the avant-garde.One function of a handbook (or companion) is to offer readers a one-stop place from which to learn what the main issues are in a particular area, what is the orthodox mainstream view, and what are the main points for and against. It is an intriguing matter that fifteen years ago there were few introductions to philosophical aesthetics, and ever fewer handbooks or companions such as this one. I imagine that there are many people who, like me, make use of such books (I look on my shelves and see, as well as the book I am reviewing, six introductions to aesthetics and two Companions) yet who feel that the notion of a philosophical textbook is problematic. It is difficult to be precise about this feeling of unease although, were I to do so, I would point to two issues. The first worry is that presenting a synoptic view of an area... (shrink)

The recent exhibition at the Hayward must surely have prompted anyone who paid £5 to see it to ask whether some of what they were being shown was worth looking at. This is not simply the 'But is it art?' question all over again, but something more specific. do we have a reason to _see_ these things, as opposed to hearing about them, reading about them or appreciating them in some other way? One would expect the answer to be 'yes'. (...) Art, like malt whisky, is made to be experienced. That is, one can look forward to it, talk about it, collect it, buy it or sell it but ultimately what gives its existence point is that it provides a worthwhile experience for people who try it. There would be no point in making malt whisky just to put vitriol into it and there would seem to be no point in exhibiting works of art which are not worth looking at. (shrink)

Selection of Critical Notices of a number of books on Wittgenstein's work - over 20 by 2013 - including books devoted to The TRACTATUS, the PHILOSOPHICAL INVESTIGATIONS and various collections of essays etc. by Wittgenstein scholars and others.