I am struck by how little is known about so much of cognition. One goal of this paper is to argue for the need to consider a rich set of interlocking issues in the study of cognition. Mainstream work in cognition—including my own—ignores many critical aspects of animate cognitive systems. Perhaps one reason that existing theories say so little relevant to real world activities is the neglect of social and cultural factors, of emotion, and of the major points that distinguish (...) an animate cognitive system from an artificial one: the need to survive, to regulate its own operation, to maintain itself, to exist in the environment, to change from a small, uneducated, immature system to an adult, developed, knowledgeable one.Human cognition is not the same as artificial cognition, if only because the human organism must also be concerned with the problems of life, of development, of survival. There must be a regulatory system that interacts with the cognitive component. And it may well be that it is the cognitive component that is subservient, evolved primarily for the benefit of the regulatory system, working through the emotions, through affect.I argue that several concepts must become fundamental parts of the study of cognition, including the roles of culture, of social interaction, of emotions, and of motivation. I argue that there are at least 12 issues that should comprise the study of cognition, and thereby, the field of Cognitive Science. We need to study a wide variety of behavior before we can hope to understand a single class. Cognitive scientists as a whole ought to make more use of evidence from the neurosciences, from brain damage and mental illness, from cognitive sociology and anthropology, and from clinical studies of the human. These must be accompanied, of course, with the study of language, of the psychological aspects of human processing structures, and of artificially intelligent mechanisms. The study of Cognitive Science requires a complex interaction among different issues of concern, an interaction that will not be properly understood until all parts are understood, with no part independent of the others, the whole requiring the parts, and the parts the whole. (shrink)

I am struck by how little is known about so much of cognition. One goal of this paper is to argue for the need to consider a rich set of interlocking issues in the study of cognition. Mainstream work in cognition—including my own—ignores many critical aspects of animate cognitive systems. Perhaps one reason that existing theories say so little relevant to real world activities is the neglect of social and cultural factors, of emotion, and of the major points that distinguish (...) an animate cognitive system from an artificial one: the need to survive, to regulate its own operation, to maintain itself, to exist in the environment, to change from a small, uneducated, immature system to an adult, developed, knowledgeable one.Human cognition is not the same as artificial cognition, if only because the human organism must also be concerned with the problems of life, of development, of survival. There must be a regulatory system that interacts with the cognitive component. And it may well be that it is the cognitive component that is subservient, evolved primarily for the benefit of the regulatory system, working through the emotions, through affect.I argue that several concepts must become fundamental parts of the study of cognition, including the roles of culture, of social interaction, of emotions, and of motivation. I argue that there are at least 12 issues that should comprise the study of cognition, and thereby, the field of Cognitive Science. We need to study a wide variety of behavior before we can hope to understand a single class. Cognitive scientists as a whole ought to make more use of evidence from the neurosciences, from brain damage and mental illness, from cognitive sociology and anthropology, and from clinical studies of the human. These must be accompanied, of course, with the study of language, of the psychological aspects of human processing structures, and of artificially intelligent mechanisms. The study of Cognitive Science requires a complex interaction among different issues of concern, an interaction that will not be properly understood until all parts are understood, with no part independent of the others, the whole requiring the parts, and the parts the whole. (shrink)

In this article we propose a theoretical framework of distributed representations and a methodology of representational analysis for the study of distributed cognitive tasks—tasks that require the processing of information distributed across the internal mind and the external environment. The basic principle of distributed representations Is that the representational system of a distributed cognitive task is a set of internal and external representations, which together represent the abstract structure of the task. The basic strategy of representational analysis is to decompose (...) the representation of a hierarchical task into its component levels so that the representational properties at each level can be independently examined. The theoretical framework and the methodology are used to analyze the hierarchical structure of the Tower of Hanoi problem. Based on this analysis, four experiments are designed to examine the representational properties of the Tower of Hanoi. Finally, the nature of external representations is discussed. (shrink)

We review the major phenomena of skilled typing and propose a model for the control of the hands and fingers during typing. The model is based upon an Activation‐Trigger‐Schema system in which a hierarchical structure of schemata directs the selection of the letters to be typed and, then, controls the hand and finger movements by a cooperative, relaxation algorithm. The interactions of the patterns of activation and inhibition among the schemata determine the temporal ordering for launching the keystrokes. To account (...) for the phenomena of doubling errors, the model has only “type” schemata—no “token” schemata—with only a weak binding between the special schema that signals a doubling, and its argument. The model exists as a working computer simulation and produces an output display of the hands and fingers moving over the keyboard. It reproduces some of the major phenomena of typing, including the interkeystroke interval times, the pattern of transposition errors found in skilled typists, and doubling errors. Although the model is clearly inadequate or wrong in some of its features and assumptions, it serves as a useful first approximation for the understanding of skilled typing. (shrink)

Recovering Reason: Essays in Honor of Thomas L. Pangle is a collection of essays composed by students and friends of Thomas L. Pangle to honor his seminal work and outstanding guidance in the study of political philosophy. These essays examine both Socrates' and modern political philosophers' attempts to answer the question of the right life for human beings, as those attempts are introduced and elaborated in the work of thinkers from Homer and Thucydides to Nietzsche and Charles Taylor.

Throughout the biological and biomedical sciences there is a growing need for, prescriptive ‘minimum information’ (MI) checklists specifying the key information to include when reporting experimental results are beginning to find favor with experimentalists, analysts, publishers and funders alike. Such checklists aim to ensure that methods, data, analyses and results are described to a level sufficient to support the unambiguous interpretation, sophisticated search, reanalysis and experimental corroboration and reuse of data sets, facilitating the extraction of maximum value from data sets (...) them. However, such ‘minimum information’ MI checklists are usually developed independently by groups working within representatives of particular biologically- or technologically-delineated domains. Consequently, an overview of the full range of checklists can be difficult to establish without intensive searching, and even tracking thetheir individual evolution of single checklists may be a non-trivial exercise. Checklists are also inevitably partially redundant when measured one against another, and where they overlap is far from straightforward. Furthermore, conflicts in scope and arbitrary decisions on wording and sub-structuring make integration difficult. This presents inhibit their use in combination. Overall, these issues present significant difficulties for the users of checklists, especially those in areas such as systems biology, who routinely combine information from multiple biological domains and technology platforms. To address all of the above, we present MIBBI (Minimum Information for Biological and Biomedical Investigations); a web-based communal resource for such checklists, designed to act as a ‘one-stop shop’ for those exploring the range of extant checklist projects, and to foster collaborative, integrative development and ultimately promote gradual integration of checklists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scepticism About Persons in Book II of Hume’s TreatiseDonald C. AinslieBook ii of Hume’s Treatise—especially its first two Parts on the “indirect passions” of pride, humility, love, and hatred—has mystified many of its interpreters.1 Hume clearly thinks these passions are important: Not only does he devote more space to them than to his treatment of causation, but in the “Abstract” to the Treatise, he tells us that Book II (...) “contains opinions that are altogether as new and extraordinary” (T 659) as those found in Book I. And, he says, these opinions constitute “the foundation” (T 646) for his treatment of morals and politics in Book III.2 The mystery arises, however, because in the actual text of [End Page 469] Book II Hume never spells out what makes his opinions on the passions “new and extraordinary,” nor why they are foundational for his moral theory.Thus some of his interpreters, notably Norman Kemp Smith, conclude that Hume was simply mistaken in his assessment of his treatment of the passions. While his accounts of the will and of motivation (in the early Sections of Part iii of Book II) are significant, Kemp Smith takes the extended analysis of the indirect passions to spring merely from his misplaced enthusiasm for associationist psychology. As such, the philosophical lessons to be learned from the first two Parts of Book II are slim.3 Páll Árdal, in contrast, tries to construct for Hume what he seems to have omitted—a philosophical rationale for his obvious interest in the indirect passions. Árdal starts by drawing attention to the role these passions play in Hume’s moral philosophy, in particular, his repeatedly connecting the indirect passions to the moral sentiments of approval and disapproval. Árdal concludes that Hume means to equate the moral sentiments with particular kinds of indirect passions. The first two Parts of Book II are of interest, on Ardal’s reading, because it is there that he shows us how moral sentimentalism can be founded on something more fully naturalistic than Hutcheson’s somewhat mysterious “moral sense.”4I argue against Árdal’s interpretation in §2. But this reopens the problem of accounting for Hume’s interest in the indirect passions. I offer my view in §§3–5 where, like Árdal, I provide a reconstruction of Hume’s discussion of these passions in order to show how it has an underlying philosophical motivation. My claim is that Hume relies on the indirect passions to explain how we form beliefs about persons as bearers of features that make them into who [End Page 470] they are. It is by feeling an indirect passion towards someone that we think of her as more than accidentally related to some quality, such as her country, her riches, her family, or even her character traits. In support of my interpretation I point to the many parallels Hume draws between the indirect passions and the associative mechanism he offers to explain our forming causal beliefs (I.iii). And I suggest that, just as Hume’s associative explanation of causal beliefs is necessitated by his scepticism about intrinsic “necessary connexions,” so also his associative mechanism for our beliefs about persons—the indirect passions—is necessitated by a certain kind of scepticism about persons. This is not the scepticism about persons that we find in “Of personal identity” (I.iv.6), where Hume argues against the view that our perceptions inhere in a simple soul; it is rather a scepticism about there being intrinsic features of persons that define them as who they are.But, before I explain in more detail what my claim amounts to, it will help to have available a brief description of the mechanism that Hume’s takes to explain the indirect passions.1. THE MECHANISM FOR THE INDIRECT PASSIONSA passion, for Hume, is a simple impression felt in response to various circumstances. Because of their simplicity, we cannot define passions by putting their characteristic feeling into words; instead, Hume thinks, we can only delineate “such circumstances, as attend them” (T 277). Passions are indirect if those circumstances include as an outcome the focusing of attention onto a person... (shrink)

Many believe that the rational evaluation of actions depends on the rational evaluation of even basic desires. Hume, though, viewed desires as "original existences" which cannot be contrary to either truth or reason. Contemporary critics of Hume, including Norman, Brandt and Parfit, have sought a basis for the rational evaluation of desires that would deny some basic desires reason-giving force. I side with Hume against these modern critics. Hume's concept of rational evaluation is admittedly too narrow; even basic desires (...) are, despite their nonrepresentational nature, subject to rational evaluation. But this evaluation is not relevant to their tendency to generate reasons for action, and does not undermine the spirit of the Humean view of rational action. (shrink)

Until fairly recently, most of the attention of art historians and others in these debates has been paid to differences among the partisans of various disciplinary methodologies, or to the differential benefits of one or another school of thought or theoretical perspective in other areas of the humanities and social sciences as these might arguably apply to questions of art historical practice.1 Yet there has also come about among art historians a renewed interest in the historical origins of the academic (...) discipline itself, and in the relationships of its institutionalization in various countries to the professionalizing of other historical and critical disciplines in the latter part of the nineteenth century. These interests have led increasingly to wider discussion by art historians of the particular nature of disciplinary knowledge, the circumstances and protocols of academic practice, and the relations between the various branches of modern discourse on the visual arts: academic art history, art criticism, aesthetic philosophy, the art market, exhibitions, and musicology.2 What follows does not aim to summarize or characterize these developments but is more simply an attempt to delineate some of the principal characteristics of the discipline as an evidentiary institution in the light of the material conditions of academic practice that arose in the latter half of the nineteenth century in relation to the history of mueological display. In brief, this essay is concerned with the circumstances of art history’s foundations as a systematic and “scientific” practice, and its focus is limited to a single, albeit paradigmatic, American example. 1. An extended discussion of these issues may be found in Donald Preziosi, Rethinking Art History: Meditations on a Coy Science , pp. 80-121. See also The New Art History, ed. A. L. Rees and Frances Borzello .2. One important sign off these discussions has been a series of “Views and Overviews” of the discipline appearing in The Art Bulletin in recent years, of which the most recent has been perhaps the most extensive and comprehensive: Mieke Bal and Norman Byrson, ”Semiotics and Art History,” The Art Bulletin 73 : 174-208. Donald Preziosi is professor of art history at the University of California, Los Angeles, and, beginning in 1992, at the École des Hautes Études en Sciences Sociales in Paris. He is the author of Rethinking Art History: Meditations on a Coy Science and is currently completing a book on the history of museums entitled Framing Modernity. (shrink)

Norman Malcolm wrote:That something is implausible or Impossible does not go to show that I did not dream it. In a dream I can do the impossible in every sense of the word.Malcolm nowhere suggests why this remark should be regarded as true. Indeed, many philosophers would regard it is palpably false. After all, it is not at all obvious that one can hope for, intend to do, or believe what is in every sense of the word, impossible. I (...) think, however, that Malcolm's observation is correct; and this paper is devoted to showing why it is correct. In the concluding section I present an account of dreaming that shows why it is that impossible dreams are possible.“What can a person dream?” This is an odd query; and what it might mean to put this question is not at all transparent. It is not like asking what a person might dream, when this is understood as a request for what someone is likely to dream, or what one may reasonably expect someone to dream, say, on the evening of a day in which one had visited a dentist. (shrink)

Part 1. Introduction -- Introduction: Navigating the Perfect Moral Storm in Light of a Thirty-Five Year Debate -- Thirty-Five Year Climate Change Policy Debate -- Part 2. Priority Ethical Issues -- Ethical Problems with Cost Arguments -- Ethics and Scientific Uncertainty Arguments -- Atmospheric Targets -- Allocating National Emissions Targets -- Climate Change Damages and Adaptation Costs -- Obligations of Sub-national Governments, Organizations, Businesses, and Individuals -- Independent Responsibility to Act -- Part 3. The Crucial Role of Ethics in Climate (...) Change Policy Making -- Why Has Ethics Failed to Achieve Traction? -- Conclusion: Navigating the Perfect Moral Storm. (shrink)

The Twentieth Century has seen a dramatic rise in the use of probability and statistics in almost all fields of research. This has stimulated many new philosophical ideas on probability. _Philosophical Theories of Probability_ is the first book to present a clear, comprehensive and systematic account of these various theories and to explain how they relate to one another. Gillies also offers a distinctive version of the propensity theory of probability, and the intersubjective interpretation, which develops the subjective theory.

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Beardsley's AestheticsProblems in the Philosophy of CriticismDonald Crawford (bio)Monroe Beardsley's Aesthetics was published the year I was a junior philosophy major at the University of California, Berkeley, and by the end of that academic year, I had completed semester courses in the history of ancient as well as modern philosophy, logic, ethics, and the philosophy of religion. The requirements remaining for me in philosophy in my senior (...) year were a course in either epistemology or metaphysics, plus five elective philosophy courses. I had fairly developed interests in literature, especially poetry, classical music, film, and the visual arts, so it seemed natural for me to select a course in aesthetics as one of my remaining electives. Nonetheless, I had no idea what aesthetics was. When I looked up the word in the dictionary, I found the following definition: "The branch of philosophy dealing with beauty or the beautiful, especially in the fine arts." Even today, the Berkeley philosophy course catalog entry for aesthetics simply says, as it did then, "Aesthetics: Visual arts/literature and music. Form, expression, representation, style; interpretation and evaluation."Interpretation and evaluation sounded worth pursuing. At that time I had no doubt that almost any music by Bach was better than that by Offenbach, that Van Gogh's Starry Night was in a different class than Norman Rockwell's covers for the Saturday Evening Post, or that Bergman's The Seventh Seal (1957) was a far better film than Attack of the Crab Monsters of the same year. And I was fully convinced that some poems lent themselves to more interesting and profound readings—that is, interpretations—than others and therefore were better poems. So a course that dealt with the interpretation and evaluation of the visual arts, literature, and music was enticing. The class lectures were rather dull, however, and I began to have regrets for enrolling. Besides, the required text was brand new and had several drawbacks: there were no used copies available so it was expensive ($7.50!), and its 591 pages were bound in hardback and heavy. [End Page 19]Yes, the text was Beardsley's Aesthetics, and my now well-worn copy is complete with my original revealing and indelible underlines that remind me of my naiveté. I recall being immediately struck by the book's epigraph—a quotation from David Hume: "I am uneasy to think I approve of one object, and disapprove of another; call one thing beautiful, and another deform'd; decide concerning truth and falsehood, reason and folly, without knowing upon what principles I proceed." This encouraged me to think that this book and course would teach me the principles that underlay my unreasoned critical comparative evaluations of poems, films, and other works of art. Was this false optimism? After glancing at the table of contents, I quickly turned to chapter 10, "Critical Evaluation," where I read on page 454: "The problems to which we now come have been put off as long as possible in the hope that a circumspect approach would make them more vulnerable." I wasn't quite sure what that meant ("vulnerable" to what?), but it seemed to imply that it was necessary to start at the beginning of the book.1 So I did just that. To my delight, almost immediately, on page 3, Beardsley provided his definition of "aesthetics," saying: "[A]esthetics consists of those principles that are required for clarifying and confirming critical statements. It can be thought of, then, as the philosophy of criticism, or metacriticism" (3-4; emphasis in the original). Unless by "critical statement" Beardsley meant judgments of beauty, this didn't really correspond with either Webster's definition or the course description of aesthetics. Beardsley's concept of a critical statement was much broader than that in common use today, and it reflected the attitude of the founders of the American Society for Aesthetics, who named their journal the Journal of Aesthetics and Art Criticism (JAAC). Beardsley said he would be "using the term 'critical statement,' very broadly, to refer to any statement about a work of art" (3) and that a critical statement "need not be a value judgment at... (shrink)

Religious naturalism and three scientific revolutions: Introduction -- The cosmological revolution -- The evolutionary revolution -- The ecological revolution -- Inwardness and awareness in nature: Introduction -- Inwardness of life and inwardness of mind -- Mind and consciousness in nature -- The range of conscious awareness on earth -- Presumptive rights and conflicts of rights: Introduction -- Rs of the thou of nature -- A scheme of presumptive natural rights -- A fourth R of the thou of nature -- Conflicts (...) of rights -- Hunting and fishing : Introduction -- Hunting -- Fishing -- Responses to the charge of impractical idealism -- Eating and wearing: Introduction -- Using animals for food -- The vegetarian response -- Using animals for apparel and other purposes -- Other areas of responsibility and concern: Introduction -- Experimenting on animals -- Rodeos, circuses, zoos, and aquariums -- Endangered species and despoliations of natural environments -- The human population explosion -- The threat of global climate change -- A new moral and religious consciousness: Introduction -- Empowerment in religion of nature -- Objections and replies -- Principles and prescriptions. (shrink)

Music as an Imitation of Harmonious Balance.

This book questions the idea that the boundary between truth and falsity must always be absolute, and thus that there is no possible bridge between the two. The author argues that searching for liminal bridges between opposing claims is an essential part of finding absolute truths.

Develops and defends a philosophical account of meaning, purpose, and value in human life and experience that is naturalistic without being reductionistic or scientistic.

Engages the work and career of a central figure in contemporary philosophy. Hugh J. Silverman was an inspiring scholar and teacher, known for his work engaging and shaping phenomenology, hermeneutics, psychoanalysis, structuralism, poststructuralism, and deconstruction. As Professor of Philosophy and Comparative Literary and Cultural Studies at Stony Brook University, State University of New York, Silverman’s work was marked by “the between,” a concept he developed to think the postmodern in the space between philosophy and non-philosophy. In this volume, leading scholars (...) explore and extend Silverman’s philosophical contributions, from reflections on the notions of care, time, and responsibility, to presentations of the practices and possibilities of deconstruction itself. They provide an assessment of Silverman’s life and work at the intersection of philosophy, ethics, and politics. (shrink)