This paper reports a psychological study of human categorization that looked at the procedures used by expert scientists when dealing with puzzling items. Five professional botanists were asked to specify a category from a set of positive and negative instances. The target category in the study was defined by a feature that was unusual, hence situations of uncertainty and puzzlement were generated. Subjects were asked to think aloud while solving the tasks, and their verbal reports were analyzed. A number of (...) problem solving strategies were identified, and subsequently integrated in a model of knowledge‐guided inductive categorization. Our model proposes that expert knowledge influences the subjects' reasoning in more complex ways than suggested by earlier investigations of scientific reasoning. As in previous studies, domain knowledge influenced our subjects' hypothesis generation and testing; but, additionally, it played a central role when subjects revised their hypotheses. (shrink)

The dominant discourse on dementia promotes a view that as individuals progress with the disease, they experience a neurological decline causing a loss of self. This notion, grounded in a Cartesian representation of selfhood, associates a loss of self as directly related to cognition. This paper presents an alternative anthropological framework, embodied selfhood, that challenges this representation. It then examines a potential tool, graphic medicine, to translate this theory into caregiving practice. Through analyzing three graphic novels—Wrinkles, Tangles, and Aliceheimer’s—this paper (...) demonstrates how tension exists between different conceptions of selfhood and associated implications for caregivers and patients alike. (shrink)

Constructivism claims to be a postepistemology that replaces ‘traditional’ concepts of knowledge. Supporters of constructivism have argued that progress requires that pre‐service teachers be weaned off traditional approaches and that they should adopt constructivist views of knowledge. Constructivism appears to be gaining ground rapidly and should no longer be viewed as an exercise in radical thinking primarily aimed at generating innovative teaching. It has become an integral part of the pedagogic mainstream. Close examination of the theoretical foundations of constructivism, however, (...) reveals that the basic assumptions of constructivism are flawed. Far from being a postepistemology, constructivism simply regresses to a pre‐Renaissance mindset with theology replaced with a psychologism. Constructivists should be aware that the implications of constructivism for future generations may be both profound and non‐benign. (shrink)

As Hume remarks, the view that aesthetic evaluations are ‘subjective’ is part of common sense—one certainly meets it often enough in conversation. As philosophers, we can distinguish the one sense of the claim (‘aesthetic evaluations are mind- dependent’) from another (‘aesthetic evaluations are relative’). A plausible reading of the former claim (‘some of the grounds of some aesthetic evaluations are response- dependent’) is true. This paper concerns the latter claim. It is not unknown, or even unexpected, to find people who (...) believe that aesthetic evaluations are culturally relative, or even agent-relative. A cultural relativist would hold that there is no way to adjudicate an apparent disagreement between, say, a Japanese critic who finds Wright of Derby clunky and unsubtle, and a British critic who finds Utamaro’s flower pictures overly pretty and sentimental. (shrink)

This paper explores the cognitive content, and the cognitive benefits, of the state of wonder.

A *very* rough draft of a paper on Anselm's "ontological argument" in which I argue that the argument in the Proslogion rests on a robust notion of having "that then which nothing greater can be thought" in one's mind.

The primary use of such terms as "sadness" and "joy" is to refer to the mental states of people. In such cases, the claim that someone is sad is equivalent to the claim that they feel sad. However, our use of emotion terms is broader than this; a funeral is a sad occasion, a wedding is a happy event. In such cases, a justification can be given for the use of the word. For example, it is part of what is (...) meant by "sadness" that events such as funerals are an appropriate object for such emotions and the epithet is transferred. Sometimes in criticism a similar justification can be given; it explains, for example, why the death of Little Nell is sad. On other occasions such a justification is not available. A poem can express sadness without representing a sad state of affairs. More obviously, to take a medium that is not representational, a piece of music can be sad. What we need is some way of making sense of these uses of the emotion terms. (shrink)

This paper argues that the role of the negative emotions in the appreciation of art is misunderstood. Usually taken to generate the 'paradox of tragedy', in fact the negative emotions play an essential role in creativity, and hence in art appreciation.

Relative price stability is central to the security of valued forms of life in contemporary liberal democracies, and disruptions to price stability can be and have been understood and experienced as emergencies. However, while the relation between price and emergency can be understood in juridico–political terms, this article argues for the importance of attending to the affective dimensions of this relation. This argument is developed through a discussion of the affective life of price in relation to the disruptive event of (...) inflation, an event characterized by an atmosphere of emergency that takes place as a disturbance of the rhythms and relations of which everyday life consists. Haunted by the spectre of this emergency, governing price in liberal democracies needs to be understood not only through regulatory measures designed to act directly upon price, but also in terms of efforts to act upon the affective spacetimes from which price-emergencies can emerge. (shrink)

John Smith (1618-1652), the 17th century Cambridge Platonist, employed the traditional language of the spiritual senses of the soul to develop an early modern theological aesthetic central to his religious epistemology and thus to his philosophy of religion and systematic theology. As a Christian Platonist, Smith advocated intellectual intuition of Divine Goodness as the key to theological knowledge and spiritual practice. Additionally, Smith’s theory of prophecy rests on the reception of sensible images in the imagination. Chapter one lays out how (...) Smith’s place in this tradition has been under-appreciated by scholars working on the Cambridge Platonists and the spiritual senses. Chapter two presents an interpretive summary of the spiritual senses tradition and proposes a functional typology that registers three uses of non-corporeal perception throughout the history of Christian theology: (1) accounts of the origin and methods of theological knowledge, (2) descriptions of spirituality, and (3) attempts to systematically present or defend Christian theology. Chapter three places Smith in his historical and intellectual context in early seventeenth century England noting especially how his education prepared him to contribute to the mystical tradition of the spiritual senses of the soul. Chapter four argues that Smith’s theories of theological knowledge, method, and prophecy rest on his development of the spiritual senses tradition, combining intellectual intuition and imaginative perception. Chapter five addresses the role of spiritual aesthetics in Smith’s prescriptive account of Christian piety. Here the spiritual senses are both means and reward in the spiritual life in the process of deification (theosis). Chapter six demonstrates how Smith’s theology forms a coherent system with intellectual intuition informing natural theology and revelation being supplemented by spiritual perception via the imagination. The central uniting feature therefore is the spiritual perception of theological truth. Chapter seven closes with a summary of Smith’s various uses of the spiritual senses and proposes future research on his influence upon later figures including Jonathan Edwards, John Wesley, and prospective constructive work inspired by Smith’s combination of reason and experience in religion. (shrink)

The concept of informational encapsulation has been important in promoting a view of the mind that has dominated cognitive science. Multisensory phenomena, such as synaesthesia, have been used as evidence for challenging this view. The main objective of this paper is to provide a more detailed understanding of the nature of such a challenge by examining the two types of grapheme–colour synaesthesia, projectors and associators. It is argued that the phenomena under consideration exemplify partial encapsulation failure and that it is (...) expressed in three forms: intramodal, intermodal, and top-down. Additional support for these claims is provided by considering some evidence on synaesthetic-like experiences in relation to the continuity thesis. (shrink)

This article is a commentary on Alana Jelinek's book, This Is Not Art. It broadly agrees with Jelinek in her diagnosis of the current ills of the artworld, who is to blame for this, and the need for an endogenous value of art. Furthermore, it agrees with her that the value of art lies in its status as a ‘knowledge-forming discipline’. However, it takes issue with the very notion of an ‘avant-garde’ art, with Jelinek's claims concerning truth, and raises questions (...) as to what it is for the discipline of art to be ‘knowledge-forming’. It ends with a sceptical doubt as to whether it is the nature of art to favour politically progressive messages. (shrink)

This is a critical review of the current state of the debate in the philosophy of music, and defends the author's view as the phenomenology of the experience.

This is an overview of, and criticism of, theories on the role of the emotions in accounting for expression in the arts - both music and painting.

In this paper I argue against the current consensus that there is such a thing as 'the philosophy of fiction'. I argue instead that what are taken to be problems with fiction, are in fact problems with narrative more generally.

This paper examines the views of a philosophical aesthetician who was sympathetic to psychology: Richard Wollheim. It is divided into three parts. The first gives an account of Wollheim’s views on pictorial representation: on ‘seeing-in’, ‘expressive perception’ and ‘visual delight’. The second part discusses the relation between philosophy and psychology. If we regard the first as dealing with constitutive questions, and the second dealing with causal questions, it looks as if they are separate enquiries. However, there are circumstances where the (...) latter looks as if it will inform the former. Wollheim’s view on this issue varied; sometimes he regarded the enquiries as separate, and sometimes not. The third part argues that it is unlikely that psychology will be able to illuminate Wollheim’s views on pictorial representation, and expresses scepticism about the extent to which research on visual preferences has a bearing on aesthetics. (shrink)

There are several interconnected themes in Roger Scruton’s The Aesthetics of Architecture, including an account of aesthetic experience, a criticism of reductive theories of architecture, and an account of the self. Through each of these themes Scruton spins a web of argument which supports some manner of conservatism about architecture, and, even more broadly, a conservatism about culture. In this paper I want, from a broadly Scrutonian perspective, to discuss whether it would be appropriate to use architecture in the same (...) way as some have used the visual arts this century, particularly in 1950s and 60s New York, as a vehicle for criticising certain ingrained habits of seeing. By this I mean art which deliberately frustrates prior expectations of what would be something pleasing to look at. I shall work with an example, which I take to be only a placeholder for any number of candidates, of architecture which pays no regard to symmetry and what I will broadly call ‘laws of proportion’. (shrink)

This clear and thorough introduction provides students with the skills necessary to understand the main thinkers, texts and arguments of political philosophy and thought. Each chapter comprises a brief overview of a major political thinker, followed by an introduction to one or more of their most influential works and an introduction to key secondary readings. Key features include: * exercises * reading notes * guides for further reading The book introduces and assesses: Machiavelli's _Prince_; Hobbes' _Leviathan_; Locke's _Second Treatise on (...) Government_; Rousseau's _Social Contract_; Marx and Engels' _German Ideology_ ; Mill's _On Liberty and The Subjection of Women_. _Reading Political Philosophy_ requires no previous knowledge of philosophy or politics and is ideal for newcomers to political philosophy and political thought. (shrink)

Things: In Touch with the Past. By Korsmeyer Carolyn.

Richard Wollheim was born in 1923 in London. His father was Eric Wollheim who was at the time the London manager for Diaghilev. His mother had been a Gaiety girl; she left the stage when she married. Wollheim was educated at Westminster School and then, after active service in the Second World War, he went to Oxford to complete degrees in history and PPE. Despite relatively little study of the subject he was recruited by A. J. Ayer for the Philosophy (...) Department at University College London. He remained there for thirty-three years, becoming Grote Professor in 1963. In 1983 he moved to America where he taught at various universities before returning to England shortly before his death in 2003. (shrink)

Ethics for Robots describes and defends a method for designing and evaluating ethics algorithms for autonomous machines, such as self-driving cars and search and rescue drones. Derek Leben argues that such algorithms should be evaluated by how effectively they accomplish the problem of cooperation among self-interested organisms, and therefore, rather than simulating the psychological systems that have evolved to solve this problem, engineers should be tackling the problem itself, taking relevant lessons from our moral psychology. Leben draws on the (...) moral theory of John Rawls, arguing that normative moral theories are attempts to develop optimal solutions to the problem of cooperation. He claims that Rawlsian Contractarianism leads to the 'Maximin' principle - the action that maximizes the minimum value - and that the Maximin principle is the most effective solution to the problem of cooperation. He contrasts the Maximin principle with other principles and shows how they can often produce non-cooperative results. Using real-world examples - such as an autonomous vehicle facing a situation where every action results in harm, home care machines, and autonomous weapons systems - Leben contrasts Rawlsian algorithms with alternatives derived from utilitarianism and natural rights libertarianism. Including chapter summaries and a glossary of technical terms, Ethics for Robots is essential reading for philosophers, engineers, computer scientists, and cognitive scientists working on the problem of ethics for autonomous systems. (shrink)