The creative aspect of language use provides a set of phenomena that a science of language must explain. It is the “central fact to which any signi- ficant linguistic theory must address itself” and thus “a theory of language that neglects this ‘creative’ aspect is of only marginal interest” (Chomsky 1964: 7–8). Therefore, the form and explanatory depth of linguistic science is restricted in accordance with this aspect of language. In this paper, the implications of the creative aspect of language (...) use for a scientific theory of language will be discussed, noting the possible further implications for a science of the mind. It will be argued that a corollary of the creative aspect of language use is that a science of language can study the mechanisms that make language use possible, but that such a science cannot explain how these mechanisms enter into human action in the form of language use. (shrink)

The notion of the cyborg has exercised the popular imagination for almost two hundred years. In very general terms the idea that a living entity can be a hybrid of both organic matter and mechanical parts, and for all intents and purposes be seamlessly functional and self-regulating, was prefigured in literary works such as Shelly
s Frankenstein and Samuel Butler
s Erewhon . This notion of hybridism has been a staple theme of 20th century science fiction writing, television programmes and the cinema. (...) For the most part, these works trade on a deep sense of unease we have about our personal identity – how could some non-organic matter to which I have so little conscious access count as a bona fide part of me? Cognitive scientist and philosopher, Andy Clark, picks up this general theme and presents an empirical and philosophical case for the following inextricably linked theses. (shrink)