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Jonathan Farrell
University of Manchester
  1. ‘What It is Like’ Talk is Not Technical Talk.Jonathan Farrell - 2016 - Journal of Consciousness Studies 23 (9-10):50-65.
    ‘What it is like’ talk (‘WIL-talk’) — the use of phrases such as ‘what it is like’ — is ubiquitous in discussions of phenomenal consciousness. It is used to define, make claims about, and to offer arguments concerning consciousness. But what this talk means is unclear, as is how it means what it does: how, by putting these words in this order, we communicate something about consciousness. Without a good account of WIL-talk, we cannot be sure this talk sheds light, (...)
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  2. Higher-Order Theories of Consciousness and What-It-is-Like-Ness.Jonathan Farrell - 2018 - Philosophical Studies 175 (11):2743-2761.
    Ambitious higher-order theories of consciousness aim to account for conscious states when these are understood in terms of what-it-is-like-ness. This paper considers two arguments concerning this aim, and concludes that ambitious theories fail. The misrepresentation argument against HO theories aims to show that the possibility of radical misrepresentation—there being a HO state about a state the subject is not in—leads to a contradiction. In contrast, the awareness argument aims to bolster HO theories by showing that subjects are aware of all (...)
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    Editorial: Consciousness and Inner Awareness.Jonathan Farrell & Tom McClelland - 2017 - Review of Philosophy and Psychology 8 (1):1-22.
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    Must Aesthetic Definitions of Art Be Disjunctive?Jonathan Farrell - 2008 - American Society for Aesthetics Graduate E-Journal 1 (1):1-6.
    Aesthetic definitions of art face difficulties in dealing with art that is nonaesthetic. This has led some to suggest that if aesthetic theories of art are to apply to all art, then they must be disjunctive. In such a case, something would be art if and only if it either satisfied certain aesthetic criteria, or satisfied other, nonaesthetic, criteria.Nick Zangwill offers the Aesthetic Creation Theory. He considers ways that his theory could account for nonaesthetic art, and ultimately adopts a disjunctive (...)
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