What can I Know? introduces and assesses what many consider to be the most important of all Kant’s great questions, set out in his Critique of Pure Reason , and one of the most important in philosophy itself: what are the bounds of knowledge? Michelle Grier begins with a helpful survey of the question prior to Kant, in particular the arguments of the rationalists Descartes, Spinoza and Leibniz and the empiricists, above all Hume. She describes, in a clear (...) and engaging style, how Kant attempted to find a middle path between the two and what led to the famous "Copernican turn" in his philosophy. She explains the fundamental theories at the heart of Kant’s epistemology: the distinction between appearances and ‘things in themselves’; the transcendental unity of apperception; and Kant’s arguments concerning space and time. In the second part of the book, Grier introduces the main criticisms of Kant’s philosophy, including those of Hegel and Nietzsche. The final part situates Kant’s epistemology in the context of contemporary philosophical debates including those in cognitive science. These include a priori knowledge, correspondence versus coherentist theories of knowledge, ‘naturalized’ epistemology and perception. Including helpful chapter summaries and guides to further reading, What Can I Know? Is an outstanding introduction to Kant's epistemology and the legacy of Kant's question itself. (shrink)

This is the first full-length biography in more than fifty years of Immanuel Kant, one of the giants amongst the pantheon of Western philosophers as well as the one with the most powerful and broad influence on contemporary philosophy. It is well known that Kant spent his entire life in an isolated part of Prussia living the life of a typical university professor. This has given rise to the view that Kant was a pure thinker with no life of his (...) own, or at least none worth considering seriously. In this biography, Manfred Kuehn debunks that myth once and for all. Taking account of the most recent scholarship Professor Kuehn allows the reader to follow the same journey that Kant himself took in emerging as a central figure in modern philosophy. (shrink)

This major study of Kant provides a detailed examination of the development and function of the doctrine of transcendental illusion in his theoretical philosophy. The author shows that a theory of 'illusion' plays a central role in Kant's arguments about metaphysical speculation and scientific theory. Indeed, she argues that we cannot understand Kant unless we take seriously his claim that the mind inevitably acts in accordance with ideas and principles that are 'illusory'. Taking this claim seriously, we can make much (...) better sense of Kant's arguments and reach a deeper understanding of the role he allots human reason in science. (shrink)

We explore and critically reflect on the process of science and engineering research assistant skill development both within laboratory-based research teams and, when no team is present, within the faculty supervisor-research assistant interactions. Using a performance-based measure of research skill development, we identify research assistants who, over the course of an academic year of service as a researcher, markedly developed, modestly developed, or failed to develop their research skills. Interviews with these research assistants and their faculty supervisors, seen through the (...) lens of cognitive apprenticeship, provide insight into this variation. We found that within the contours of supervisory relationships and research teams, research skill development is indelibly shaped, for better or worse, by supervisor influence and abundant trial-and-error. (shrink)

The title of this book is somewhat misleading. It is not a straightforward text on Kant’s methodology. Rather, the author uses Kant’s methods of analysis and synthesis as a backdrop in order to “complete the task where Kant left off”. The “task” is varyingly described by the author as that of leading us back to the “engendering archê” or the “originary”. This journey back to the originary will presumably allow us to explain the “world’s worlding”. The book draws on a (...) broadly phenomenological interpretation of Kant and thus emphasizes, a la Heidegger, the role of the imagination in Kant’s philosophy. Indeed, according to the author, Kant’s first Critique heralds the deep and profound notion that the “way to truth” is through the imagination. Again echoing Heidegger, the author takes it to be an unfortunate fact that Kant “shrunk back from this abyss”. Despite Kant’s timidity, however, the Critique is nevertheless said to provide us with the resources for a robust phenomenology. (shrink)

A long time ago, I procured a little book edited by Soren Kierkegaard entitled The Sickness Unto Death (1849). What is more, I read it. (I must confess to having been first attracted to it solely by its title). For and as a tribute to Alastair Hannay I was inspired to set down in print this brief (altogether too brief, philosophically speaking) and unsystematic reflection. What struck me most palpably was the suggestion that, although our worldly endeavors and thus our (...) publications are, so to speak, temporally limited, our despair is not. I write on the obligations and privileges of that mood. (shrink)

(1998). Transcendental illusion and transcendental realism in Kant's second antinomy. British Journal for the History of Philosophy: Vol. 6, No. 1, pp. 47-70.

This chapter contains sections titled: The Critique of Ontology and Transcendental Realism Transcendental Illusion Transcendental Illusion and Transcendental Realism in the Antinomy of Pure Reason The Antinomial Conflicts The Regulative Use of Reason.

The central thesis of this book is clear. According to Collins, Kant is not an idealist of any sort. Kant is not an idealist, on Collins’s view, because he neither denies the existence of a non-mental reality nor claims that we cannot be sure that there is any non-mental reality. Because Kant explicitly criticizes both dogmatic and problematic forms of idealism, Collins concludes that the appellation “idealist” is altogether improperly ascribed to Kant. One might ask straightaway whether there might not (...) be another form of idealism that might properly be ascribed to Kant, for example, “transcendental idealism.” Alas, according to Collins, Kant’s own tendency to refer to his philosophy as “transcendental idealism” is quite unfortunate and quite misleading. It is misleading because “it suggests that Kant claims that the domain of objects is just a domain of ideas, that is, of mental representations”. Really? (shrink)

Apresentação de Psicologia Racional e a Ideia Pseudo-racional de Alma, de Michelle Grier.

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

... PREFACE Paul Gochet (Liege) "[...] une entite physique ne peut etre envisagee que comme une sorte de concretisation, de consolidation locale dans un ...

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they reflect (...) deep-seated theoretical and methodological commitments to transparency of exposition. (shrink)

Michel Weber, Éléments de routine ayurvédique. Autonomie, rituel et ascèse, Les Éditions Chromatika, 2021. (978-2-930517-82-7 ; pdf 978-2-930517-83-4 ; 104 pp., 14€) -/- L’Ayurvéda propose une philosophie de vie qui articule un vaste système métaphysique (une cosmologie théorique) avec une visée thérapeutique profonde (une anthropologie pratique). -/- À la croisée de la théorie et de la pratique, on trouve la routine (« dinacharya ») dont le but est de susciter l’individuation et la solidarité, c’est-à-dire l’autonomie (de chacun) respectueuse de la (...) communauté (de tous). Ce faisant, elle constitue une ascèse dont l’efficacité a été longuement éprouvée et rarement égalée. (shrink)

Between 1820 and 1870, middle-class Americans became convinced of the role nonhuman animals could play in socializing children. Companion animals in and around the household were the medium for training children into self-consciousness about, and abhorrence of, causing pain to other creatures including, ultimately, other people. In an age where the formation of character was perceived as an act of conscious choice and self-control, middle-class Americans understood cruelty to animals as a problem both of individual or familial deficiency and of (...) good and evil. Training children to be self-conscious about kindness became an important task of parenting. Domestic advisors also argued that learning kindness was critical for boys who were developmentally prone to cruelty and whose youthful cruelty had implications both for the future of family life and for the body politic. The practice of pet keeping, where children became stewards of companion animals who were then able to teach young humans such virtues as gratitude and fidelity, became a socially meaningful act. (shrink)

‘Philosophical dialogue’ indicates both a form of philosophical inquiry and its corresponding literary genre. In its written form, it typically features two or more characters who engage in a discussion concerning morals, knowledge, as well as a variety of topics that can be widely labelled as ‘philosophical’. Our philosophical dialogue takes place in Krakow, Poland. It is a rainy morning and two strangers are waiting at a tram stop. One of them is dressed neatly, and cannot stop fidgeting with his (...) closed umbrella. The other was caught unprepared by the morning downpour and water is dripping from his worn, soaked jacket. (shrink)

David Lewis defends the following "non-circular definition of personhood": "something is a continuant person if and only if it is a maximal R-interrelated aggregate of person-stages. That is: if and only if it is an aggregate of person-stages, each of which is R-related to all the rest (and to itself), and it is a proper part of no other such aggregate." I give a counterexample, involving a person who is a part of another, much larger person, with a separate mental (...) life. I then offer an easy repair, which preserves the virtues of Lewis's definition without introducing any new vices. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface This issue invites us to consider examples of feminist cultural production that use music, graphic art, and film to resist sexual conventions. Andrea Wood turns our attention to lesbian sex and romance in comics, a genre that has long captivated lay readers and is gaining popularity in academic circles. Rachel Lumsden analyzes Ethel Smyth’s 1913 musical composition “Possession,” an ode to same-sex intimacy displaying a “sonic meld” of (...) passion, desire, and political commitment. Sharmila Lodhia’s account of Nina Paley’s film Sita Sings the Blues considers how a sexually charged anitmated representation of a traditional epic can spur battles over cultural authenticity. Ariane Cruz examines how sexual pleasure presses against racist histories in a study on black women and BDSM. Whether sexuality is policed, as Chloë Taylor explores in her article, or the policing of sexuality is shunned, as Lynn Comella addresses in her review essay, it is clear that the grip of sexual politics on women ’s sexual lives is strong. Wang Zheng’s News and Views piece recounts recent global feminist tactics used to release five young feminists jailed in China, an urgent reminder about how women’s bodies are policed in violent ways. We begin this issue with Chloë Taylor’s essay reflecting on how sexology and psychiatry function to represent female desire in narrow ways. Taylor explores how female sexual dysfunction is constructed in sexology and psychiatric practice and locates this as part of a longer history of rendering selected bodies and sexual practices as deviant. Her analysis is a valuable rejoinder to the ever-expanding grip of psychiatry on the ordering—and disordering—of women’s bodies and sexuality. The line between normal and abnormal is always shifting, but its constant is how it maneuvers and is maneuvered to control female sexual desire. Taylor’s argument moves toward a non-normalizing feminist sexology that can interrogate sexual practice and function without rendering any as “right” or “wrong.” 256Preface Andrea Wood also turns to female sexuality, specifically lesbian sex, love, and romance, in her article on comics as a literary genre. Lesbian romance comics, Wood argues, offer a different discursive lens for “making the invisible visible.” Using queer theory to interrogate romantic depictions of lesbian sex and sexuality, she explores how the visual narrative form of comics allows for a different and politically compelling depiction of lesbian identity and sexual activity. Although lesbian romance and same-sex desire has been an interest of many feminist scholars, few have examined the visual field of lesbian comics—a genre, Wood insists, that demonstrates resistance to what Adrienne Rich identified as “compulsory heterosexuality.” Rachel Lumsden draws our attention to composer Ethel Smyth’s understudied song “Possession.” The song is a rumination on what it means to possess something or someone, and what it means to be possessed ; it is also a song that Smyth dedicated to Emmeline Pankhurst, her political comrade as well as her close friend and muse. Lumsden reads the song as a creative, strategically ambiguous “ode to an intimate female relationship,” a tribute to the respect, affection, and tenderness that Pankhurst and Smyth shared. Rather than reveal the “truth” of Smyth’s relationship with Pankhurst, Lumsden instead invites readers to consider the “sonic meld” of “Possession” as a space through which “themes of desire, activism, eroticism, solidarity, and sacrifice coalesce and congeal ” and as a site through which Smyth narrated her experiences, passions, desires, and political commitments. Sharmila Lodhia engages the controversy surrounding Nina Paley’s re-telling of the Ramayana in her film Sita Sings the Blues, which some critics have deemed “offensive,” “insulting,” and a “desecration of the Ramayana and the Hindu faith.” Lodhia treats Paley’s film—which positions Sita rather than Ram as the story’s protagonist, deploys animation and myriad narrator perspectives, fuses Paley’s own story with Sita’s story, and sets the story to a 1920s blues soundtrack—as a productive “body of critique about the epic’s central teachings on virtue, righteousness, and idealized gender roles.” By situating Paley’s retelling of the Ramayana in the context of numerous and varied Ramayana retellings, Lodhia reveals that Sita Sings the Blues is a “creative... (shrink)

Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of creation. (...) I introduce palaeoart—the depiction of extinct prehistoric fauna and flora, especially from the Mesozoic—as a paradigmatic case of remote art, showing that its remoteness is secured both by the deceptively rich cognitive load required for its creation and appreciation, and by its existence at the margins of the institutional artworld, which ensures that this cognitive loading is largely obscured. Too often, remote art is not just inscrutable, it is invisible to us. (shrink)

In learning mathematics, children must master fundamental logical relationships, including the inverse relationship between addition and subtraction. At the start of elementary school, children lack generalized understanding of this relationship in the context of exact arithmetic problems: they fail to judge, for example, that 12 + 9 - 9 yields 12. Here, we investigate whether preschool children’s approximate number knowledge nevertheless supports understanding of this relationship. Five-year-old children were more accurate on approximate large-number arithmetic problems that involved an inverse transformation (...) than those that did not, when problems were presented in either non-symbolic or symbolic form. In contrast they showed no advantage for problems involving an inverse transformation when exact arithmetic was involved. Prior to formal schooling, children therefore show generalized understanding of at least one logical principle of arithmetic. The teaching of mathematics may be enhanced by building on this understanding. (shrink)

Legal Philosophies of Russian Liberalism. By Andrzej Walicki. A History of Russian Philosophy, Edited by Valery A. Kuvakin.

We answer three questions: 1. Can we give a wholly mathematical explanation of a physical phenomenon? 2. Can we give a wholly mathematical explanation for a whole physical theory? 3. What is gained or lost in giving a wholly, or partially, mathematical explanation of a phenomenon or a scientific theory? To answer these questions we look at a project developed by Hajnal Andréka, Judit Madarász, István Németi and Gergely Székely. They, together with collaborators, present special relativity theory in a three-sorted (...) first-order formal language. (shrink)

Nonsymbolic comparison tasks are commonly used to index the acuity of an individual's Approximate Number System (ANS), a cognitive mechanism believed to be involved in the development of number skills. Here we asked whether the time that an individual spends observing numerical stimuli influences the precision of the resultant ANS representations. Contrary to standard computational models of the ANS, we found that the longer the stimulus was displayed, the more precise was the resultant representation. We propose an adaptation of the (...) standard model, and suggest that this finding has significant methodological implications for numerical cognition research. (shrink)

A medical information commons is a networked data environment utilized for research and clinical applications. At three deliberations across the U.S., we engaged 75 adults in two-day facilitated discussions on the ethical and social issues inherent to sharing data with an MIC. Deliberants made recommendations regarding opt-in consent, transparent data policies, public representation on MIC governing boards, and strict data security and privacy protection. Community engagement is critical to earning the public's trust.

By the theory TT is meant the higher order predicate logic with the following recursively defined types: 1 is the type of individuals and [] is the type of the truth values: [$\tau_l$,..., $\tau_n$] is the type of the predicates with arguments of the types $\tau_l$,..., $\tau_n$. The theory ITT described in this paper is an intensional version of TT. The types of ITT are the same as the types of TT, but the membership of the type 1 of individuals (...) in ITT is an extension of the membership in TT. The extension consists of allowing any higher order term, in which only variables of type 1 have a free occurrence, to be a term of type 1. This feature of ITT is motivated by a nominalist interpretation of higher order predication. In ITT both well-founded and non-well-founded recursive predicates can be defined as abstraction terms from which all the properties of the predicates can be derived without the use of non-logical axioms. The elementary syntax, semantics, and proof theory for ITT are defined. A semantic consistency proof for ITT is provided and the completeness proof of Takahashi and Prawitz for a version of TT without cut is adapted for ITT: a consequence is the redundancy of cut. (shrink)

First published: 2010; Previous edition: 2012..