On a traditional or default view of the grasping or understanding of a singular proposition by an individual, it is assumed to be a unitary or holistic activity. However, naturalistic views of cognition plausibly could analyze propositional thinking in terms of more than one distinctive functional stage of cognitive processing, suggesting at least the potential legitimacy of a non-unitary analysis of propositional grasping. We outline a novel dual-component view of this kind, and show that it is well supported by current (...) cognitive science research. (shrink)
Jerry Fodor’s arguments against the possibility of concept learning, and the responses that have been offered in defense of the coherence of concept learning, have both by and large assumed that concept learning is a descriptive process. I offer an alternative, ostensive approach to concept learning and explain how descriptive concept learning can be explained as a version of ostensive concept learning. I argue that an ostensive view of concept learning offers an empirically plausible and philosophically adequate account of concept (...) learning that is explanatorily superior to traditional descriptive views. (shrink)
Under the influence of the mysterious Ammonius Saccas, Plotinus conceived a desire to learn Persian and Indian philosophy firsthand. This led him to a romantic participation in the emperor Gordian's ill-fated Persian expedition. He managed to escape to Antioch and two years later began teaching in Rome.1 It is unlikely he was vouchsafed any contact with Hinduism or Buddhism,2 but the parallels between his thought and especially Buddhist philosophy are striking. The parallels with Buddhism are closer than with Hinduism since (...) Buddhism worked with three rather than two levels or substructures of reality,3 yet the Hindu connection has been more frequently explored by Neoplatonist scholars than the Buddhist.4... (shrink)
This essay examines the songwriting art of Bob Dylan as a vehicle for exploring and clarifying elements in Bernard Lonergan’s analysis of art. The elements focused upon include Lonergan’s treatment of symbols and symbolic meaning as the communicative medium of art, and, at greater length, Lonergan’s account of art’s capacity for what he calls “ulterior significance,” its ability to suggest depths of meaning—including divine or ultimate meaning—that we surmise to lie beyond our comprehension. Examining songs from the full range (...) of Dylan’s fifty-year career, the essay shows that from his early songwriting in the “folk” tradition and his breakthrough achievements of the mid-1960s, Dylan’s best art has been characterized by an unusual concision and power in its use of symbolic imagery, as well as by a recurrent ability to evoke, with artistic originality and effectiveness, mysteries of “ulterior significance.” These analyses are then brought together in a discussion of the religious, often eschatological, character of some of Dylan’s most significant work. (shrink)
This essay—originally a conference response to Glenn Hughes’ essay—explores how themes and notions in Lonergan’s philosophy of art extend in surprising and often unnoticed ways into the larger whole of Lonergan’s thought. By the same token, the broader framework of Lonergan’s philosophy sheds a great deal of interesting light on his philosophy of art. The essay explores this mutual illumination in the context of Hughes’ reflections on “ulterior significance.” For example, it relates Lonergan’s notion of art to his heuristic of (...) human development as an intertwining or interlocking of the organic, psychic, intellectual, and religious levels in human development. It also relates Lonergan’s notion of art, together with his recognition of the centrality of the symbolic in human living, to his treatment of the permanent human needs for liberation from “the ready-made world,” for the sense of the unknown, and for orientation into mystery—even for orientation into ultimate mystery. (shrink)
This lecture was first delivered at Tulane University, New Orleans, Louisiana, in 1966. What relevance it may have to the Dylan of 2010 only the reader can say.
This lecture was first delivered at Tulane University, New Orleans, Louisiana, in 1966. What relevance it may have to the Dylan of 2010 only the reader can say.
Twenty-four years remind the tears of my eyes.In the groin of the natural doorway I crouched like a tailorSewing a shroud for a journeyBy the light of the meat-eating sun.Dressed to die, the sensual strut begun,With my red veins full of money,In the final direction of the elementary townI advance for as long as forever is.1The first problem raised in this poem is the agrammatical status of the word remind, which in normal usage governs either a verbal or phrasal complement. (...) The reader’s question is: “reminds you of what?” And it is a natural expectation, as the poem unfolds, that this lacuna.. (shrink)
This volume is the result of a 2010 workshop at Deakin University in Australia on the topic of “Secularization and its Discontents,” which also gives its name to the Introduction. The book concerns an important and cutting-edge theme—the role of religion and secularism in contemporary philosophy, politics, and culture. Some of the chapters are excellent and intrinsically valuable contributions, although the volume overall is a little uneven and could be better organized.The Introduction consists of a fine overview of the topic (...) and the chapters, using Freud’s The Future of an Illusion as an opening, and going from there to engage issues of secularization theory and religious fundamentalism before turning to the specific chapters. The Introduction suffers from a lack of clarity in its organization and explication. The book is divided into five parts: Secularizations, Church and State, Radical Orthodoxy, New Atheism and the Post-Secular Theological Turn, and The Secular Age or Post-Secula .. (shrink)
Being a postmodernist means mixing the high brow and the low brow, cultivating multiple selves, rejecting the idea of personal authenticity, and maintaining that truth and knowledge are somehow human creations and relative to human purposes/different cultures. Further, it consists in incredulity toward the idea of progress and lack of belief in reason, plus taking generally a skeptical stance, not least toward political ideologies.1 Indeed, the arch-postmodernist Jean-François Lyotard famously defined postmodernism as “incredulity towards metanarratives”2 . The pragmatist philosopher Richard (...) Rorty fitted the postmodern bill by and large .. (shrink)
Last night I dived my beggar armDays deep in her breast that wore no heartFor me alone but only a rocked drumTelling the heart I broke of a good habitThat her loving, unfriendly limbsWould plunge my betrayal from sheet to skySo the betrayed might learn in the sun beamsOf the death in a bed in another country.1This poem, as far as I have been able to determine, has never been the object of any published critical commentary. The only help that (...) I have had in my reading of it has come from groups of students to whom I have regularly assigned it as a midterm paper, largely because I knew in advance that they would have to confront it entirely on their own. My interest in this text stems from its unique status as a poem.. (shrink)
Eddy Nahmias and Dylan Murray have recently argued that when people take agents to lack responsibility in deterministic scenarios, they do so because they take agents’ beliefs, desires and decisions to be bypassed, having no effect on their actions. This might seem like an improbable mistake, but the Bypass Hypothesis is bolstered by intriguing experimental data. Moreover, if the hypothesis is correct, it provides a straightforward error theory for incompatibilist intuitions. This chapter argues that the Bypass Hypothesis, although promising (...) and potentially highly significant, does not provide the best explanation of the data. Results from two new studies strongly suggest that subjects with incompatibilist intuitions do not take determinism to imply that belief, desires, and decisions are bypassed. Together with an independently motivated account of judgments of moral responsibility, the Explanation Hypothesis, they instead suggest, first, that subjects have incompatibilist intuitions because they see agents in deterministic scenarios from an explanatory perspective in which mental states and decisions provide no independent input into what happens, and, second, that this explains why subjects seem to think that these states and decisions are causally bypassed. The results also undermine the suggestion, by David Rose and Shaun Nichols, that subjects make what seems like bypass judgments because they take determinism to exclude he existence of decisions. (shrink)
If the opening sequence of a film is a microscopic 'event' that achieves far more than setting the tone and whetting the appetite for what we are about to see, then Todd Haynes' I'm Not There is exemplary. This paper works its way through the conceptually dense and intricately woven textual layers of the film's opening to stage a three-way dialogue between Haynes, Bob Dylan and Jacques Derrida: three mavericks who defy simple categorisation, by transgressing the boundaries of their (...) respective fields (song writing, cinema and philosophy). By introducing Derrida's deconstructive logic of hauntology as a strategy for reading Haynes' biopic on Dylan, the figure of the ghost is called upon to situate the quest for an identity's authenticity as a perennial, irresolvable problem in song, cinema and philosophy. Belonging to a time that is neither past nor present, a place that is neither here nor there, the ghost offers the perfect medium to join Haynes, Dylan and Derrida in (re)thinking identity in terms that respond to a call (in the name of art, justice and truth, among other things) that is not based on an unyielding conception of authenticity. (shrink)
_ _From the frozen landscapes of the Antarctic to the haunted houses of childhood, the memory of places we experience is fundamental to a sense of self. Drawing on influences as diverse as Merleau-Ponty, Freud, and J. G. Ballard, _The Memory of Place___ __charts the memorial landscape that is written into the body and its experience of the world._ Dylan Trigg’s _The Memory of Place_ _ __offers a lively and original intervention into contemporary debates within “place studies,” an interdisciplinary (...) field at the intersection of philosophy, geography, architecture, urban design, and environmental studies. Through a series of provocative investigations, Trigg analyzes monuments in the representation of public memory; “transitional” contexts, such as airports and highway rest stops; and the “ruins” of both memory and place in sites such as Auschwitz. While developing these original analyses, Trigg engages in thoughtful and innovative ways with the philosophical and literary tradition, from Gaston Bachelard to Pierre Nora, H. P. Lovecraft to Martin Heidegger. Breathing a strange new life into phenomenology, _The Memory of Place___ __argues that the eerie disquiet of the uncanny is at the core of the remembering body, and thus of ourselves. The result is a compelling and novel rethinking of memory and place that should spark new conversations across the field of place studies. Edward S. Casey, Distinguished Professor of Philosophy at Stony Brook University and widely recognized as the leading scholar on phenomenology of place, calls _The Memory of Place _“genuinely unique and a signal addition to phenomenological literature. It fills a significant gap, and it does so with eloquence and force.” He predicts that Trigg’s book will be “immediately recognized as a major original work in phenomenology.”. (shrink)
Was love invented by European poets in the middle ages, as C. S. Lewis claimed, or is it part of human nature? Will winning the lottery really make you happy? Is it possible to build robots that have feelings? These are just some of the intriguing questions explored in this new guide to the latest thinking about the emotions. Drawing on a wide range of scientific research, from anthropology and psychology to neuroscience and artificial intelligence, Emotion: The Science of Sentiment (...) takes the reader on a fascinating journey into the human heart. Illustrating his points with entertaining examples from fiction, film, and popular culture, Dylan Evans ranges from the evolution of the emotions to the nature of love and happiness to the language of feelings, offering readers the most recent thinking on real life topics that touch us all. But Emotion is also a book filled with surprises. Readers will discover, for instance, that the basic emotions are felt the world over--whether we live in the shadow of Times Square or in the depths of the rain forest, we all feel the emotions of disgust, joy, surprise, anger, fear, and distress. We find out that, according to research, winning the lottery does not cause a lasting increase in happiness--a short-lived euphoria is followed in almost every case with a return to our usual emotional state, if not worse. And we meet Kismet, an MIT robot that can express a wide range of emotions, from fear to happiness. Fun to read and based on the latest scientific thinking, here is a stimulating look at our emotions. (shrink)
What is the human body? Both the most familiar and unfamiliar of things, the body is the centre of experience but also the site of a prehistory anterior to any experience. Alien and uncanny, this other side of the body has all too often been overlooked by phenomenology. In confronting this oversight, Dylan Trigg’s The Thing redefines phenomenology as a species of realism, which he terms unhuman phenomenology. Far from being the vehicle of a human voice, this unhuman phenomenology (...) gives expression to the alien materiality at the limit of experience. -/- By fusing the philosophies of Merleau-Ponty, Husserl, and Levinas with the horrors of John Carpenter, David Cronenberg, and H.P. Lovecraft, Trigg explores the ways in which an unhuman phenomenology positions the body out of time. At once a challenge to traditional notions of phenomenology, The Thing is also a timely rejoinder to contemporary philosophies of realism. The result is nothing less than a rebirth of phenomenology as redefined through the lens of horror. (shrink)
Several philosophers have claimed that S knows p only if S’ s belief is safe, where S's belief is safe iff (roughly) in nearby possible worlds in which S believes p, p is true. One widely held intuition many people have is that one cannot know that one's lottery ticket will lose a fair lottery prior to an announcement of the winner, regardless of how probable it is that it will lose. Duncan Pritchard has claimed that a chief advantage of (...) safety theory is that it can explain the lottery intuition without succumbing to skepticism. I argue that Pritchard is wrong. If a version of safety theory can explain the lottery intuition, it will also lead to skepticism. Content Type Journal Article Category Original Article Pages 1-26 DOI 10.1007/s10670-011-9305-z Authors Dylan Dodd, Department of Philosophy, Northern Institute of Philosophy, University of Aberdeen, Aberdeen, UK Journal Erkenntnis Online ISSN 1572-8420 Print ISSN 0165-0106. (shrink)
Miles Kennedy: Home: A Bachelardian concrete metaphysics Content Type Journal Article Pages 1-4 DOI 10.1007/s11007-012-9212-2 Authors Dylan Trigg, Centre de Recherche en Épistémologie Appliquée, Paris, France Journal Continental Philosophy Review Online ISSN 1573-1103 Print ISSN 1387-2842.
In The Aesthetics of Decay, Dylan Trigg confronts the remnants from the fallout of post-industrialism and postmodernism. Through a considered analysis of memory, place, and nostalgia, Trigg argues that the decline of reason enables a critique of progress to emerge. In this ambitious work, Trigg aims to reassess the direction of progress by situating it in a spatial context. In doing so, he applies his critique of rationality to modern ruins. The derelict factory, abandoned asylum, and urban alleyway all (...) become allies in Trigg's attack on a fixed image of temporality and progress. The Aesthetics of Decay offers a model of post-rational aesthetics in which spatial order is challenged by an affirmative ethics of ruin. (shrink)
