Saul Kripke is one of the most original and creative philosophers writing today. His work has had a tremendous impact on the direction that philosophy has taken in the last thirty years and continues to dominate some of its most fundamental aspects. Given Kripke's importance it is perhaps surprising that there is no introduction to his philosophy available to the general student. This book fills that gap. As much of Kripke's work is highly technical, the book's central aim is to (...) provide clear exposition of Kripke's ideas in a form that is understandable to a beginning readership as well as a commentary on them that more advanced students will find useful. The book begins with a discussion of Kripke's early work on modal logic, which provides the foundation for many of his later philosophical contributions, before examining in detail Kripke's central ideas and arguments contained in Naming and Necessity. In further chapters, Kripke's work on semantic paradoxes and his theory of truth are outlined as well as his controversial interpretation of Wittgenstein's famous private language argument. Kripke's ideas are situated alongside those of his precursors and some of the most important and interesting responses to them are explored. The reader is thus able to appreciate the path-breaking nature of Kripke's contributions, how they have challenged fundamentally traditional interpretations, and how they have sparked some of the most important philosophical debates of recent years. (shrink)

I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical styles to divorce (...) themselves from their dance-based roots are also briefly considered. To the extent that musical rhythms only make sense in the context of bodily movement, researchers interested in ecologically valid approaches to music cognition should make a more concerted effort to extend their analyses to dance, particularly if we hope to understand the cognitive constraints underlying rhythmic aspects of music like meter and groove. (shrink)

I suggest that most discussions of intentional systems have overlooked an important aspect of living organisms: the intrinsic goal-directedness inherent in the behaviour of living eukaryotic cells. This goal directedness is nicely displayed by a normal cell’s ability to rearrange its own local material structure in response to damage, nutrient distribution or other aspects of its individual experience. While at a vastly simpler level than intentionality at the human cognitive level, I propose that this basic capacity of living things provides (...) a necessary building block for cognition and high-order intentionality, because the neurons that make up vertebrate brains, like most cells in our body, embody such capacities. I provisionally dub the capacities in question “nano-intentionality”: a microscopic form of “aboutness”. The form of intrinsic intentionality I propose is thoroughly materialistic, fully compatible with known biological facts, and derived non-mysteriously through evolution. Crucially, these capacities are not shared by any existing computers or computer components, and thus provide a clear, empirically-based distinction between brains and currently existing artificial information processing systems. I suggest that an appreciation of this aspect of living matter provides a potential route out of what may otherwise appear to be a hopeless philosophical quagmire confronting information-processing models of the mind. (shrink)

Sussman and colleagues provide no evidence supporting their claim that the human vocal production system is specialized to produce locus equations with high correlations and linearity. We propose the alternative null hypothesis that these features result from physical and physiological factors common to all mammalian vocal tracts and we recommend caution in assuming that human speech production mechanisms are unique.

Historical language change (), like evolution itself, is a fact; and its implications for the biological evolution of the human capacity for language acquisition () have been ably explored by many contemporary theorists. However, Christiansen & Chater's (C&C's) revolutionary call for a replacement of phylogenetic models with glossogenetic cultural models is based on an inadequate understanding of either. The solution to their lies before their eyes, but they mistakenly reject it due to a supposed Gene/;culture co-evolution poses a series of (...) difficult theoretical and empirical problems that will be resolved by subtle thinking, adequate models, and careful cross-disciplinary research, not by oversimplified manifestos. (shrink)

Saul Kripke is one of the most original and creative philosophers writing today. His work has had a tremendous impact on the direction that philosophy has taken in the last thirty years and continues to dominate some of its most fundamental aspects. Given Kripke's importance it is perhaps surprising that there is no introduction to his philosophy available to the general student. This book fills that gap. As much of Kripke's work is highly technical, the book's central aim is to (...) provide clear exposition of Kripke's ideas in a form that is understandable to a beginning readership as well as a commentary on them that more advanced students will find useful. The book begins with a discussion of Kripke's early work on modal logic, which provides the foundation for many of his later philosophical contributions, before examining in detail Kripke's central ideas and arguments contained in Naming and Necessity. In further chapters, Kripke's work on semantic paradoxes and his theory of truth are outlined as well as his controversial interpretation of Wittgenstein's famous private language argument. Kripke's ideas are situated alongside those of his precursors and some of the most important and interesting responses to them are explored. The reader is thus able to appreciate the path-breaking nature of Kripke's contributions, how they have challenged fundamentally traditional interpretations, and how they have sparked some of the most important philosophical debates of recent years. (shrink)

Alvin Plantinga has recently argued that there are certain propositions which are necessary but known only a posteriori. If Plantinga is correct then he has shown that the traditional view that all necessary truths are knowable a priori is false. Plantinga's examples deserve special attention because they differ in important respects from other proposed examples of necessary a posteriori truths. His examples depend on a certain conception of possible worlds and in particular on his conception of the actual world. It (...) will be argued that these examples of necessary a posteriori propositions can be understood in two different ways. According to one way of understanding Plantinga, the propositions turn out to be contingent a posteriori truths, and according to the other way they turn out to be necessary a priori truths. The plausibility of Plantinga's position is due to a confusion between the two possible interpretations. (shrink)

For many years the evolution of language has been seen as a disreputable topic, mired in fanciful “just so stories” about language origins. However, in the last decade a new synthesis of modern linguistics, cognitive neuroscience and neo-Darwinian evolutionary theory has begun to make important contributions to our understanding of the biology and evolution of language. I review some of this recent progress, focusing on the value of the comparative method, which uses data from animal species to draw inferences about (...) language evolution. Discussing speech first, I show how data concerning a wide variety of species, from monkeys to birds, can increase our understanding of the anatomical and neural mechanisms underlying human spoken language, and how bird and whale song provide insights into the ultimate evolutionary function of language. I discuss the “descended larynx” of humans, a peculiar adaptation for speech that has received much attention in the past, which despite earlier claims is not uniquely human. Then I will turn to the neural mechanisms underlying spoken language, pointing out the difficulties animals apparently experience in perceiving hierarchical structure in sounds, and stressing the importance of vocal imitation in the evolution of a spoken language. Turning to ultimate function, I suggest that communication among kin (especially between parents and offspring) played a crucial but neglected role in driving language evolution. Finally, I briefly discuss phylogeny, discussing hypotheses that offer plausible routes to human language from a non-linguistic chimp-like ancestor. I conclude that comparative data from living animals will be key to developing a richer, more interdisciplinary understanding of our most distinctively human trait: language. (shrink)

In this commentary on Berwick and Chomsky's “Why Only Us,” I discuss three key points. I first offer a brief critique of their scholarship, notably their often unjustified dismissal of previous thinking about language evolution. But my main focus concerns two arguments central to the book's thesis: the irrelevance of externalization to language evolution and the discontinuity between human conceptual representations and those of other animals. I argue against both stances, using cognitive data from nonhuman species to show that externalization (...) is not irrelevant to understanding the biology of language, and that many human conceptual structures have clear animal homologs. (shrink)

Hierarchical structures are rapidly and flexibly built up in the domains of human language and music. These domains require a tree-building capacity – “dendrophilia” – to dynamically infer hierarchical structures from sensory input, based on subunits stored in a lexicon. This dynamic process involves a crucial class of abstracta overlooked in the target article.

In a recent paper Robert J. Richman joins a host of doubters who question Gettier's claim that knowledge is not justified true belief. Richman's scepticism of Gettier's counterexamples to the traditional analysis of knowledge stems from what he says are two basic defects in the examples. One defect is that Gettier employs the Principle of Deducibility for Justification which Richman argues is false. The second defect is based on “the obvious consideration that a belief which is justified on the basis (...) of one set of facts or assumptions need not be justified on the basis of a different set.” I shall consider each of these alleged defects and argue that Richman has not shown that in fact they are defects and that Gettier's counterexamples do in fact show that knowledge is not justified true belief.The Principle of Deducibility for Justification states that for any proposition P, if P entails Q and S correctly deduces Q from P and accepts Q as a result of this deduction, then Sis justified in believing Q. (shrink)

Accepting Bullot & Reber's (B&R's) criteria for art appreciation would confine the study of aesthetics to those works for which historical information is available, mainly posthigh art.correct” artistic understanding is limited to experts with detailed knowledge or education in art, which implies a narrowly elitist conception of aesthetics. Scientific aesthetics must be broadly inclusive.

One of the most important insights that Russell had in presenting his philosophy of language was his view of singular definite descriptions. Russell held that singular phrases of the form ‘the so-and-so’ should not be viewed as names, but rather incomplete symbols which can be said to have meaning only in a context. We should not represent the sentence The inventor of bifocals is bald.as a simple subject-predicate sentence of the form ‘Fa.’ but rather as a complex existential sentence. According (...) to Russell we should analyze as There is a unique x such that x invented bifocals and x is bald.Moreover, if Russell's analysis is correct then the proposition expressed by will be true in a given circumstance provided that there is a unique inventor of bifocals who is bald in that circumstance. (shrink)

I will focus on what seems to be a problem for Kripke’s position with respect to certain necessary a posteriori truths and true negative existentials. I shall tentatively suggest that within Kripke’s work a solution to the problem in question can be found provided one is willing to distinguish statements from propositions.

Explaining the transition from a signed to a spoken protolanguage is a major problem for all gestural theories. I suggest that Arbib's improved “beyond the mirror” hypothesis still leaves this core problem unsolved, and that Darwin's model of musical protolanguage provides a more compelling solution. Second, although I support Arbib's analytic theory of language origin, his claim that this transition is purely cultural seems unlikely, given its early, robust development in children.

I concur with Merker and colleague's critiques, suggesting that hypotheses about the evolutionary function of consciousness can help address them. Brains are parallel systems that function to compute possible actions and predict outcomes. I hypothesize that a core function of consciousness per se is the global feedback of information about those actions actually executed, supporting local learning via neuronal updating.

Millikan's account of substance concepts fails to do away with features. Her approach simply moves the suite of relevant features into an encapsulated module. The crux of the problem for scientists studying human infants and nonhuman animals is to determine how individuals reidentify objects and events in the world.

Vocal music and spoken language both have important roles in human communication, but it is unclear why these two different modes of vocal communication exist. Although similar, speech and song differ in certain design features. One interesting difference is in the pitch intonation contour, which consists of discrete tones in song, vs. gliding intonation contours in speech. Here, we investigated whether vocal phrases consisting of discrete pitches (song-like) or gliding pitches (speech-like) are remembered better, conducting three studies implementing auditory same-different (...) tasks at three levels of difficulty. We tested two hypotheses: that discrete pitch contours aid auditory memory, independent of musical experience (“song memory advantage hypothesis”), or that the higher everyday experience perceiving and producing speech make speech intonation easier to remember (“experience advantage hypothesis”). We used closely matched stimuli, controlling for rhythm and timbre, and we included a stimulus intermediate between song-like and speech-like pitch contours (with partially gliding and partially discrete pitches). We also assessed participants' musicality to evaluate experience-dependent effects. We found that song-like vocal phrases are remembered better than speech-like vocal phrases, and that intermediate vocal phrases evoked a similar advantage to song-like vocal phrases. Participants with more musical experience were better in remembering all three types of vocal phrases. The precise roles of absolute and relative pitch perception and the influence of top-down vs. bottom-up processing should be clarified in future studies. However, our results suggest that one potential reason for the emergence of discrete pitch–a feature that characterises music across cultures–might be that it enhances auditory memory. (shrink)

A prerequisite for spoken language learning is segmenting continuous speech into words. Amongst many possible cues to identify word boundaries, listeners can use both transitional probabilities between syllables and various prosodic cues. However, the relative importance of these cues remains unclear, and previous experiments have not directly compared the effects of contrasting multiple prosodic cues. We used artificial language learning experiments, where native German speaking participants extracted meaningless trisyllabic “words” from a continuous speech stream, to evaluate these factors. We compared (...) a baseline condition to five test conditions, in which word-final syllables were either followed by a pause, lengthened, shortened, changed to a lower pitch, or changed to a higher pitch. To evaluate robustness and generality we used three tasks varying in difficulty. Overall, pauses and final lengthening were perceived as converging with the statistical cues and facilitated speech segmentation, with pauses helping most. Final-syllable shortening hindered baseline speech segmentation, indicating that when cues conflict, prosodic cues can override statistical cues. Surprisingly, pitch cues had little effect, suggesting that duration may be more relevant for speech segmentation than pitch in our study context. We discuss our findings with regard to the contribution to speech segmentation of language-universal boundary cues vs. language-specific stress patterns. (shrink)