Character-trait attribution is an important component of everyday social cognition that has until recently received insufficient attention in traditional accounts of folk psychology. In this paper, I consider how the case of character-trait attribution fits into the debate between mindreading-based and broadly ‘pluralistic’ approaches to folk psychology. Contrary to the arguments of some pluralists, I argue that the evidence on trait understanding does not show that it is a distinct, non-mentalistic mode of folk-psychological reasoning, but rather suggests that traits are (...) ordinarily understood as mentalistic dispositions. I also examine several ways in which trait attribution might also serve regulative, ‘mindshaping’ functions by promoting predictable norm-governed behavior, and argue that mindreading plays several important roles in these cases as well. I conclude that an appreciation of the relationship between trait attribution and mindreading is crucial to understanding the role it plays in our folk psychology. (shrink)

On the basis of two thought experiments, I argue that self-building technologies are possible given our current level of technological progress. We could already use technology to make us instantiate selfhood in a more perfect, complete manner. I then examine possible extensions of this thesis, regarding more radical self-building technologies which might become available in a distant future. I also discuss objections and reservations one might have about this view.

Might traditional Chinese thought regarding creativity not just influence, but also enrich, contemporary European thought about the same? Moreover, is it possible that traditional Chinese thought regarding creativity might enrich contemporary thought both in a more broad, holistic sense, and more specifically regarding the nature and role of creativity as it pertains to scientific inquiry? In this paper, I elucidate why the answer to these questions is: yes. I explain in detail a classical Chinese conception of creativity rooted in Zhuangist (...) philosophy and which centrally involves spontaneity engendered by embracing yóu遊, or “wandering”, rather than novelty or originality. I then illustrate how this conception of creativity can be used to enrich contemporary thought regarding the nature and role of creativity both in general and as it pertains to scientific inquiry in particular, as well as how to engender creativity, by arguing that it might allow us to: i) more easily remove what is frequently an obstacle to creativity, and; ii) better understand creative agents as being more intimately connected with, and as processes within and products of, their environments. Finally, I conclude by briefly remarking on how exploring various cultural perspectives on creativity promises to help us to better comprehend and promote creativity, by encouraging us to become more creative about creativity itself. (shrink)