Pain is modulated by cognitive factors, including attention and emotions. In this study we evaluated the distractive effect of aesthetic appreciation on subjectively rated pain and multi-channel evoked potentials induced by CO2 laser stimulation of the left hand in twelve healthy volunteers. Subjects were stimulated by laser in the absence of other external stimulation and while looking at different paintings they had previously rated as beautiful, neutral or ugly. The view of paintings previously appreciated as beautiful produced lower pain (...) scores and a clear inhibition of the P2 wave amplitude, localized in the anterior cingulate cortex; the inhibition of P2 wave amplitude was lesser or not significant during the presentation of the ugly or neutral paintings, respectively. Dipole source localization analysis of the LEP peaks showed significant changes during different conditions, with a shift from the posterior to the anterior right cingulated cortex while looking at paintings previously rated as beautiful. (shrink)

The value of up-hill skiing is double, it is first a sport and artistic expression, second it incorporates functional dependencies related to the natural obstacles which the individual aims to overcome. On the artistic side, M. Dufrenne shows the importance of living movement in dance, and we can compare puppets with dancers in order to grasp the lack of intentional spiritual qualities in the former. The expressivity of dance, as for, Chi Gong, ice skating or ski mountaineering is a (...) particular innocence and lightness which is called grace. It is life without the burden of worries. Grace, in slow progression uphill on snow, is as dance for Dufrenne, it has the most central and specific aesthetical quality of life. Others compared dance to a landscape, a landscape is for the sight, what dance is for life, a symbolical space, different from a usual space, where utility and dependency are present. A mountain can be a space of experience of natural beauty. Aesthetical qualities can be closely related to function related qualities as when a climber needs to adjust his movements to the natural convex inclination of the rocks, and avoid slippery forms of inclination, present on the other side of the mountain. The natural object, the quality of the snow or the rock differ from the aesthetical quality of the style of ascent by the absence of neutralization of the object, in case of a purely instrumental approach. On the contrary, grace in the rhythm of the progression of ski climbers needs a difference of attitude, which is not only proper to the playing, and delimited by the conditions of that play, but as a contingency driven attitude, without signification as radical alterity, without any finality. First ascent of the Matterhorn succeeded from the Swiss side, and not from the Italian side because of the different inclination of the rock on both sides. Grace in dance as in martial art or mountaineering is allowing to perceive an autonomy of the expression, as the truth of the perceived object, it puts away a cognitive and practical orientation and replaces it by a new meaning as movement in the whole set of movements done by the climber. This replacement of the functional expression resembles that operated by the painter who chooses a color in the whole set of colors in a painting, or a shape in the whole set of possible existing shapes. -/- Ref. Dufrenne, Mikel, (1989): The Phenomenology of Aesthetic Experience. Studies in Phenomenology and Existential Philosophy, trans. by Edward S. Casey, 1st publ. in 1953, Evanston: Northwestern University Press. (shrink)

Comprised of 45 chapters, written especially for this volume by an international team of leading experts, The Routledge Companion to the Philosophies of Painting and Sculpture is the first handbook of its kind. The editors have organized the chapters helpfully across eight parts: I: Artforms II: History III: Questions of Form, Style, and Address IV: Art and Science V: Comparisons among the Arts VI: Questions of Value VII: Philosophers of Art VIII: Institutional Questions Individual topics include art and (...) cognitive science, evolutionary origins of art, art and perception, pictorial realism, artistic taste, style, issues of race and gender, art and religion, art and philosophy, and the end of art. The work of selected philosophers is also discussed, including Diderot, Hegel, Ruskin, Gombrich, Goodman, Wollheim, and Danto. With a volume introduction from the editors and comprehensively indexed, The Routledge Companion to the Philosophies of Painting and Sculpture serves as a point of entry to the subject for a broad range of students as well as an up-to-date reference for scholars in the field. (shrink)

Discussions of diversity tend to paint a mixed picture of the practical and epistemic value of diversity. While there are expansive and detailed accounts of the value of cognitive diversity, explorations of identity diversity typically focus on its value as a source or cause of cognitive diversity. The resulting picture on which identity diversity only possesses a derivative practical and epistemic value is unsatisfactory and fails to account for some of its central epistemic benefits. (...) In response, I propose that collective virtue epistemology offers theoretical models that can further our understanding of the benefits of diversity. And I offer a case study to illustrate how this approach could be used to explore the logic of the identity diversity bonus. (shrink)

My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). My approach largely consists of identifying pertinent features of viable literary cognitivism and (...) then showing how they or close analogues can be applied to non-verbal painting. The two main features are the requirements, first, that the relevant knowledge is provided significantly in virtue of the distinctive essential feature of literary fictions, i.e., their fictionality, and second, that the knowledge stems primarily from the content of the work, not from what the auditor brings to the work. Some ways that literary fiction has been taken to be argumentative are explained, and striking similarities are found between argumentative literary fiction and argumentative painting. Potential objections are addressed, and I examine a proposed way to express, in a schematized format, both the power of an argumentative painting and its relatively simple associated propositional content. (shrink)

I try to reconstruct how Frege thought to reconcile the cognitive value of arithmetic with its analytical nature. There is evidence in Frege's texts that the epistemological formulation of the context principle plays a decisive role; it provides a way of obtaining concepts which are truly fruitful and whose contents cannot be grasped beforehand. Taking the definitions presented in the Begriffsschrift,I shall illustrate how this schema is intended to work.

The purpose of this essay is to argue that Blade Runner: The Final Cut (Ridley Scott, 2007) has cognitive value which is inseparable from its value as a work of cinema. I introduce the cinematic philosophy debate in §1. §2 sets out my position: that the Final Cut affirms the proposition there is no necessary relation between humanity and human beings. I outline the combination of cinematic depiction with distinctive features of the narrative’s peripeteia in §3. In (...) §4, I explain the cognitive value of the peripeteia. (shrink)

Can literary fictions convey significant philosophical views, understood in terms of propositional knowledge? This study addresses the philosophical value of literature by examining how literary works impart philosophy truth and knowledge and to what extent the works should be approached as communications of their authors. Beginning with theories of fiction, it examines the case against the prevailing ‘pretence’ and ‘make-believe’ theories of fiction hostile to propositional theories of literary truth. Tackling further arguments against the cognitive function and (...) class='Hi'>value of literature, this study illustrates how literary works can contribute to knowledge by making assertions and suggestions and by providing hypotheses for the reader to assess. Through clear analysis of the concept of the author, the role of the authorial intention and the different approaches to the ‘meaning’ of a literary work, this study provides an historical survey to the cognitivist—anti-cognitivist dispute, introducing contemporary trends in the discussion before presenting a novel approach to recognizing the cognitive function of literature. An important contribution to philosophical studies of literature and knowledge. (shrink)

A number of current controversies involve questions about the cognitive value of fiction. In each of these contexts, we find skepticism about what might be called the “strong thesis,” that we can non-trivially gain determinate propositional knowledge from fictions by virtue of their narrative contents. I offer two ways in which fictions can (and often do) provide us with propositional knowledge in just this way. I make the case that these models help answer much of the skepticism mentioned (...) above. I conclude by considering a number of implications of and objections to the entire project. (shrink)

Leonardo Bruni’s De intepretatione recta has recently produced a growing body of literature which has improved our knowledge of the genesis, background and content of the work, as well as its pivotal role in the early history of translation and the humanist intellectual agenda. This article focuses on the conceptual metaphor which shapes Bruni’s understanding of the art of translation: the ‘Translation as Painting’ model. Drawing on a theoretical framework which stresses the cognitive value of metaphors, this (...) article highlights the structural function of the ut pictura metaphor in Bruni’s treatise, eliciting both its classical sources, its resonance in the early fifteenth century and its semantic-pragmatic force in characterising translation. Bruni’s novel conceptual template maps onto the larger cultural background of early humanist thought on interpretatio, imitatio and the visual arts. (shrink)

The central question that I address in this dissertation is: how should we explain our connection with the language that we use? I show that the way that one answers the question depends upon the characterization that one gives of the nature of language. ;I argue that philosophers of language who theorize about words as in-the-world entities with a history have largely failed to explain how we use such words. To fill in this gap, I offer a positive account of (...) the cognitive value of language. In particular, I argue that cognitive value must be for a user, and that it allows for the explanation of how distinct individuals use a language held in common. (shrink)

Nanay has recently argued, on the basis of the cognitive penetrability of experience, that the attribution of aesthetically relevant properties supervenes on perceptual experience. I argue that this claim is false as stated and cannot be salvaged. I provide a series of thought experiments as counterexamples, showing that the title of an artwork can influence its ARPs, its meaning or value, and the accurate attributions of ARPs while the character of the perceptual experience of the piece remains constant. (...) I introduce the notions of context and appropriate context, and I argue that ARPs supervene on observable properties and appropriate contexts; there is no difference in ARPs without a difference in appropriate context or a difference in observable properties. Two paintings may share all of their observable properties and all of their context-relative perceptual properties but be ARP distinct, since each has a different appropriate context, and contexts are not usually determined or instant... (shrink)

The debate on the cognitive value of literature is undergoing a change. On the one hand, several philosophers recommend an epistemological move from “knowledge” to “understanding” in describing the cognitive benefits of literature. On the other hand, skeptics call for methodological discussion and demand evidence for the claim that readers actually learn from literature. These two ideas, the notion of understanding and the demand for evidence, seem initially inconsistent, for the notion of understanding implies that the (...) class='Hi'>cognitive benefits of literature are ultimately nonverbal and thus inarticulate. In this article, I defend both the move from knowledge to understanding and the demand for evidence. After proposing that the cognitive value of literature is best construed in terms of enhancing the reader's understanding, I argue that the place to look for evidence for the cognitive benefits of literature is not the laboratory but the practice of literature. (shrink)

When debating the cognitive value of the novel, philosophers often focus on the resemblance between real and fictional world. Therefore, it is a hardly surprising that modernist literature, such as Franz Kafka’s novels, are rarely used as examples to support claims about the novel’s cognitive value. In my paper, I therefore offer a starting point for the development of a theory on the novel’s cognitive value that also works for modernist literature by building on (...) Paul Ricoeur’s conception of productive imagination. Starting from a case study of a short story of Kafka, I develop an account of the novel’s cognitive value that is based on the tension between the literary work’s invitation to interpretation and its simultaneous resistance against interpretation. (shrink)

Traditionally, cognitive values have been thought of as a collective pool of considerations in science that frequently trade against each other. I argue here that a finer-grained account of the value of cognitive values can help reduce such tensions. I separate the values into groups, minimal epistemic criteria, pragmatic considerations, and genuine epistemic assurance, based in part on the distinction between values that describe theories per se and values that describe theory-evidence relationships. This allows us to clarify (...) why these values are central to science and what role they should play, while reducing the tensions among them. (shrink)

Many of us read works of fiction passionately not only because of their entertainment value or for their aesthetic inventiveness but also because we feel that they enrich our understanding of ourselves and the world. This is where there seems to be an important resemblance to philosophy. A number of fictional works can be legitimately called “philosophical” because they are thought provoking about issues that works of philosophy explicitly deal with. However, as the hot debate concerning truth through literature (...) or literature’s cognitive value indicates, it is notoriously hard to pin down what it means to “enrich understanding” or what counts as “thought-provoking content.” Even if it is granted that literature... (shrink)

In ‘Sight and Sensibility: Evaluating Pictures’ Dominic Lopes attempts two things. First, he attempts to solve the ‘Puzzle of Mimesis’: why do we value looking at pictures over looking at the things they depict? Second, he defends ‘interactionism’: the view that some aesthetic evaluations of pictures imply evaluations in moral and cognitive terms. I argue that the attempt to solve the Puzzle turns on the notion of ‘inflection’, and that that notion is more problematic than Lopes admits. I (...) further argue that Lopes’s defence of interactionism in fact establishes a thesis weaker than desired. (shrink)

Kazimierz Twardowski attributed high cognitive value to introspection because he believed it plays a fundamental role in psychology, the primary philosophical discipline. He believed that basing philosophy on inner experience would allow it to obtain universal and justified results. Internal experience consists of perceiving one’s own mental facts; it is non-sensual and selfevident. Twardowski referred to introspection in his investigations in various ways, which is presented in the article.

It is a common experience to be surprised by an artwork. In this paper, I examine how and why this obvious fact matters for philosophical aesthetics. Following recent works in psychology and philosophers such as Davidson or Scheffler, we will see that surprise qualifies as an emotion of a special kind, essentially “cognitive” or “epistemic” in its nature and functioning. After some preliminary considerations, I wish to hold two general claims: the first one will be that surprise is somehow (...) related to aesthetic appreciation, because it is often the ground to judge of a work’s value. The second point will be that a functional analysis of surprise provides support for cognitivist accounts of aesthetics. If this picture is right, surprise would generally play an important part in aesthetic experience and should also be seen as a paradigm to study the cognitive powers of art. (shrink)

This paper is about the notions of the artistic, aesthetic, cognitive and moral value of art and their interconnectedness. The main concern is to try to advocate the cognitivist claim about the artistic value of artworks’ contribution to the advance of knowledge, as well as for the relevance of the moral dimension for artistic value. This is a discussion of the intersection of the debate about moral and aesthetic value. The central part of the paper (...) is focused on a debate with Peter Lamarque. The problem of immoral art-works and their cognitive value is discussed at the end of this paper in order to show that they are counterexamples of the thesis of artistic relevance of the moral dimension. (shrink)

In 2012, and 2014 Libraries and Learning Services from the University of Auckland created two online courses to introduce students to the concept of academic integrity and its associated values and expectations. The challenge was to introduce the somewhat dry subject matter to a diverse group of students in an engaging way and to avoid large tracts of text that were difficult to comprehend. Initial research undertaken by the development team suggested that visually representing bodies of text was an effective (...) way of communicating with the target audience. Dual coding theory, multimodal instructional design and cognitive load theories provided a framework for the learning design approach taken by the design team who ultimately selected Richard Mayer’s (2001) Cognitive Theory of Multimedia Learning as a basis for designing the two courses. This paper outlines how the two courses were designed in accordance principles outlined in Mayer’s theory and how the design team integrated seven of Mayer’s twelve principles to create dynamic, visual and aural elements such as animations, narrations and text to engage learners in a more meaningful learning process. (shrink)

Virtue-based moral cognitivism holds that at least some of the value of some art consists in conveying knowledge about the nature of virtue and vice. We explore here a challenge to this view, which extends the so-called situationist challenge to virtue ethics. Evidence from social psychology indicates that individuals’ behavior is often susceptible to trivial and normatively irrelevant situational influences. This evidence not only challenges approaches to ethics that emphasize the role of virtue but also undermines versions of moral (...) cognitivism, because the value of art cannot consist in teaching us about traits that do not exist. We thus recommend a new account of the cognitive value of art: art teaches how context and character interact to produce action. (shrink)

Modern television is awash in programs that focus on the rough hero, a protagonist that is explicitly depicted as immoral. In this paper I examine why audiences find these characters so compelling, focusing on archetypal rough heroes in two programs: The Sopranos and Breaking Bad. I argue that the ability of rough-hero programs to engender a certain degree of empathy for morally deviant characters despite viewers' resistance to empathizing with these characters' moral views is an aesthetic achievement. In addition, I (...) argue that empathy for the rough hero has cognitive value in that it enables us to reflect on the nuances of the psychology underlying moral deviance. In defending these claims, I offer my view as an alternative to A.W. Eaton's robust immoralist view that the aesthetic value of rough-hero programs lies in their ability to make audiences empathize with immoral perspectives; my claim is that empathy for rough heroes does not extend to their moral outlooks. My view also provides an alternative to Matthew Kieran's cognitive immoralist view that a work's depiction of immorality has cognitive value insofar as it imparts a normative lesson; my claim is that rough-hero programs are cognitively valuable not because they teach us about the perils of acting immorally, but because they help us understand the moral psychology that underlies immoral behavior. I defend an interpretation of rough-hero programs that incorporates insights from Eaton's and Kieran's immoralist views but does not support immoralism. (shrink)

This paper is a critique of ‘integrative medicine’ as an ideal of medical progress on the grounds that it fails to realise the cognitive value of alternative medicine. After a brief account of the cognitive value of alternative medicine, I outline the form of ‘integrative medicine’ defended by the late Stephen Straus, former director of the US National Centre for Complementary and Alternative Medicine. Straus’ account is then considered in the light of Zuzana Parusnikova’s recent criticism (...) of ‘integrative medicine’ and her distinction between ‘cognitive’ and ‘opportunistic’ engagement with alternative medicine. Parusnikova warns that the medical establishment is guilty of ‘dogmatism’ and proposes that one can usefully invoke Karl Popper’s ‘critical rationalism’ as an antidote. Using the example of Straus, I argue that an appeal to Popper is insufficient, on the grounds that ‘integrative medicine’ can class as a form of cognitively-productive, critical engagement. I suggest that Parusnikova’s appeal to Popper should be augmented with Paul Feyerabend’s emphasis upon the role of ‘radical alternatives’ in maximising criticism. ‘Integrative medicine’ fails to maximise criticism because it ‘translates’ alternative medicine into the theories and terminology of allopathic medicine and so erodes its capacity to provide cognitively-valuable ‘radical alternatives’. These claims are then illustrated with a discussion of ‘traditional’ and ‘medical’ acupuncture. I conclude that ‘integrative medicine’ fails to exploit the cognitive value of alternative medicine and so should be rejected as an ideal of medical progress. (shrink)

-/- Carefully considering the difference in the philosophical potential of page poetry and performance poetry, Karen Simecek argues that it is only by considering them side by side that the unique cognitive value of each can be realised. -/- Focusing on spoken word poetry reveals the importance of voice and embodied words to the differing epistemic rewards of engaging with contemporary works of poetry in both private reading and live performance. This concept of embodied voice progresses a new (...) line of thinking in the cognitivism debate and unlocks the philosophical value of engaging with poetry. Simecek's discussion of performed poetry also advances discussions of affect and experience in contemporary analytic aesthetics which raise new insights and connections within the field. -/- The moral significance of the differing effects of poetry finds comprehensive articulation through a rich philosophical analysis of the thoughts and affects which arise in particular contexts. Simecek concludes that when page poetry is treated as paradigmatic, this enables reflection in the singular, whereas taking poetry in live performance as paradigmatic enables reflection on what is shared and shareable with others. (shrink)

In this article, I first analyze and assess the epistemological and semantic status of canonical value-range equations in the formal language of Frege’s Grundgesetze der Arithmetik. I subsequently scrutinize the relation between (a) his informal, metalinguistic stipulation in Grundgesetze I, Section 3, and (b) its formal counterpart, which is Basic Law V. One point I argue for is that the stipulation in Section 3 was designed not only to fix the references of value-range names, but that it was (...) probably also intended to play a regulative role with an eye to Basic Law V. I further intend to shed new light on the status of Frege’s identification of the truth-values with their unit classes in Grundgesetze I, Section 10 and determine its place and importance in his overall logicist project. In a subsequent section, I first discuss the hypothetical extendability of the logical system of Grundgesetze. In what follows, I analyze the incompleteness of that system—were it not inconsistent and hence trivially complete—by focusing on the role of the definite description operator and the axiom governing it (= Basic Law VI) as well as on the role of the application operator. The latter is defined by means of the former. I further comment on the redundancy of an axiom that could be designed to supplement Basic Law VI by incorporating the second clause of Frege’s two-part elucidation of the description operator. I argue that although it seems likely that Basic Law VI could have been shown to be dispensable in Grundgesetze, Frege would probably have been reluctant to dispense with it, despite his commitment to axiomatic parsimony. In my view, the reason is that he considers it essential that every primitive function-name of his formal language be governed and grounded by a basic law that is tailored to the nature and the role of the primitive name occurring at a key point in the law. Toward the end of the article, I propose solutions to two problems with Frege’s use of “=” in the concept-script sentences that result from his definitions involving the replacement of the double stroke of definition with the judgment-stroke. I conclude the article with a summary of the main results that I have achieved. (shrink)

Fin dall’antichità esiste una tensione tra filosofia e letteratura, a cui David Hume ha dato voce dicendo che i poeti sono «mentitori per professione»: i testi letterari, in quanto opere di finzione che parlano di persone che non sono mai esistite e di eventi che non sono mai accaduti, non contengono proposizioni vere. Ciò implica, però, che essi sono privi di qualsiasi valore cognitivo. Questo articolo cerca di mostrare che tale atteggiamento anticognitivista si basa su una concezione errata del progresso (...) cognitivo, che lo riduce a un accumulo di dati. Quando apprendiamo da un testo letterario, invece, è perché esso ci offre nuove prospettive, approfondisce la nostra comprensione o ci invita a riflettere e ad arrivare a conclusioni nostre.There is an old tension between philosophy and literature that has been brought to the point by David Hume who stated that poets are «liars by profession». Literary texts, as works of fiction that talk about people who have never lived and events that have never taken place, do not contain true propositions and hence do not have any cognitive value. This article aims to show that the anticognitivistic argument is based on a false conception of cognitive progress, which reduces learning to the acquisition of information. We can learn from literary texts, however, because they offer new perspectives, deepen our understanding and invite us to reflect and arrive at our own conclusions. (shrink)

Cognitive enhancement has an increasingly wider influence on our life. The main issue that concerns epistemologists is what its epistemological implications are. Adam Carter and Duncan Pritchard argue that cognitive enhancement improves cognitive achievement, but this view faces axiological objections. A worry exists that cognitive enhancement undermines achievements and erodes intellectual character. Crucially, two parties seem to talk past each other because the nature of cognitive enhancement and the value of cognitive enhancement are (...) not clearly distinguished. To end the stand‐off between the two parties, I take insight from Gwen Bradford’s work and argue that, other things being equal, cognitive enhancement either decreases the value of cognitive achievement or undermines cognitive achievement. In the face of this threat, I further submit that we could learn to live with cognitive enhancement in an integrated way so that the lost value can be restored. (shrink)

A recent article (Núñez et al., 2019) claims that cognitive science, while starting off as a multidisciplinary enterprise, has “failed to transition to a mature inter‐disciplinary coherent field.” Two indicators reported in support of this claim target one of the two journals of the Cognitive Science Society, Cognitive Science, depicting cognitive science as an increasingly monodisciplinary subfield which is dominated by psychology. With a focus on the society's other journal, Topics in Cognitive Science, the present (...) commentary reveals a greater degree of interdisciplinarity and discusses the relative values of diversity and integration for the field. (shrink)

Abstract:In this article, I argue that the cognitive value of narrative arts is an epistemic understanding of a complex set of facts. My argument is the following: because we are epistemically limited agents (in a sense of our cognitive capacity and motivation), engagement with narrative arts is the optimal way to familiarize ourselves with complex phenomena in the world, such as social injustice, institutional racism, and financial crises. Exemplary narrative works of art possess epistemic features that other (...) epistemic sources, such as scientific articles and newspaper reports, lack. These features are narrative compression, simplified language, engagement with fictional characters, and artistic features. These features make exemplary narrative works of art an optimal way for an average agent to learn about the complex world around them. The article consists of three parts: Knowledge and Understanding, Narrative Arts as Epistemic Sources, and Understanding the Financial Crisis of 2007–8 with The Big Short (2015). In the first part, I introduce concepts of knowledge and understanding and explain why they are important for my claim. In the second part, I present my claim and offer arguments for it. In the third part, I illustrate my claim with the movie The Big Short (2015). (shrink)

An Introduction to the Philosophy of Art is a clear and compact survey of philosophical theories of the nature and value of art, including in its scope literature, painting, sculpture, music, dance, architecture, movies, conceptual art and performance art. This second edition incorporates significant new research on topics including pictorial depiction, musical expression, conceptual art, Hegel, and art and society. Drawing on classical and contemporary philosophy, literary theory and art criticism, Richard Eldridge explores the representational, formal and expressive (...) dimensions of art. He argues that the aesthetic and semantic density of the work, in inviting imaginative exploration, makes works of art cognitively, morally and socially important. This importance is further elaborated in discussions of artistic beauty, originality, imagination and criticism. His accessible study will be invaluable to students of philosophy of art and aesthetics. (shrink)

Reasoning with diagrams is considered to be a peculiar form of reasoning. Diagrams are often associated with imagistic representations conveyed by spatial arrangements of lines, points, figures, or letters that can be manipulated to obtain knowledge on a subject matter. Reasoning with diagrams is not just ‘peculiar’ because reasoners use spatially arranged characters to obtain knowledge – diagrams apparently have cognitive surplus: they enable a quasi-intuitive form of knowledge. The present paper analyses the issue of diagrams’ cognitive (...) class='Hi'>value by enquiring into the tradition of symbolic cognition developed by Leibniz, Lambert, and Kant. The proposal resulting from this enquiry is to question the idea that the cognitive value of diagrams lies solely in allowing evidence for inferences. The imaginative dimension of diagrams connects reasoning to doxastic attitudes of meditation and enquiry. (shrink)

Recent discussions about the cognitive value of fiction either rely on a background theory of reference or a theory of imaginative pretense. I argue that this reliance produces a tension between the two central or defining claims of literary cognitivism that: (1) fiction can have cognitive value by revealing or supporting insights into the world that properly count as true, and (2) that the cognitive value of a work of fiction contributes directly to that (...) work’s literary value. I address that tension by looking at the formal devices present in a work of fiction that enable it to realize the fictional world described by a text. When we focus on those formal elements, we can identify a connection between a work of literary fiction and the insights we gain through an encounter with the fictional world that work realizes. (shrink)

Dasein is one of several twentieth-century notions which paint a portrait of the “post-Cartesian subject.” Critics of cognitivism such as Dreyfus (1992) have invoked Dasein in arguing that computational models cannot be sufficient to account for situated cognition. Van Gelder (1995) argues that dynamic systems theory provides an empirical model of cognition as practical activity which avoids the Cartesianism implicit in the computational approach. I assess Van Gelder’s claim for dynamic systems as a model of being-in-the-world. Contra Van Gelder, I (...) argue that the force of the “Dasein objection” is that the significance of a mental process, whether representational or not, depends on a lived background of value. While dynamic systems can help model the diachronic interplay between organism and environment, the semantic context for this interplay is no more accounted for here than in traditional computer models. (shrink)

When should a scientific community be cognitively diverse? This article presents a model for studying how the heterogeneity of learning heuristics used by scientist agents affects the epistemic efficiency of a scientific community. By extending the epistemic landscapes modeling approach introduced by Weisberg and Muldoon, the article casts light on the micro-mechanisms mediating cognitive diversity, coordination, and problem-solving efficiency. The results suggest that social learning and cognitive diversity produce epistemic benefits only when the epistemic community is faced with (...) problems of sufficient difficulty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Simulation, Subjective Knowledge, and the Cognitive Value of Literary NarrativeScott R. Stroud (bio)IntroductionLiterary narrative holds the power to move individuals to thought, reflection, action, and belief. According to a longstanding view of literature, it is this impact on the reader that leads to literary narrative being valued so highly in our culture and in others. What exactly is the value of literature? Humanists such as Peter (...) Lamarque and Stein Olsen1 argue for this value in terms of perennial themes that literature allows one to "grapple with," as opposed to cognitivist accounts that discuss the value of literary narrative in terms of conveyed truths or knowledge. One particularly important position that explains the cognitive value of literature can be labeled the "Subjective Knowledge Theory" (SKT). Such an account of literature places its value in the subjective perspectives or experiences the narrative opens up to the reader. Thus, one can gain knowledge of "what it is like" to be caught in the throes of jealousy, endangered by an opposing army, or captivated by the lure of magical prowess. Lamarque and Olsen, however, argue that SKT is fundamentally flawed in its analysis of knowledge derivable from the literary narrative and in terms of its account of literary practice.I wish to defend a version of SKT in this article. In order to do so, I make and defend the following claims. First, Lamarque and Olsen's critique of SKT relies on a conflation of two distinct types of knowledge—the knowledge provided by the simulated subjective experience and its appropriation/ generalization to forms useful for the reader's real life activities. I will argue that the former of these outcomes is due strictly to the aesthetic features of the literary narrative, whereas the second involves a non-necessary psychological reaction to the text (that is, judgments of the veracity or usefulness of the text for one's own purposes). By conflating both of these into the cognitive knowledge derivable from the text, Lamarque and Olsen's critique can [End Page 19] gain its purchase against SKT. If these two processes and the resultant sorts of knowledge are separated, then the SKT account does seem to show how literature holds value in itself and in relation to the reader's moral activities/ judgments. Second, the process of simulation is the primary means by which one can gain any type of subjective knowledge from a literary narrative. This type of knowledge will be gained by virtue of the literary narrative's aesthetic qualities, which result in a certain type of activity in the reader. Third, I will argue that the second sort of knowledge—that derived from the simulated subjective experience—results from the process of reader identification with the values, beliefs, and/or behaviors of the simulated agent. This sense of identification involves selective appropriation and generalization and will be shown not to be subject to the critiques of simple identification offered by Noël Carroll.2 It is at this stage that individuals learn what they believe they ought to value, how they ought to act, and what they should believe from their experience of simulation in reading the literary narrative. Notice that this knowledge is separate from the first sort of knowledge, which is knowledge of what it is like to experience x through y's eyes.As I elucidate and defend these claims, I hope it will become clear that this is an account that does justice to the value resident in literature and in the activities readers do after they partake in the aesthetic object of the literary narrative. Thus, I will conclude by showing how this account does not fall prey to the conflation that both critics and supporters of SKT commit in muddling the different types of knowledge available from and in relation to a literary narrative.Before I proceed, it is important that some basic concepts are clearly set forth. A narrative can be defined as any representation of two or more events over time. The number of events and the relationship among them can be as simple or complex as one likes, but the crucial aspect is that the representation supplies the... (shrink)

Topics in Cognitive Science, Volume 14, Issue 1, Page 78-92, January 2022.

Cognitive values like simplicity, broad scope, and easy handling are properties of a scientific representation that result from the idealization which is involved in the construction of a representation. These properties may facilitate the application of epistemic values to credibility assessments, which provides a rationale for assigning an auxiliary function to cognitive values. In this paper, I defend a further rationale for cognitive values which consists in the assessment of the usefulness of a representation. Usefulness includes the (...) relevance of a representation regarding the investigation of a given problem and its practicability for the users. This rationale builds on the claim that any evaluation of scientific representations should pursue two aims: providing information about their credibility and providing information about their usefulness. Cognitive values relating to the usefulness of a representation and epistemic values relating to its credibility both perform a first-order function. Cognitive values are abstract, and several values with first-order functions may conflict in their application. Thus, in order for cognitive values to account for the sort of problem that is to be investigated by means of a representation, they need to be appropriately specified and weighed. Comprehensiveness, complexity, high resolution, and easy handling, for instance, may be required in a first-order function for model-based prediction of regional climate impacts but not for explaining how the global climate system works. Specifying and weighing cognitive and epistemic values relative to a given problem is a legitimate second-order function of social values. (shrink)

Pragmatism and critical realism are different vocabularies for talking about the cognitive value of religion and science. Each can be, and has been, used to make the case for cognitive parity between religious and scientific discourse. Critical realism presupposes a particular form of cognitive psychology that entails general skepticism about the external world and forecloses scientific inquiry in the name of a preconceived idea of what the nature of human cognition must be. Thus, of the two, (...) pragmatism is the better vocabulary for fostering mutual understanding between religion and science. (shrink)

As the title indicates, this work includes both an exposition of the mystical theology of John of the Cross and a defense of the cognitive value of mystical experience, with three chapters devoted to each section. The treatment of St. John contains little that will startle students of his work; but the exegesis is balanced and well supported. After an introductory chapter on the man and his writings, a chapter is devoted to his account of human nature, with (...) emphasis on the philosophical psychology. Another chapter treats the stages of the spiritual life. In the latter Payne grapples with apparent conflicts between different texts, particularly with respect to the various "nights," and manages to weave them together into a coherent and unified doctrine. (shrink)

This paper will defend the cognitivist view of cognition against recent challenges from Andy Clark and Richard Menary. It will also indicate the important theoretical role that cognitivism plays in understanding some of the core issues surrounding the hypothesis of extended cognition.