In this paper I argue that, by combining eliminativist and fictionalist approaches toward the sub-personal representational posits of predictive processing, we arrive at an empirically robust and yet metaphysically innocuous cognitive scientific framework. I begin the paper by providing a non-representational account of the five key posits of predictive processing. Then, I motivate a fictionalist approach toward the remaining indispensable representational posits of predictive processing, and explain how representation can play an epistemologically indispensable role within predictive processing explanations without thereby (...) requiring that representation metaphysically exists. Finally, I outline four consequences of accepting this approach and explain why they are beneficial: we arrive at a victory for metaphysical eliminativism in the ‘representation wars’; my account fits with extant empirical practice; my account provides guidance for future research; and, my account provides the beginnings of a response to Mark Sprevak’s IBE problem for fictionalist approaches toward sub-personal representation. (shrink)

Wakley in 1846 called Grant “at once the most eloquent, the most accomplished, the most self-sacrificing, and the most unrewarded man in the profession.”128 I have shown some of the reasons why this was so, and I have suggested that his Lamarckism was one of a number of factors that served to alienate him from the conservative scientific community in the 1830's and 1840's. I have further shown the need for a fundamental rethinking of Grant's position in the history of (...) biology. There is little profit in seeing him as a precursor of Darwin. His importance lies as a teacher of philosophical anatomy and as the disseminator of Geoffroy's views in London. With the recent interest of historians in the emergence of a non-Paleyite approach to design in the 1830's (that is, an approach stemming from a unity of plan), a reassessment of Grant along these lines seems in order.Also, by understanding Grant's professional and transmutational threat, we can more fully appreciate the anti-Lamarckian ploys of leading scientists like Owen and Lyell. These scientific and social tactics reinforced the isolation Grant suffered as a result of his radical, materialistic, and antimonopolist views. Together with the laissez-faire arrangements at the joint-stock university, they led to his financial collapse — and to the decline of his scientific output that Darwin found so inexplicable. Beddoe described Grant as a disappointed man. “Alas!” wrote Wakley. “Who would be an English Cuvier?”129. (shrink)

The character of computational modelling of cognition depends on an underlying theory of representation. Classical cognitive science has exploited the syntax/semantics theory of representation that derives from logic. But this has had the consequence that the kind of psychological explanation supported by classical cognitive science is " _conceptualist_: " psychological phenomena are modelled in terms of relations that hold between concepts, and between the sensors/effectors and concepts. This kind of explanation is inappropriate for the Proper Treatment of Connectionism.

Negative self-views have proved to be a consistent marker of vulnerability for depression. However, recent research has shown that a particular kind of cognitive conflict, implicative dilemma, is highly prevalent in depression. In this study the relevance of these conflicts is assessed as compared to the cognitive model of depression of a negative view of the self. In so doing, 161 patients with major depression and 110 controls were assessed to explore negative self-construing (self-ideal discrepancy) and conflicts (implicative dilemmas), as (...) well as severity of symptoms. Results showed specificity for the clinical group indicating a pattern of mixed positive and negative self-descriptions with a high rate of conflict. Regression analysis lent support to the conflict hypothesis in relation to clinically relevant indicators such as symptom severity, global functioning. However, self-ideal discrepancy was a stronger predictor of group membership. The findings showed the relevance of cognitive conflicts to compliment the well-consolidated theory of negative self-views. Clinical implications for designing interventions are discussed. (shrink)

Geologists, Paleontologists and other historical scientists are frequently concerned with narrative explanations targeting single cases. I show that two distinct explanatory strategies are employed in narratives, simple and complex. A simple narrative has minimal causal detail and is embedded in a regularity, whereas a complex narrative is more detailed and not embedded. The distinction is illustrated through two case studies: the ‘snowball earth’ explanation of Neoproterozoic glaciation and recent attempts to explain gigantism in Sauropods. This distinction is revelatory of historical (...) science. I argue that at least sometimes which strategy is appropriate is not a pragmatic issue, but turns on the nature of the target. Moreover, the distinction reveals a counterintuitive pattern of progress in some historical explanation: shifting from simple to complex. Sometimes, historical scientists rightly abandon simple, unified explanations in favour of disunified, complex narratives. Finally I compare narrative and mechanistic explanation, arguing that mechanistic approaches are inappropriate for complex narrative explanations. (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular (...) works of art. These presuppositions are sensible rather than intellectual because on Kant’s view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant’s view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. (shrink)

The Covid‐19 crisis has accelerated a trend toward burnout in health care workers, making starkly clear that burnout is especially likely when providing health care is not only stressful and sad but emotionally alienating; in such situations, there is no mental space for clinicians to experience authentic clinical empathy. Engaged curiosity toward each patient is a source of meaning and connection for health care providers, and it protects against sympathetic distress and burnout. In a prolonged crisis like Covid‐19, clinicians provide (...) care out of a sense of duty, especially the duty of nonabandonment. We argue that when duty alone is relied on too heavily, with fear and frustration continually suppressed, the risk of burnout is dramatically increased. Even before Covid‐19, clinicians often worked under dehumanizing and unjust conditions, and rates of burnout were 50 percent for physicians and 33 percent for nurses. The Covid‐19 intensification of burnout can serve as a wake‐up call that the structure of health care needs to be improved if we are to prevent the loss of a whole generation of empathic clinicians. (shrink)

Our epistemic access to the past is infamously patchy: historical information degrades and disappears and bygone eras are often beyond the reach of repeatable experiments. However, historical scientists have been remarkably successful at uncovering and explaining the past. I argue that part of this success is explained by the exploitation of dependencies between historical events, entities, and processes. For instance, if sauropod dinosaurs were hot blooded, they must have been gluttons; the high-energy demands of endothermy restrict sauropod grazing strategies. Understanding (...) such dependencies extends our reach into the past in spite of incomplete data. In addition, this serves as a counterexample to two accounts of method in the historical sciences. By one, historical science proceeds by identifying ‘smoking guns’: traces that discriminate between live hypotheses. By the other, historical hypotheses are supported by consilience: the convergence of independent lines of evidence. However, testing for ‘coherency’ between past hypotheses also plays a critical role in historical confirmation. Just as historical scientists exploit dependencies between past entities and present entities to infer what the past was like, they also exploit dependencies between past entities themselves. I do not suggest that archetypical historical science proceeds in this manner. Rather, the lesson I draw is that historical methodology cannot be characterized as archetypically relying on one method or another. Historical science is at base opportunistic, and is resistant to unitary analyses. 1 Introduction2 Snowballs and Explosions: The Basic Idea3 Were Sauropods Endothermic?4 Dependent Entities and Interdependent Explanations5 Smoking Guns and Consilience. (shrink)

The comparative method grants epistemic access to the biological past. Comparing lineages provides empirical traction on both hypotheses about particular lineages and models of trait evolution. Understanding this evidential role is important. Although philosophers have recently turned their attention to relations of descent, little work exists exploring the status of evidence from convergences. I argue that, where they exist, convergences play a central role in the confirmation of adaptive hypotheses. I focus on ‘analogous inferences’, show how such inferences ought to (...) be analysed and suggest three methods for strengthening their evidential weight. 1 Introduction2 Analogous Inferences2.1 Adaptive explanations and analogies2.2 Analogous inferences2.3 Scope, grain, and specificity3 Parallel Modelling, Integrated Explanations, and Convergent Modelling3.1 Parallel modelling3.2 Integrated explanations3.1 Convergent modelling4 Conclusion. (shrink)

Between February of 1797 and July of 1798, Francisco Barrera y Domingo, a Spanish surgeon, wrote an extensive treatise on slave medicine in the Caribbean. Entitled Reflexiones Historico Fisico Naturales Medico Quirurgicas, this 894-page manuscript accounts for eighteen years of its author's professional practice in the region. It provides a clear picture of daily life in the sugar plantations as seen through the eyes of a modest surgeon, thus presenting us with an opportunity to explore the ideological and intellectual universe (...) of this “invisible” category of colonial practitioners. Despite its importance, Barrera's Reflexiones remains almost unknown. Only a handful of scholars have even acknowledged the existence of the volume and no systematic analysis of its content is available in English. (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular (...) works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular (...) works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular (...) works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular (...) works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular (...) works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

Ethnographic analogy, the use of comparative data from anthropology to inform reconstructions of past human societies, has a troubled history. Archaeologists often express concern about, or outright reject, the practice—and sometimes do so in problematically general terms. This is odd, as the use of comparative data in archaeology is the same pattern of reasoning as the ‘comparative method’ in biology, which is a well-developed and robust set of inferences which play a central role in discovering the biological past. In pointing (...) out this continuity, I argue that there is no ‘special pleading’ on the part of archaeologists in this regard: biologists must overcome analogous epistemic difficulties in their use of comparative data. I then go on to emphasize the local, empirically tractable ways in which particular ethnographic analogies may be licensed. (shrink)

A summary of revisionist accounts of the contextual meaning of "professional" and "amateur," as applied to the mid-Victorian X Club, is followed by an analysis of the liberal goals and inner tensions of this coalition of gentlemen specialists and government teachers. The changing status of amateurs is appraised, as are the new sites for the emerging laboratory discipline of "biology." Various historiographical strategies for recovering the women's role are considered. The relationship of science journalism to professionalization, and the constructive engagement (...) of X Club publicists with their empowering audiences, are discussed. Finally, the article assesses how far the content and boundary closure of "biology," forged by Thomas Henry Huxley, were related to 'professional' and political goals. Pure biology's social and medical roots are examined, and the way inter-professional and wider Darwinian conflicts resulted in a new lexicon of words for the X Clubbers around 1870, including "evolution" and "agnosticism," as well as "biology." Biology's role in the forging of British national identity is discussed, as are its relationship to the social strategies of liberal, Dissenting, and industrial groups in the country, whose authority sustained the new laboratory rhetoric. (shrink)

The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a pluralistic conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of music ought to proceed: (...) we show that some definitions are complementary, that is, they reflect different research interests and ought to be retained and, where possible, integrated, while others are antagonistic, they represent real empirical disagreement about music’s nature and how to account for it. We illustrate this in discussion of two related issues: questions about the evolutionary function of music, and questions of the innateness of music. These debates have been, in light of pluralism, misconceived. We suggest that, in both cases, scientists ought to proceed by constructing integrated models which take into account the dynamic interaction between different aspects of music. (shrink)

Can we be realists about a general category but pluralists about concepts relating to that category? I argue that paleobiological methods of delineating species are not affected by differing species concepts, and that this underwrites an argument that species concept pluralists should be species category realists. First, the criteria by which paleobiologists delineate species are ‘indifferent’ to the species category. That is, their method for identifying species applies equally to any species concept. To identify a new species, paleobiologists show that (...) interspecies processes, such as phenotypic plasticity, sexual dimorphism, or ontogenetic diversity, are a worse explanation of the variance between specimens than intraspecies processes. As opposed to operating under a single or plurality of species concepts, then, paleobiologists use abductive inferences, which would be required regardless of any particular species concept. Second, paleobiologists are frequently interested in large-scale, long-term morphological patterns in the fossil record, and resolving the fine-grained differences which result from different species concepts is irrelevant at those scales. I argue that this claim about paleobiological practice supports what I call ‘indifference realism’ about the species category. The indifference realist argues that when legitimate investigation is indifferent to a plurality of concepts, we should be realists about the category those concepts pertain to. (shrink)

Much recent cognitive neuroscientific work on body knowledge is representationalist: “body schema” and “body images”, for example, are cerebral representations of the body (de Vignemont 2009). A framework assumption is that representation of the body plays an important role in cognition. The question is whether this representationalist assumption is compatible with the variety of broadly situated or embodied approaches recently popular in the cognitive neurosciences: approaches in which cognition is taken to have a ‘direct’ relation to the body and to (...) the environment. A “direct” relation is one where the boundaries between the body and the head, or between the environment and the animal are not theoretically important in the understanding of cognition. These boundaries do not play a theoretically privileged role in cognitive explanations of behavior. But representationalism appears to put a representational veil between the locus of cognition and that which is represented, making cognitive relations to the body and to the environment be indirect, with a high associated computational load. For this reason, direct approaches have tried to minimize the use of internal representations (Suchman 1987; Barwise 1987; Agre and Chapman 1987; Brooks 1992; Thelen and Smith 1994; van Gelder 1995; Port and van Gelder 1995; Clark 1997, 1999; Rupert 2009, p. 180). Does a cognitive neuroscience committed to direct relations rule out a representationalist approach to body knowledge? Or is direct representationalism possible? (shrink)

Aesthetics is thought of as not only a theory of art or beauty, but also includes sensibility, experience, judgment, and relationships. This paper is a study of Bernard Stiegler’s notion of Aesthetic War (stasis) and symbolic misery. Symbolic violence is ensued through a loss of individuation and participation in the creation of symbols. As a struggle between market values against spirit values human life and consciousness within neoliberal hyperindustrial society has become calculable, which prevents people from creating affective and meaningful (...) attachments to symbols in relation to our retentional apparatuses, technology and memory. Such tension can be thought of as a dissonance between overlapping domains of social life, private and public. New Media is a reflection of aesthetic dissonance, an experience such as being bored and entertained at the same time, between antagonistic experiences, values, and behavior. Moreover, new media is at once a medium of customizing aesthetic experience individually as well as the threat and practice of prioritizing calculability and modeling of consumer behavior in favor of capitalistic effectiveness, which results in the simultaneous categorization of an individual as a data point, putting those who do not fit an algorithm’s premises at a disadvantage. (shrink)

This article presents a new approach to studying aesthetics by weaving together a thread of ideas based on investigating the problematics of the philosophy of art from a behavioral paradigm in order to exceed the margins of aesthetics. I claim that it makes no sense to ask if something is art, but rather we should be looking out into the manners in which art subsists, consists, and insists itself. Several notions of what I call behavioral aesthetics are proposed such as (...) observation, aesthetic experience and aesthetic conditioning, behavioral materialism, out-comes, behavioral memory and replication or acquisition, interaction and intra-action, emotional engineering, artificial instincts, aesthetic dissonance, and the problem of measurement. The proposed goal of behavioral aesthetics consists in studying the process of individuation as constitutive of art with the methods of Bernard Stiegler’s general organology and genealogy of the sensible. The article presents a behavioral stance as a borderline mode for approaching the genealogy of aesthetics. I mostly refer to Tania Bruguera’s Behavior Art School and Wright Judson’s Behavioral Art, and the paradigm of new materialism, notably agential realism of Karan Barad. (shrink)

Tim Crane University College London 1. Introduction P.F. Strawson argued that ‘mature sensible experience (in general) presents itself as … an immediate consciousness of the existence of things outside us’ (1979: 97). He began his defence of this very natural idea by asking how someone might typically give a description of their current visual experience, and offered this example of such a description: ‘I see the red light of the setting sun filtering through the black and thickly clustered branches of (...) the elms; I see the dappled deer grazing in groups on the vivid green grass…’ (1979: 97). In other words, in describing experience, we tend to describe the objects of experience – the things which we experience – and the ways they are when we are experiencing them. (shrink)

Although it might seem to elicit only a marginal interest for philosophical inquiry, in 20th century continental philosophy the experience of solitude and loneliness were shown to have unexpected importance and gravity. For philosophers such as M. Heidegger, H. Arendt, H.-G. Gadamer or P. Sloterdijk, solitude and loneliness are to be seen, on the one hand, as an ontological determination of our Being and, on the other, as a cause for some of the most worrisome problems of our times such, (...) as the birth of totalitarianism or the phenomenon of self-alienation wide-spread in the Western bureaucratic societies. But none of the philosophers dealing with these matters offers us a clear positive understanding of what solitude and loneliness actually are nor what the task of philosophy should be with regard to these experiences even though they give us to understand that philosophy has one. The present paper tarries upon this question, approaching it from the other end though an investigation of the status of alterity in Heidegger and Gadamer’s philosophy. (shrink)

Enhanced weathering, in comparison to other geoengineering measures, creates the possibility of a reduced cost, reduced impact way of decreasing atmospheric carbon, with positive knock-on effects such as decreased oceanic acidity. We argue that ethical concerns have a place alongside empirical, political and social factors as we consider how to best respond to the critical challenge that anthropogenic climate change poses. We review these concerns, considering the ethical issues that arise (or would arise) in the large-scale deployment of enhanced weathering. (...) We discuss post-implementation scen- arios, failures of collective action, the distribution of risk and externalities and redress for damage. We also discuss issues surrounding ‘dirty hands’ (taking conventionally immoral action to avoid having to take action that is even worse), whether enhanced weathering research might present a moral hazard, the importance of international governance and the notion that the implementation of large-scale enhanced weathering would reveal problematic hubris. Ethics and scientific research interrelate in complex ways: some ethical considerations caution against research and implementation, while others encourage them. Indeed, the ethical perspective encourages us to think more carefully about how, and what types of, geoengineering should be researched and implemented. (shrink)

In section 1 I offer a definition of psychologism which applies to many of the apparently quite disparate uses that philosophers have made of the term. In section 2 I map out some distinct varieties of psychologism. In a short section 3 I indicate how the changing academic climate has injected a new urgency into the debate on psychologism. In section 4 I offer an argument for a variety of psychologism which has important consequences for cognitive science, and in section (...) 5 I consider some objections to the argument. (shrink)

This book retraces the development of Hans-Georg Gadamer’s philosophical hermeneutics in relation with Martin Heidegger’s early ontological hermeneutics as well as his later thought and subjects it to a critical examination from the point of view of Jacques Derrida’s deconstruction.

This is a study of Frege's permutation argument in Part I, Section 10, of Frege's Basic Laws of Arithmetic.

Artykuł poruszać będzie zagadnienia dotyczące sposobu definiowania artysty oraz istnienie artystów w kontekście historycznym, ontologicznym i filozoficznym. Autor rozważy także dylematy moralne i etyczne, dotyczące statusu dzieła, jak i problemy estetyczne odniesione do „standaryzacji” dzieł według wzorca produktów i języka biznesowego. Udowodni, że żaden współczesny człowiek w istocie nie potrafi zrobić „kanapki” jako jednostka. Wytwory artystyczne są w podobnej sytuacji. Status quo jest w procesie przewartościowania. W artykule postawiona będzie teza, że współczesny artysta jest nauczycielem, który stymuluje bądź angażuje działalność (...) osób – korzystając z nowych rozwiązań technologicznych – do powstających w sposób zbiorowy dzieł sztuki. Te nowe realia wymagają ogólnego dostępu do zasobów koniecznych dla nowego społeczeństwa. Rozwój technologii spowodował, że wśród artystów i odbiorców znacznie zradykalizował się sposób tworzenia i recepcji sztuki. Nie jest to bynajmniej tajemnicą, szczególnie biorąc pod uwagę konflikty między własnością autorską a prywatną (piractwo) oraz historię tego „problemu” – począwszy od pojawienia się prasy drukarskiej. W świetle nowej technologii nasuwa się pytanie, czy usiłujemy utrzymać przestarzały model? Czy komputer może być artystą? Czy może nim być tłum? A zwierzęta? Czy twory sztuki mogą być własnością publiczną? Co w przypadku powszechnego dostępu do edukacji artystycznej? Jaki paradygmat wprowadzić? Jaka powinna być polityka wobec zasobu energii kreatywnej? (shrink)

This paper focuses on the question of filtration through the perspective of “too much information”. It concerns Western society within the context of new media and digital culture. The main aim of this paper is to apply a philosophical reading on the video game concept of Selection for Societal Sanity within the problematics of cultural filtration, control of behaviors and desire, and a problematization of trans-individuation that the selected narrative conveys. The idea of Selection for Societal Sanity, which derives from (...) the first postmodern video game Metal Gear Solid 2: Sons of Liberty (2001), is applied into a philosophical framework based on select concepts from Bernard Stiegler’s writing and incorporating them with current events such as post-truth or fake news in order to explore the role of techne and filtration within social organizations and individual psyches. Alternate forms of behavior, which contest cultural paradigms, are re-problematized as tension between calculability and incalculability, or market value versus social bonding. (shrink)

This is an obituary of Bernard Williams.

The dynamism between otherness and differences with identity and equivalence provides key ideas for analyzing the process of gender individuation by artistic works. In this article I discuss the problem of artistic and aesthetic reactions to homogeneous cultural patterns of masculinity, which is characterized by the concept of "toxic masculinity" in pop-cultural, sociological, psychological and gender studies discourses. One common theme is that "toxic masculinity" encompasses harmful standards that generate antagonisms and diminish multi-figure masculinity to a singular "socially acceptable" level (...) at the expense of children, women and men - and thus society as a whole. The artist's task is to reveal this noxiousness, and to highlight the value of the coexistence of a variety of forms of masculinity in terms of its diversity, thereby helping to mitigate the consequences of disruptive gender relations. (shrink)

This book was born out of two interdisciplinary seminars held in 2014. The first one was the Climate Ethics and Climate Economics workshop in April adjoined as part of the European Consortium for Political Research Joint Sessions 2014 in Salamanca. Spurred on by the invigorating discussions, the participants decided to put together more workshops, with Ethical Underpinnings of Climate Economics following in Helsinki in November that same year. Without the organisers of these workshops the collaborators of this book would not (...) have come together: Matthew Rendall, Dominic Roser, Sade Hormio, Simo Kyllonen, Aaron Maltais and Joanna Burch-Brown. We would also like to thank all the participants at the workshops for making them so enjoyable and worthwhile. The Helsinki workshop that this book was named after was organized as part of the Climate Ethics and Economics project, led by Aki Lehtinen and funded by the University of Helsinki. The three-year project is based at the Social and Moral Philosophy discipline in the Department of Political and Economic Studies. The workshop itself was made possible by funding from the Academy of Finland Centre of Excellence in the Philosophy of the Social Sciences, which also helped to host the event. (shrink)

From a behaviorist perspective, the desire to upload “minds” is already being realized on a mass, hyper-industrial scale thanks to the convergence of cognitive computing and Big Data. The accusation is that the “mind” is not an entity that exists intracranially. Instead, it is conceived as a process of individuation, which occurs in different modes and numbers. Some narratives of mind-uploading and technics in popular culture are explored: Transcendence (2014, dir. Wally Pfister) and Player Piano by Kurt Vonnegut. The discussed (...) issues consider Bernard Stiegler’s phenomenological notion of originary default and Thierry Bardini’s analysis of junk. Several questions are raised regarding miscalculations, accidents, in addition to Nicolas Agar’s discussion on the end of humanity, and Daniel Dennett’s Multiple Drafts theory within the context of exteriorization, which is considered as constitutive of interiority. (shrink)

This article relates the ideas of Stanisław Brzozowski (1878-1911) with those of Bernard Stiegler (1952-2020), both of whom problematize the "work" of art understood as a labor practice. Through the conceptual analysis of epigenetics and epiphylogenetics for aesthetic theory, I claim that both thinkers develop practical concepts relevant to contemporary art philosophy. First, I present an overview of Brzozowski's aesthetics, for whom literature and the arts are linked with ethics, and aesthetic form is tied with moral judgment. Then, I continue (...) with an outline of Stiegler's, for whom the role of artists is to sculpt a new culture and historical epoch called the Neganthropocene. Finally, the notion of "work" as a type of memory practice is analyzed. The comparison shows that Stiegler develops epigenetics phenomenologically via memory ("tertiary retentions") and phylogenetics to epiphylogenetics. Both philosophers argue against determinism. This study suggests that their key ideas advance and complement each other. (shrink)

Seeing with Ears, Hearing with Eyes. How Technology Molds Synesthesia Within Us -/- The subject of consideration within this lecture is the contribution of existing scientific discoveries on the visual and musical connection within the perceptual plane. Points of reference are the studies of Amir Amedi, Jacob Jolij and Maaieke Meurs, Harry McGurk, as well as, the works of Iwona Sowińska, Roger Scruton, Oliver Sacks, and a cultural analysis of Joshua Bell’s performance. I will also consider how the senses effect (...) each other, pursuing the diversified reception of vision, which consists of the sense of hearing [sic!], on which I would like to focus attention. -/- Paper structure:  Introduction to key concepts in the fields of research and development,  The visual outlook on hearing,  The aural perspective on vision,  Relationships to related sciences,  Summary of multimedia examples,  An attempt to extend the “techno-view” to the auditory senses within synesthesia. (shrink)