Results for 'Mona Lisa Chanda'

984 found
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  1. The neurochemistry of music.Mona Lisa Chanda & Daniel J. Levitin - 2013 - Trends in Cognitive Sciences 17 (4):179-193.
  2.  10
    Decolonization the what, why and how: A treaties on Indigenous nursing knowledge.Mona Lisa Bourque Bearskin - 2023 - Nursing Philosophy 24 (2):e12430.
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  3.  89
    Nurse Adaptability and Post-traumatic Stress Disorder Symptoms During the COVID-19 Pandemic: The Effects of Family and Perceived Organizational Support.Mona Cockerham, Margaret E. Beier, Sandy Branson & Lisa Boss - 2022 - Frontiers in Psychology 12:749763.
    ObjectiveTo examine the effect of family and perceived organizational support on the relationship between nurse adaptability and their experience with COVID-related PTSD (post-traumatic stress disorder) symptoms in frontline nurses working on COVID-19 units.BackgroundProximity to and survival of life-threatening events contribute to a diagnosis of PTSD, which is characterized by avoidance of reminders of trauma, intrusive thoughts, flashbacks of events, sleep disturbances, and hypervigilance. Using the job-demands and resource model, we examined the effect of adaptability, family support, and perceived organizational support (...)
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  4.  6
    That Mona Lisa Smile.John Morreall - 2009-09-04 - In Dominic McIver Lopes & Berys Gaut (eds.), Comic Relief. Wiley‐Blackwell. pp. 69–89.
    This chapter contains sections titled: Humor as Aesthetic Experience Humor and Other Ways of Enjoying Cognitive Shifts: The Funny, Tragic, Grotesque, Macabre, Horrible, Bizarre, and Fantastic Tragedy vs. Comedy: Is Heavy Better than Light? Enough with the Jokes: Spontaneous vs. Prepared Humor.
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  5.  11
    Mona Lisa in Veils: Cultural Identity, Politics, Religion and Feminism in Turkey.Atil Eylem Atakav - 2007 - Feminist Theology 16 (1):11-20.
    Turkey has been experiencing an evolutionary feminist movement within the modernization project since 1923. This paper explores the relationship between politics, religion and feminism in the context of Turkish cultural identity and women's experience of the evolution of modernization evolution. Commencing with a discussion of the Time magazine cover-the Mona Lisa in veils-the paper gives examples of women's experiences of the divine and shifts in patriarchal culture. It also provides an overview of the history of feminism in Turkey, (...)
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  6.  18
    Mona Lisa and the second law of thermodynamics: The arts and sciences.Harold Morowitz - 2004 - Complexity 9 (6):13-14.
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  7.  25
    The Mona Lisa in the History of Taste.George Boas - 1940 - Journal of the History of Ideas 1 (1/4):207.
  8. Los bigotes de la Mona Lisa.Álvaro Cuadra - 2017 - In Carles Méndez Llopis (ed.), La originalidad en la cultura de la copia. Ciudad Juárez, Chih., México: Universidad Autónoma de Ciudad Juárez.
     
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  9.  30
    What the Mona Lisa and a Screwdriver Have in Common.Amrei Bahr - 2019 - Grazer Philosophische Studien 96 (1):81-104.
    In philosophy – especially in philosophy of technology and philosophy of art –, several specific accounts of artifact functionality have been developed. These accounts usually have a restricted scope: they are clearly limited to either technical artifacts or entities of art. In this paper, a contrasting account will be developed, which aims at covering both functions of technical artifacts and functions of art works as well as their instances. The paper is in two parts: In the first part, the method (...)
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  10. The Fetish of Art in the Twentieth Century: The Case of the Mona Lisa.Hans Belting - 1998 - Diogenes 46 (183):83-105.
    The old idea of the masterpiece, the bane of artists throughout the century that is now drawing to a close, is barely recognizable any more. For the general public, this idea remains a facile cliché that is always ready when needed to put an end to a serious discourse on art. Only the label, not the idea itself, was left when artists came to the point of holding masterpieces responsible for the tenacious survival of outdated artistic ideals. The idea of (...)
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  11.  10
    Michelangelo's Nose: A Myth and Its MakerWhy Mona Lisa Smiles and Other Tales by Vasari.David Carrier & Paul Barolsky - 1992 - Journal of Aesthetics and Art Criticism 50 (3):249.
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  12.  18
    Preface.Priti Ramamurthy, Kathryn Moeller, Alexis Pauline Gumbs & Lisa Rofel - 2019 - Feminist Studies 45 (2):281-289.
    In lieu of an abstract, here is a brief excerpt of the content:preface The essays in this special issue on Indigenous Feminisms in Settler Contexts engage feminist politics from multiple Indigenous geographies, histories, and standpoints. What emerges is a panoramic view of Indigenous feminist scholarship’s conceptual, linguistic, and artistic activism at this moment in time. We learn of praxis aimed at reclaiming Indigenous languages and ecological perspectives and the varied modes of resistance, survivance, and persistence. We also unpack the complex (...)
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  13. The works of art from the philosophically innocent point of view.Gábor Bács & János Tőzsér - 2012 - Hungarian Philosophical Review 57 (4):7-17.
    the Mona Lisa, the Mondscheinsonate, the Chanson d’automne are works of art, the salt shaker on your table, the car in your garage, or the pijamas on your bed are not. the basic question of the metaphysics of works of art is this: what makes a thing a work of art? that is: what sort of property do works of art have in virtue of which they are works of art? or more simply: what sort of property being (...)
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  14.  10
    Another Ambiguous Expression by Leonardo da Vinci.Alessandro Soranzo - 2022 - Gestalt Theory 44 (1-2):41-60.
    The Mona Lisa is probably the most celebrated example of ambiguous expression in art. Soranzo and Newberry demonstrated that a similar ambiguity can be perceived also in La Bella Principessa, another portrait credited to Leonardo da Vinci by many. The paper aims to show that an ambiguous expression can be perceived in a further painting attributed to Leonardo: The Lady with Dishevelled Hair, or La Scapigliata. An experiment was conducted whereby participants rated on a 7-point Likert scale the (...)
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  15. Irreplaceable Value.Gwen Bradford - 2024 - In Russ Shafer-Landau (ed.), Oxford Studies of Metaethics 19. Oxford University Press USA.
    If the Mona Lisa, the Sistine Chapel, the sarcophagus of Tutankhamun, or the Sword of Goujian were destroyed, nothing could replace them. New works of art that are even more impressive may be created, which may replenish the value in the world in quantity, but they would not fully replace the loss. Works of art and historical artifacts have irreplaceable value. But just what is irreplaceable value? This paper presents perhaps the first analysis. Irreplaceable value is a matter (...)
     
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  16. The Bounds of Possibility: Puzzles of Modal Variation.Cian Dorr, John Hawthorne & Juhani Yli-Vakkuri - 2021 - Oxford: Oxford University Press. Edited by John Hawthorne & Juhani Yli-Vakkuri.
    In general, a given object could have been different in certain respects. For example, the Great Pyramid could have been somewhat shorter or taller; the Mona Lisa could have had a somewhat different pattern of colours; an ordinary table could have been made of a somewhat different quantity of wood. But there seem to be limits. It would be odd to suppose that the Great Pyramid could have been thimble-sized; that the Mona Lisa could have had (...)
  17.  16
    A Sneetch is a Sneetch and Other Philosophical Discoveries: Finding Wisdom in Children's Literature.Thomas E. Wartenberg - 2013 - Wiley-Blackwell.
    _Taking Picture Books Seriously: What can we learn about philosophy through children's books?_ This warm and charming volume casts a spell on adult readers as it unveils the surprisingly profound philosophical wisdom contained in children's picture books, from Dr Seuss's _Sneetches_ to William Steig's _Shrek!_. With a light touch and good humor, Wartenberg discusses the philosophical ideas in these classic stories, and provides parents with a practical starting point for discussing philosophical issues with their children. Accessible and multi-layered, it answers (...)
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  18.  39
    Weak links: the universal key to the stability of networks and complex systems.Peter Csermely - 2009 - London: Springer.
    How can our societies be stabilized in a crisis? Why do we enjoy and understand Shakespeare? Why are fruitflies uniform? How do omnivorous eating habits aid our survival? What makes the Mona Lisa's smile beautiful? How do women keep their social structures intact? -- Could there possibly be a single answer to all these questions? This book shows that the statement 'weak links stabilize complex systems' provides the key to understanding each of these intriguing puzzles, and many others (...)
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  19.  27
    In Kubrick's Crypt, a Derrida/Deleuze Monster, on 2001: A Space Odyssey.Richard I. Pope - 2003 - Film-Philosophy 7 (3).
    On the origin of the cinematic odyssey Kubrick remarks: 'I do not remember when I got the idea to do the film. I became interested in extraterrestrial intelligence in the universe, and was convinced that the universe was *full* of intelligent life, and so it seemed time to make a film'. But as to the confusion surrounding the film upon its release, and in particular many thinking Floyd had gone to the 'planet' Clavius he said: 'Why they think there's a (...)
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  20. Unjustified untrue "beliefs": AI hallucinations and justification logics.Kristina Šekrst - forthcoming - In Kordula Świętorzecka, Filip Grgić & Anna Brozek (eds.), Logic, Knowledge, and Tradition. Essays in Honor of Srecko Kovac.
    In artificial intelligence (AI), responses generated by machine-learning models (most often large language models) may be unfactual information presented as a fact. For example, a chatbot might state that the Mona Lisa was painted in 1815. Such phenomenon is called AI hallucinations, seeking inspiration from human psychology, with a great difference of AI ones being connected to unjustified beliefs (that is, AI “beliefs”) rather than perceptual failures). -/- AI hallucinations may have their source in the data itself, that (...)
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  21. Artifacts and Essentialism.Susan A. Gelman - 2013 - Review of Philosophy and Psychology 4 (3):449-463.
    Psychological essentialism is an intuitive folk belief positing that certain categories have a non-obvious inner “essence” that gives rise to observable features. Although this belief most commonly characterizes natural kind categories, I argue that psychological essentialism can also be extended in important ways to artifact concepts. Specifically, concepts of individual artifacts include the non-obvious feature of object history, which is evident when making judgments regarding authenticity and ownership. Classic examples include famous works of art (e.g., the Mona Lisa (...)
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  22. Art & Abstract Objects.Christy Mag Uidhir (ed.) - 2013 - Oxford University Press.
    Art and Abstract Objects presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). Da Vinci's Mona Lisa is currently located in Paris. Richard Serra's Tilted Arc is 73 tonnes of solid steel. Johannes Vermeer's The Concert was stolen in 1990 and remains (...)
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  23.  8
    Leonardo da Vinci: A Memory of His Childhood.Sigmund Freud - 1999 - Routledge.
    Sigmund Freud was already internationally acclaimed as the principal founder of psychoanalysis when he turned his attention to the life of Leonardo da Vinci. It remained Freud’s favourite composition. Compressing many of his insights into a few pages, the result is a fascinating picture of some of Freud’s fundamental ideas, including human sexuality, dreams, and repression. It is an equally compelling – and controversial – portrait of Leonardo and the creative forces that according to Freud lie behind some of his (...)
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  24.  12
    Normativity and Beauty in Contemporary Arts.Tiziana Andina - 2017 - Rivista di Estetica 64:151-166.
    Our intuitions related to art are generally associated to ideas such as creativity, freedom of expression, experimentation. The fact that so many artists (especially writers, but also musicians, painters, performance artists) are or have been people with training in legal disciplines should be taken into account when considering the apparently extrinsic relationship between art and law. The question we have to answer is the following. When we make a judgment of taste looking, say, at the Mona Lisa, what (...)
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  25.  24
    Student Communities and Individualism in American Cinema.Bryan R. Warnick, Heather S. Dawson, D. Spencer Smith & Bethany Vosburg-Bluem - 2010 - Educational Studies: A Jrnl of the American Educ. Studies Assoc 46 (2):168-191.
    Hollywood films partially construct how Americans think about education. Recent work on the representation of schools in American cinema has highlighted the role of class difference in shaping school film genres. It has also advanced the idea that a nuanced understanding of American individualism helps to explain why the different class genres are shaped as they are. This article attempts to refine this theoretical approach by focusing on the paradox of individualism, which suggests that individualism must always be dependent on (...)
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  26. Does the design argument show there is a God? William A. Dembski.William Dembski - manuscript
    Suppose you take a tour of the Louvre, that great museum in Paris housing one of the finest art collections in the world. As you walk through the museum, you come across a painting by someone named Leonardo da Vinci -- the Mona Lisa. Suppose this is your first exposure to da Vinci -- you hadn't heard of him or seen the Mona Lisa before. What could you conclude? Certainly you could conclude that da Vinci was (...)
     
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  27.  49
    Production determines category: An ontology of art.Michael Weh - 2010 - Journal of Aesthetic Education 44 (1):84-99.
    In lieu of an abstract, here is a brief excerpt of the content:Production Determines CategoryAn Ontology of ArtMichael Weh (bio)1. Are There Singular Artworks?It is a mainstream view within the ontology of art that there are singular as well as multiple artworks, but it is also a view that is contested. In what follows, I will investigate whether the singular/multiple distinction can be sustained and will argue for a new way to determine the category to which an artwork belongs. Though (...)
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  28.  13
    Taste and "The Conversible World" in the Eighteenth Century.Rochelle Gurstein - 2000 - Journal of the History of Ideas 61 (2):203.
    In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.2 (2000) 203-221 [Access article in PDF] Taste and "the Conversible World" in the Eighteenth Century Rochelle Gurstein In the middle of the nineteenth century a series entitled "Afoot" appeared in the literary magazine Blackwood's (1857), describing an Englishman's travels through Europe. In one installment the narrator tells of meeting a Yankee, who had just come from Florence the beautiful. Our friend approached (...)
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  29. From postmodernism to postmodernity: The local/global context.Ihab Habib Hassan - 2001 - Philosophy and Literature 25 (1):1-13.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 1-13 [Access article in PDF] From Postmodernism to Postmodernity: The Local/Global Context Ihab Hassan I What Was Postmodernism? What was postmodernism, and what is it still? I believe it is a revenant, the return of the irrepressible; every time we are rid of it, its ghost rises back. Like a ghost, it eludes definition. Certainly, I know less about postmodernism today than I did (...)
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  30.  7
    Reflections on Raphael.Paul Barolsky - 2020 - Arion 28 (2):99-122.
    In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, George Eliot, Jean-Auguste (...)
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  31.  59
    Las meninas: Examining Velasquez's enigmatic painting.Amy Ione - 2008 - Journal of Consciousness Studies 15 (9):51-57.
    Painted in 1656 by Diego Velasquez (1599-1660), Las Meninas has engendered countless philosophical commentaries. Artists, too, have explored the painting's puzzles and paradoxes. All of the responses to this masterpiece, now over 350 years old, show that Las Meninas continues to live with us on several levels. Indeed, Las Meninas is one of the most controversial paintings of our time (Brown and Garrido, 1998, p. 181); no small feat given that cutting-edge art today is often media-based and/or media-driven. The wealth (...)
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  32.  16
    The Invisible Other.Christopher Ketcham - 2018 - Marcel Studies 3 (1):17-39.
    This paper brings Gabriel Marcel and Emmanuel Levinas into dialogue through a consideration of the notion of the spirit of abstraction in Marcel and the notion of the infinitely different other in Levinas. We abstract meaning from Mona Lisa‘s smile from her physical portrait. It is appropriate to abstract from the baby‘s sound whether he or she seems to be happy or sad, but it is when we begin to abstract humans from their humanity that the spirit of (...)
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  33.  12
    Why Disdain Replicated Art? Metaphysics and Art in ‘The Elephant in the Brain’.Jimmy Alfonso Licon - 2021 - Philosophia 50 (2):605-617.
    Why disdain replicated art? If art is valuable because it evokes experiences of beauty, they should be comparable. In chapter 11 of the Elephant in the Brain, Simler and Hanson argue we actually care about the extrinsic properties of art—e.g. who made it—to signal our intelligence and taste. Here I defend a different explanation for the evidence cited by S&H: the extrinsic properties of art are central to what constitutes art, play a bigger role fixing the value of art than (...)
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  34.  18
    Leonardo Da Vinci’s Archival of the Dermatologic Condition.Edward Hadeler - 2021 - Journal of Medical Humanities 42 (4):795-799.
    The interconnection of scientific studies and art represented by Leonardo Da Vinci’s portraiture accentuates his role in documenting and archiving dermatologic conditions. His anatomical dissections, sketches, and paintings, including portraits, were all a means to observe, portray, and understand the nuances of the human body. In two of his most discussed portraits, Ginevra de’ Benci and Elisabetta del Giocondo, the Mona Lisa, Leonardo’s execution of the exterior anatomy is so precise that he may have illustrated manifestations of disease (...)
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  35.  11
    Book Review: The Poetics of Perspective. [REVIEW]Harvey L. Hix - 1995 - Philosophy and Literature 19 (2):368-370.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Poetics of PerspectiveHarvey L. HixThe Poetics of Perspective, by James Elkins; xv & 324 pp. Ithaca: Cornell University Press, 1994, $39.95.The Poetics of Perspective does not mention that Leonardo was born more than 100 years before Galileo and nearly 200 before Newton, but doing so would underscore its thesis. According to James Elkins, our anachronistic view of perspective, invented in the Enlightenment, systematically distorts our understanding of (...)
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  36. Resistance to evidence and the duty to believe.Mona Simion - 2023 - Philosophy and Phenomenological Research 108 (1):203-216.
    This article develops and defends a full account of the nature and normativity of resistance to evidence, according to which resistance to evidence is an instance of input-level epistemic malfunctioning. At the core of this epistemic normative picture lies the notion of knowledge indicators, as evidential probability increasing facts that one is in a position to know; resistance to evidence is construed as a failure to uptake knowledge indicators.
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  37. Conceptual Innovation, Function First.Mona Simion & Christoph Kelp - 2019 - Noûs 54 (4):985-1002.
    Can we engineer conceptual change? While a positive answer to this question would be exciting news for philosophy, there has been a growing number of pessimistic voices in the literature. This paper resists this trend. Its central aim is to argue not only that conceptual engineering is possible but also that it is not even distinctively hard. In order to achieve this, we will develop a novel approach to conceptual engineering that has two key components. First, it proposes a reorientation (...)
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  38.  4
    Book Forum.Mona Sloane - 2024 - Studies in History and Philosophy of Science Part A 103 (C):1-2.
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  39.  24
    Shifty Speech and Independent Thought: Epistemic Normativity in Context.Mona Simion - 2021 - Oxford University Press.
    This work is a manifesto for epistemic independence: the independence of good thinking from practical considerations. It presents a functionalist account of the normativity of assertion in conjunction with an integrated view of the normativity of constative speech acts.
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  40.  23
    The Psychological Construction of Emotion.Lisa Feldman Barrett & James A. Russell (eds.) - 2014 - Guilford Press.
    This volume presents cutting-edge theory and research on emotions as constructed events rather than fixed, essential entities. It provides a thorough introduction to the assumptions, hypotheses, and scientific methods that embody psychological constructionist approaches. Leading scholars examine the neurobiological, cognitive/perceptual, and social processes that give rise to the experiences Western cultures call sadness, anger, fear, and so on. The book explores such compelling questions as how the brain creates emotional experiences, whether the "ingredients" of emotions also give rise to other (...)
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  41. The Conceptual Act Theory: A Précis.Lisa Feldman Barrett - 2014 - Emotion Review 6 (4):292-297.
    According to the conceptual act theory, emotions emerge when physical sensations in the self and physical actions in others are meaningfully linked to situations during a process that can be called both cognitive and perceptual (creating emotional experiences, and emotion perceptions, respectively). There are key four hypotheses: (a) an emotion (like anger) is a conceptual category, populated with instances that are tailored to the environment; (b) each instance of emotion is constructed within the brain’s functional architecture of domain-general core systems; (...)
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  42. The ‘should’ in conceptual engineering.Mona Simion - 2018 - Inquiry: An Interdisciplinary Journal of Philosophy 61 (8):914-928.
    ABSTRACTSeveral philosophers have inquired into the metaphysical limits of conceptual engineering: ‘Can we engineer? And if so, to what extent?’. This paper is not concerned with answering these questions. It does concern itself, however, with the limits of conceptual engineering, albeit in a largely unexplored sense: it cares about the normative, rather than about the metaphysical limits thereof. I first defend an optimistic claim: I argue that the ameliorative project has, so far, been too modest; there is little value theoretic (...)
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  43.  88
    Knowledge‐first functionalism.Mona Simion - 2019 - Philosophical Issues 29 (1):254-267.
    This paper has two aims. The first is critical: I identify a set of normative desiderata for accounts of justified belief and I argue that prominent knowledge first views have difficulties meeting them. Second, I argue that my preferred account, knowledge first functionalism, is preferable to its extant competitors on normative grounds. This account takes epistemically justified belief to be belief generated by properly functioning cognitive processes that have generating knowledge as their epistemic function.
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  44.  93
    Testimonial contractarianism: A knowledge‐first social epistemology.Mona Simion - 2021 - Noûs 55 (4):891-916.
    According to anti‐reductionism in the epistemology of testimony, testimonial entitlement is easy to come by: all you need to do is listen to what you are being told. Say you like anti‐reductionism; one question that you will need to answer is how come testimonial entitlement comes so cheap; after all, people are free to lie.This paper has two aims: first, it looks at the main anti‐reductionist answers to this question and argues that they remain unsatisfactory. Second, it goes on a (...)
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  45.  77
    Language as context for the perception of emotion.Lisa Feldman Barrett, Kristen A. Lindquist & Maria Gendron - 2007 - Trends in Cognitive Sciences 11 (8):327-332.
  46. Assertion: knowledge is enough.Mona Simion - 2016 - Synthese 193 (10).
    Recent literature features an increased interest in the sufficiency claim involved in the knowledge norm of assertion. This paper looks at two prominent objections to KNA-Suff, due to Jessica Brown and Jennifer Lackey, and argues that they miss their target due to value-theoretic inaccuracies. It is argued that the intuitive need for more than knowledge in Brown’s high-stakes contexts does not come from the epistemic norm governing assertion, but from further norms stepping in and raising the bar, and Lackey’s purported (...)
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  47. How to be an anti-reductionist.Mona Simion & Christoph Kelp - 2020 - Synthese 197 (7):2849-2866.
    One popular view in recent years takes the source of testimonial entitlement to reside in the intrinsically social character of testimonial exchanges. This paper looks at two extant incarnations of this view, what we dub ‘weak’ and ‘modest’ social anti-reductionism, and questions the rationales behind their central claims. Furthermore, we put forth an alternative, strong social anti-reductionist account, and show how it does better than the competition on both theoretical and empirical grounds.
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  48.  72
    Trustworthy artificial intelligence.Mona Simion & Christoph Kelp - 2020 - Asian Journal of Philosophy 2 (1):1-12.
    This paper develops an account of trustworthy AI. Its central idea is that whether AIs are trustworthy is a matter of whether they live up to their function-based obligations. We argue that this account serves to advance the literature in a couple of important ways. First, it serves to provide a rationale for why a range of properties that are widely assumed in the scientific literature, as well as in policy, to be required of trustworthy AI, such as safety, justice, (...)
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  49. Nominalist dispositional essentialism.Lisa Vogt - 2022 - Synthese 200 (2).
    Dispositional Essentialism, as commonly conceived, consists in the claims that at least some of the fundamental properties essentially confer certain causal-nomological roles on their bearers, and that these properties give rise to the natural modalities. As such, the view is generally taken to be committed to a realist conception of properties as either universals or tropes, and to be thus incompatible with nominalism as understood in the strict sense. Pace this common assumption of the ontological import of Dispositional Essentialism, the (...)
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  50.  48
    Organizational Good Epistemic Practices.Lisa Warenski - forthcoming - Journal of Business Ethics:1-16.
    Epistemic practices are an important but underappreciated component of business ethics; good conduct requires making epistemically sound as well as morally principled judgments. Well-founded judgments are promoted by epistemic virtues, and for organizations, epistemic virtues are arguably achieved through organizational good epistemic practices. But how are such practices to be developed? This paper addresses this normative and practical challenge. The first half of the paper explains what organizational good epistemic practices are and outlines a means for their construction. The second (...)
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