Here I show that Sellars’ radicalization of the Kantian distinction between concepts and intuitions is vulnerable to a challenge grounded in Merleau-Ponty’s phenomenology of embodiment. Sellars argues that Kant’s concept of ‘intuition’ is ambiguous between singular demonstrative phrases and sense-impressions. In light of the critique of the Myth of the Given, Sellars argues, in the ‘Myth of Jones’, that sense-impression are theoretical posits. I argue that Merleau-Ponty offers a way of understanding perceptual activity which successfully avoids both the Myth of (...) the Given and the Myth of Jones. I also argue that Merleau-Ponty’s approach provides an alternative to McDowell’s critique of Sellars. Merleau-Ponty shows, first, that perceptual activity can be characterized as having a unity and structure of its own which is importantly different from that of concepts; secondly, that the unity and structure of perception can be revealed phenomenologically rather than as a theoretical posit. (shrink)

Recent proponents of the ‘theory theory’ of mind often trace its roots back to Wilfrid Sellars’ famous ‘myth of Jones’ in his 1956 article, ‘Empiricism and the Philosophy of Mind’. Sellars developed an account of the intersubjective basis of our knowledge of the inner mental states of both self and others, an account which included the claim that such knowledge is in some sense theoretical knowledge. This paper examines the nature of this claim in Sellars’ original account and its relationship (...) to more recent debates concerning ‘theory of mind’, in particular the theory theory. A close look reveals that Sellars’ original view embodied several distinctions that would enable more recent theory theorists to accommodate certain phenomenological objections that have been raised against that outlook. At the heart of the philosophical issue is an overlooked complexity involved in Sellars’ account of the ‘theory/observation’ distinction, involving a conception of the distinction that is both independently plausible and a key to the issue in dispute. (shrink)

In this paper I take up the question of whether Wilfrid Sellars has a notion of non-conceptual perceptual content. The question is controversial, being one of the fault lines along which so-called left and right Sellarsians diverge. In the paper I try to make clear what it is in Sellars' thought that leads interpreters to such disparate conclusions. My account depends on highlighting the importance of Sellars' little discussed thesis that perception involves a systematic form of mis-categorization, one where perceivers (...) mistake their sensory states to be properties of physical objects. I argue that the counterpart color and shape attributes of these states, which become ‘point of viewish’ when organized by the productive imagination, provides perceptual experience with its non-conceptual representational content. I then argue that this content is not a form of the mythical Given because one can only have a non-conceptual point of view on an object when an object is introduced into one's perceptual experience through the conceptual mis-taking of one's sensory states. So, while Sellars has a notion of non-conceptual representational content, it can only be salient in the context of a perceptual act that is conceptual overall. (shrink)

We take performers of classical music as producers of creative performances. We sometimes criticize a performer’s performance by saying ‘That is not what the composer wants’. The literature takes this kind of criticism, which I call ‘intentionalist criticism’, to be in tension with performers’ creativity—taking the criticism to be an attempt to restrict performers’ creativity by historical authenticity. This paper aims to construct a possible understanding of intentionalist criticisms according to which those criticisms are grounded in our respect of performers (...) as artists. Under this understanding, the point of intentionalist criticisms is that performers, who are pursuing the aesthetic beauty of a work, can produce an aesthetically better result by being open-minded to the perspectives of the composer who is also a serious pursuer of the work’s beauty. (shrink)

This paper has two aims, as an exposition of Jürgen Habermas's response to the work of Michel Foucault, and to engage in and assess this debate between two influential contemporary schools of Continental philosophy. Habermas locates Foucault's project in the history of several attempts at a totalizing critique of reason, attempts which are trapped in a performative self?contradiction. Habermas also argues that Foucault is still caught up in the conceptual straitjacket of the philosophy of the subject which his theory was (...) meant to overcome. He shows that Foucault's central notion of power is used in two different and ultimately irreconcilable ways ? as a transcendental as well as an empirical concept. Much of Habermas's critique is justified and could, indeed, be extended to Foucault's anti?realist relativism, but Habermas's own defence of rationalism is not without difficulties of its own. Thus his notion of knowledge?guiding interests commits him to a form of anti?realism and a transcendental concept of instrumental power which is almost as problematic in its consequences as the anti?realism of Foucault. (shrink)

The purpose of this paper is threefold: First, I shall first attempt to criticize Zahavi's notion of the “experiential self” as the latter is presented and developed in his book Self and Other (201...

In a recent article Sachs suggests that the concept of somatic intentionality is the key to understanding how the conceptual order is externally constrained by something outside itself which is nonetheless fully intentional in nature. Sachs claims that his proposal fares better than Sellars’ view on the issue of how our experience can so much as be about objective reality. In this paper, I shall argue that this is not the case because Sellars’ view is in crucial respects misdescribed. Sachs (...) suggests that Sellars’ view is problematic because 1) conceptual intentionality cannot objectively constrain the conceptual order due to its essential discursive form, and 2) a non-intentional consciousness cannot provide an objective worldly constraint on conceptual intentionality because it is not world-directed. However neither of these points succeeds in capturing Sellars’ actual position. Further I will suggest the deepest problem which phenomenological views of a Merleau-Pontyan stripe face in the.. (shrink)

As a philosophical paradigm, differential heterogenesis offers us a novel descriptive vantage with which to inscribe Deleuze’s virtuality within the terrain of “differential becoming,” conjugating “pure saliences” so as to parse economies, microhistories, insurgencies, and epistemological evolutionary processes that can be conceived of independently from their representational form. Unlike Gestalt theory’s oppositional constructions, the advantage of this aperture is that it posits a dynamic context to both media and its analysis, rendering them functionally tractable and set in relation to other (...) objects, rather than as sedentary identities. Surveying the genealogy of differential heterogenesis with particular interest in the legacy of Lautman’s dialectic, I make the case for a reading of the Deleuzean virtual that departs from an event-oriented approach, galvanizing Sarti and Citti’s dynamic a priori vis-à-vis Deleuze’s philosophy of difference. Specifically, I posit differential heterogenesis as frame with which to examine our contemporaneous epistemic shift as it relates to multi-scalar computational modeling while paying particular attention to neuro-inferential modes of inductive learning and homologous cognitive architecture. Carving a bricolage between Mark Wilson’s work on the “greediness of scales” and Deleuze’s “scales of reality”, this project threads between static ecologies and active externalism vis-à-vis endocentric frames of reference and syntactical scaffolding. (shrink)

This article is an explication and defense of Kant’s view that ‘imagination is a necessary ingredient of perception itself’ (Critique of Pure Reason, A120, fn.). Imagination comes into perception at a far more basic level than Strawson allows, and it is required for the constitution of intuitions (= sense experiences) out of sense impressions. It also plays an important part in explaining how it is possible for intuitions to have intentional contents. These functions do not involve the application of contents, (...) and I offer a schematic account of how they arise from preconceptual synthesis. (shrink)

This book contains a representationalist theory of self-consciousness and of the phenomenal first-person perspective. It draws on empirical data from the cognitive and neurosciences.

Esta nota crítica consiste en una aproximación a la literatura analítica reciente que discute con mayor o menor interés algunas aristas del principio de apercepción kantiano. Prestando especial atención a la forma en que esta literatura acoge el enlace entre actividad judicativa y apercepción, se identifican grosso modo tres líneas interpretativas. Si bien entrañan teorías generales sobre la mente humana, aquí se trata de ver cómo cada una de ellas propicia una hipótesis de lectura sobre qué es lo que subyace (...) a los argumentos kantianos que enlazan la capacidad de juzgar con la capacidad de apercibir. (shrink)