That [John] Cage’s challenge to our musical beliefs, attitudes, and practices is posed from the difficult perspective of a Zen master has often been discussed. What has been neglected both by Cage himself and by others is another equally potent challenge to the ordinary which Cage formulates in a related but distinct voice: that of the philosopher. Through his relentless inquiry into new music, Cage had defined certain radical possibilities for musical change. What is in effect his skepticism about music (...) as we know it contains a cogent analysis of our musical concepts and practices: of what it is for us ordinarily to believe that something is music as opposed to not music, and of how those beliefs about music connect with styles of feeling and treating what we hear when we hear it as music. Indeed it is Cage’s genius to have established the topic of skepticism about music as an issue for philosophy and cultural criticism. Cage’s radical perspective on our musical beliefs allows us to consider both what those beliefs are and whether and how they might be justified. This invitation to philosophical response is an important feature of the avant-garde which Cage shares with Duchamp in plastic art, Gordon Matta-Clarke in architecture, and others. I wish to give it its due by outlining and addressing Cage’s skepticism about music. Daniel A. Herwitz is an assistant professor of philosophy at California State University, Los Angeles. He is currently at work on a book exploring philosophical tendencies in twentieth-century music, art, and architecture. (shrink)

Arthur C. Danto is unique among philosophers for the breadth of his philosophical mind, his eloquent writing style, and the generous spirit embodied in all his work. Any collection of essays on his philosophy has to engage him on all these levels, because this is how he has always engaged the world, as a philosopher and person. In this volume, renowned philosophers and art historians revisit Danto's theories of art, action, and history, and the depth of his innovation as a (...) philosopher of culture. Essays explore the importance of Danto's philosophy and criticism for the contemporary art world, along with his theories of perception, action, historical knowledge, and, most importantly for Danto himself, the conceptual connections among these topics. Danto himself continues the conversation by adding his own commentary to each essay, extending the debate with characteristic insight, graciousness, and wit. Contributors include Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, testifying to the far-reaching effects of Danto's thought. Danto brought to philosophy the artist's unfettered imagination, and his ideas about postmodern culture are virtual road maps of the present art world. This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism. (shrink)

A meditation on the lessons to be learned from South Africa's transformation in the wake of apartheid. Justice, truth, and identity; race, society, and law--all come into dramatic play as South Africa makes the tumultuous transition to a post-apartheid democracy. Seeking the timeless through the timely and trying to find the deeper meaning in the sweep of events, Daniel Herwitz brings the vast resources of the philosophical essay to bear on the new realities of post-apartheid South Africa--from racial (...) identity to truth commissions, from architecture to film and television. A public intellectual's reflections on public life, Herwitz's essays question how the new South Africa has constructed its concepts of reconciliation and return and how its historical emergence has meant a rethinking, reimagining, reexperiencing, relabeling, and repoliticizing of race. Herwitz's purpose is to give a philosophical reading of society--a society already relying on implicitly philosophical concepts in its social and political agendas. Working through these concepts, testing their relevance for reading society, his book itself becomes a part of the politics of definition and description in the new South Africa. (shrink)

Artists and critics regularly enlist theory in the creation and assessment of artworks, but few have scrutinized the art theories themselves. Here, Daniel examines and critiques the norms, assumptions, historical conditions, and institutions that have framed the development and uses of art theory. Spurred by the theoretical claims of Arthur Danto, a leader in the philosophy of the avant-garde, Herwitz reexamines the art and theory of major figures in the avant-garde movement including John Cage, Jean-François Lyotard, Jean Baudrillard, (...) and Andy Warhol. (shrink)

The act of remaking one's history into a heritage, a conscientiously crafted narrative placed over the past, is a thriving industry in almost every postcolonial culture. This is surprising, given the tainted role of heritage in so much of colonialism's history. Yet the postcolonial state, like its European predecessor of the eighteenth and nineteenth centuries, deploys heritage institutions and instruments, museums, courts of law, and universities to empower itself with unity, longevity, exaltation of value, origin, and destiny. Bringing the eye (...) of a philosopher, the pen of an essayist, and the experience of a public intellectual to the study of heritage, Daniel Herwitz reveals the febrile pitch at which heritage is staked. In this absorbing book, he travels to South Africa and unpacks its controversial and robust confrontations with the colonial and apartheid past. He visits India and reads in its modern art the gesture of a newly minted heritage idealizing the precolonial world as the source of Indian modernity. He traverses the United States and finds in its heritage of incessant invention, small town exceptionalism, and settler destiny a key to contemporary American media-driven politics. Showing how destabilizing, ambivalent, and potentially dangerous heritage is as a producer of contemporary social, aesthetic, and political realities, Herwitz captures its perfect embodiment of the struggle to seize culture and society at moments of profound social change. (shrink)

Princess Diana, Jackie O, Grace Kelly—the star icon is the most talked about yet least understood persona. The object of adoration, fantasy, and cult obsession, the star icon is a celebrity, yet she is also something more: a dazzling figure at the center of a media pantomime that is at once voyeuristic and zealously guarded. With skill and humor, Daniel Herwitz pokes at the gears of the celebrity-making machine, recruiting a philosopher's interest in the media, an eye for (...) society, and a love of popular culture to divine our yearning for these iconic figures and the role they play in our lives. Herwitz portrays the star icon as caught between transcendence and trauma. An effervescent being living on a distant, exalted planet, the star icon is also a melodramatic heroine desperate to escape her life and the ever-watchful eye of the media. The public buoys her up and then eagerly watches her fall, her collapse providing a satisfying conclusion to a story sensationally told—while leaving the public yearning for a rebirth. Herwitz locates this double life in the opposing tensions of film, television, religion, and consumer culture, offering fresh perspectives on these subjects while ingeniously mapping society's creation (and destruction) of these special aesthetic stars. Herwitz has a soft spot for popular culture yet remains deeply skeptical of public illusion. He worries that the media distances us from even minimal insight into those who are transfigured into star icons. It also blinds us to the shaping of our political present. (shrink)

Arthur Danto once stood next to Andy Warhol at a gallery opening while Warhol autographed his wife's brochure. For Danto, Warhol embodied the age and its aspirations: a philosophical artist in gel. Danto was also writing autobiographically in describing Warhol's before and after. The before and after made them alike: each became a modernist figure of unparalleled boldness, audacity, and brilliance. A number of critics understood that Warhol was pushing against the limits of art in a way that forced abstract (...) reflection on what art was, is, and could be. Danto reasoned that a cultural background puts in place a set of concepts allowing one thing to be schematized differently from a visually indiscernible counterpart. Warhol's work was to him more like declarative language than anything else: it spoke in virtue of a shared background of concepts, which he called a theory. (shrink)

Francis Fukuyama has argued that history has come to an end. His argument is a philosophical reading of history which derives philosophical implications from empirical views about human economy, society, recent history and the human conditions for self-realization and flourishing. It is this movement between empirical description and philosophical conceptualization that my paper explores, a movement which is both fascinating and problematical. The paper does not seek to “refute” Fukuyama, whose ideas have great currency with significant reason and assumes that (...) there is some thing significant about the idea of the end of history. It is rather concerned to insert a certain skepticism about the dialectic between empirical description and philosophical conceptualization. What the paper comes down against is the assurance that a philosophical structure can be assigned to history. The paper is part of a larger project about philosophical constructions of finality where similar conclusions are drawn. These are drawn in order to suggest that much of the modern/postmodern debate operates within an Hegelian frame work that entitles a philosophical reading of human affairs with respect to their finality, a finality which is supposed to be happening now. (shrink)

Mozart's _Don Giovanni_ is an operatic masterpiece full of iconic and mythical tensions that still resonate today. The work redefines the terms of power, seduction, and morality, and the resulting conflict between the aesthetic and the ethical is deeply rooted in the Enlightenment and romanticism. _The_ Don Giovanni _Moment_ is the first book to examine the aesthetic and moral legacy of Mozart's opera in the literature, philosophy, and culture of the nineteenth century. The prominent scholars in this collection address the (...) opera's impact on the philosophical visions of Kierkegaard, Goethe, and Williams and its influence on the literary and dramatic works of Pushkin, Hoffmann, Mörike, Byron, Wagner, Strauss, and Shaw. Through a close and careful analysis of _Don Giovanni_'s literary and philosophical reception and its many appropriations, rewritings, and retellings, these contributors treat the opera as a vantage point from which theory and philosophy can reconsider romanticism's central themes. As lively and passionate as the opera itself, these essays continue the spirited debate over the meaning and character of _Don Giovanni_ and its powerful legacy. Together they prove that Mozart's brilliant artistic achievement is as potent and relevant today as when it was first performed two centuries ago. (shrink)

Daniel Herwitz 'The Defence of Extreme Realities' _Film-Philosophy_, vol. 6 no. 45, November 2002.

Defenders of the extended mind thesis say that it is possible that some of our mental states may be constituted, in part, by states of the extra-bodily environment. Often they also add that such extended mentation is a commonplace phenomenon. I argue that extended mentation, while not impossible, is either nonexistent or far from widespread. Genuine beliefs as they occur in normal biologically embodied systems are informationally integrated with each other, and sensitive to changes in the person.

Certain of our concepts are innate, but many others are learned. Despite the plausibility of this claim, some have argued that the very idea of concept learning is incoherent. I present a conception of learning that sidesteps the arguments against the possibility of concept learning, and sketch several mechanisms that result in the generation of new primitive concepts. Given the rational considerations that motivate their deployment, I argue that these deserve to be called learning mechanisms. I conclude by replying to (...) the objections that these mechanisms cannot produce genuinely new content and cannot be part of genuinely cognitive explanations. (shrink)

Conceptual atomists argue that most of our concepts are primitive. I take up three arguments that have been thought to support atomism and show that they are inconclusive. The evidence that allegedly backs atomism is equally compatible with a localist position on which concepts are structured representations with complex semantic content. I lay out such a localist position and argue that the appropriate position for a non-atomist to adopt is a pluralist view of conceptual structure. I show several ways in (...) which conceptual pluralism provides an advantage in satisfying the empirical and philosophical demands on a theory of conceptual structure and content. (shrink)

In this paper, I argue that explanations just ARE those sorts of things that, under the right circumstances and in the right sort of way, bring about understanding. This raises the question of why such a seemingly simple account of explanation, if correct, would not have been identified and agreed upon decades ago. The answer is that only recently has it been made possible to analyze explanation in terms of understanding without the risk of collapsing both to merely phenomenological states. (...) For the most part, theories of explanation were for 50 years held hostage to the historical accident that they far outstripped in sophistication corresponding accounts of understanding. (shrink)

Fodor offers a novel argument against Bare-bones Concept Pragmatism (BCP). He alleges that there are two circularities in BCP’s account of concept possession: a circularity in explaining concept possession in terms of the capacity to sort; and a circularity in explaining concept possession in terms of the capacity to draw inferences. We argue that neither of these circles is real.

Claims pertaining to understanding are made in a variety of contexts and ways. As a result, few in the philosophical literature have made an attempt to precisely characterize the state that is y understanding x. This paper builds an account that does just that. The account is motivated by two main observations. First, understanding x is somehow related to being able to manipulate x. Second, understanding is a mental phenomenon, and so what manipulations are required to be an understander must (...) only be mental manipulations. Combining these two insights, the paper builds an account (URM) of understanding as a certain representational capacity—specifically, understanding x involves possessing a representation of x that could be manipulated in useful ways. By tying understanding to representation, the account correctly identifies that understanding is a fundamentally cognitive achievement. However, by also demanding that which representations count as understanding-conferring be determined by their practical effects, URM captures the insight that understanding is vitally connected to practice. URM is fully general, and can apply equally well to understanding states of affairs, understanding events, and even understanding people and works of art. The ultimate test of URM is its applicability in actual scientific and philosophical discourse. To that end the paper discusses the importance of understanding in the philosophy of science, psychology, and computer science. (shrink)

Mechanistic explanation has an impressive track record of advancing our understanding of complex, hierarchically organized physical systems, particularly biological and neural systems. But not every complex system can be understood mechanistically. Psychological capacities are often understood by providing cognitive models of the systems that underlie them. I argue that these models, while superficially similar to mechanistic models, in fact have a substantially more complex relation to the real underlying system. They are typically constructed using a range of techniques for abstracting (...) the functional properties of the system, which may not coincide with its mechanistic organization. I describe these techniques and show that despite being non-mechanistic, these cognitive models can satisfy the normative constraints on good explanations. (shrink)

This paper focuses on two questions: Is understanding intimately bound up with accurately representing the world? Is understanding intimately bound up with downstream abilities? We will argue that the answer to both these questions is “yes”, and for the same reason-both accuracy and ability are important elements of orthogonal evaluative criteria along which understanding can be assessed. More precisely, we will argue that representational-accuracy and intelligibility are good-making features of a state of understanding. Interestingly, both evaluative claims have been defended (...) by philosophers in the literature on understanding as the criterion of evaluation. We argue that proponents of both approaches have important insights and that, drawing on both their own observations and a few novel arguments, we can construct a more complete picture of understanding evaluation. We thus posit the theory of there being Multiple Understanding Dimensions. The main thing to note about our dualism regarding the evaluative criteria of understanding is that it accounts for the intuitions about cases underlying both previously held positions. (shrink)

The view that special science properties are multiply realizable has been attacked in recent years by Shapiro, Bechtel and Mundale, Polger, and others. Focusing on psychological and neuroscientific properties, I argue that these attacks are unsuccessful. By drawing on interspecies physiological comparisons I show that diverse physical mechanisms can converge on common functional properties at multiple levels. This is illustrated with examples from the psychophysics and neuroscience of early vision. This convergence is compatible with the existence of general constraints on (...) the evolution of cognitive systems, and does not involve any ad hoc typing of coarse-grained higher level properties. The mechanisms that realize these common higher level properties are really distinct by the criteria laid down by critics of multiple readability. Finally, I present an account of how such functional properties might constitute special science kinds by playing a central explanatory role in a range of cognitive models. Behavioral science kinds in particular are the functionally defined constituents picked out by our most successful models of the multilevel systems and mechanisms that explain cognitive capacities. (shrink)

In this paper, we argue that, contra Strevens (2013), understanding in the sciences is sometimes partially constituted by the possession of abilities; hence, it is not (in such cases) exhausted by the understander’s bearing a particular psychological or epistemic relationship to some set of structured propositions. Specifically, the case will be made that one does not really understand why a modeled phenomenon occurred unless one has the ability to actually work through (meaning run and grasp at each step) a model (...) simulation of the underlying dynamic. (shrink)

Four experiments investigate the folk concept of “understanding,” in particular when and why it is deployed differently from the concept of knowledge. We argue for the positions that people have higher demands with respect to explanatory depth when it comes to attributing understanding, and that this is true, in part, because understanding attributions play a functional role in identifying experts who should be heeded with respect to the general field in question. These claims are supported by our findings that people (...) differentially withhold attributions of understanding when the object of attribution has minimal explanatory information. We also show that this tendency significantly correlates with people’s willingness to defer to others as potential experts. This work bears on a pressing issue in epistemology concerning the place and value of understanding. Our results also provide reason against positing a simple equation of knowledge and understanding. We contend that, because deference plays a crucial role in many aspects of everyday reasoning, the fact that we use understanding attributions to demarcate experts reveals a potential mechanism for achieving our epistemic aims in many domains. (shrink)

Concept empiricists are committed to the claim that the vehicles of thought are re-activated perceptual representations. Evidence for empiricism comes from a range of neuroscientific studies showing that perceptual regions of the brain are employed during cognitive tasks such as categorization and inference. I examine the extant neuroscientific evidence and argue that it falls short of establishing this core empiricist claim. During conceptual tasks, the causal structure of the brain produces widespread activity in both perceptual and non-perceptual systems. I lay (...) out several conditions on what is required for a neural state to be a realizer of the functional role played by concepts, and argue that no subset of this activity can be singled out as the unique neural vehicle of conceptual thought. Finally, I suggest that, while the strongest form of empiricism is probably false, the evidence is consistent with several weaker forms of empiricism. (shrink)

There are varying opinions about whether or not the field of business ethics has a history or is a development of more modern times. It is suggested that a book by a Dominican Friar, Johannes Nider, De Contractibus Mercatorum, written ca. 1430 and published ca. 1468 provides a basis for a history of over 500 years. Business ethics grew out of attempts to reconcile Biblical precepts, canon law, civil law, the teachings of the Church Fathers, and the writings of early (...) philosophers with the realities of expanding economic activity. Nider's background is discussed as well as his book as an example of incunabula.Nider was one of the Scholastics who provided a link between Aristotle and later Reformation thinkers. In Nider we find caveat venditor as his moral guide to merchants as well as other surprisingly modern ideas such as justice in exchange; restitution for defective goods; the market as the final arbiter of value; and the importance of creating utility in products. (shrink)

Analytic Philosophy, Volume 62, Issue 1, Page 33-56, March 2021.

Neuroscience constrains psychology, but stating these constraints with precision is not simple. Here I consider whether mechanistic analysis provides a useful way to integrate models of cognitive and neural structure. Recent evidence suggests that cognitive systems map onto overlapping, distributed networks of brain regions. These highly entangled networks often depart from stereotypical mechanistic behaviors. While this casts doubt on the prospects for classical mechanistic integration of psychology and neuroscience, I argue that it does not impugn a realistic interpretation of either (...) type of model. Cognitive and neural models may depict different, but equally real, causal structures within the mind/brain. (shrink)

Aestheticians have tended to focus their attention almost exclusively on high art, on museum painting and sculpture, classical music and literature, and architecture, leaving the popular arts to their colleagues in cultural studies. That seems a big mistake, for like it or not, popular movies and television attract enormous audiences everywhere, including very many people who take little interest in high art. This mass art creates stars, actors, and musicians who are so famous that everyone recognizes them. And celebrities such (...) as Princess Diana are also stars. Because stars straddle the boundary between politics and popular art, they deserve attention from our philosophers. Even if your favorite leisure reading.. (shrink)

A diverse family of proteins has been discovered with a small C‐terminal KASH domain in common. KASH domain proteins are localized uniquely to the outer nuclear envelope, enabling their cytoplasmic extensions to tether the nucleus to actin filaments or microtubules. KASH domains are targeted to the outer nuclear envelope by SUN domains of inner nuclear envelope proteins. Several KASH protein genes were discovered as mutant alleles in model organisms with defects in developmentally regulated nuclear positioning. Recently, KASH‐less isoforms have been (...) found that connect the cytoskeleton to organelles other than the nucleus. A widened view of these proteins is now emerging, where KASH proteins and their KASH‐less counterparts are cargo‐specific adaptors that not only link organelles to the cytoskeleton but also regulate developmentally specific organelle movements. BioEssays 27:1136–1146, 2005. © 2005 Wiley Periodicals, Inc. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Quest for the Historical Abstract ExpressionismDaniel A. SiedellAbstract Expressionism:The International Context, by Joan Marter and David Anfam. Piscataway, NJ: Rutgers University Press, 2007, 320 pp. $26.95, paper.Abstract Expressionism, by Debra Bricker Balken. London: Tate, 2005, 80 pp. $9.60, paper.Reading Abstract Expressionism: Context and Critique, by Ellen Landau. New Haven, CT: Yale University Press, 2005, 768 pp. $45.00, paper.What makes any definition of a movement in art dubious is (...) that it never fits the deepest artists in the movement—certainly not as well as, if successful, it does the others.—Harold Rosenberg, 1952From the moment of its inception in the 1940s, "Abstract Expressionism" has been the subject of reframings, redefinitions, and revisions. This is because it is more than the sum total of artworks and artists traditionally recognized as part of the movement. It is a constitutive part of postwar American cultural life, and it has shaped how we understand art and the role of the artist. It has also shaped the practice of art criticism and defined the role of the art critic. Because it is part of the United States' creation myth of a distinctive postwar "American identity," it also possesses significant symbolic value. And this symbolic value is why it has been such a popular subject for art museum exhibitions for nearly half a century. The fact that in the last ten to fifteen years, major art museums have mounted major exhibitions of the work of key figures in the movement, like Jackson Pollock (including a feature film starring Ed Harris), Mark Rothko, Willem de Kooning, and Barnett Newman, and that auction prices for these artists reach tens of millions of dollars, suggest that, no matter how contested and complicated the concept of "Abstract Expressionism" is, the artists associated with the movement remain relevant.1Abstract Expressionism is not merely big business for museums, collectors, and auction houses. It has also been big business for scholars. The symbolic power of Abstract Expressionism and its influence on shaping and [End Page 107] forming contemporary artistic and critical practice has made the movement an important subject for historical and critical scrutiny. The publication of Irving Sandler's The Triumph of American Painting in 1970 was the first book-length study on Abstract Expressionism, and it marked the gradual beginning of the movement's transformation from a living entity to a more reified subject palatable for academic inquiry. Blending Alfred H. Barr's formalism with an historian's interest in subject matter and iconography and a critic's access to the artists, The Triumph of American Painting provided a taxonomy of sources and influences. Sandler's book, in part, provoked the publication of Serge Guilbaut's How New York Stole the Idea of Modern Art in 1983 (written in 1978 as a doctoral dissertation), which initiated nearly fifteen years of serious and provocative scholarship on Abstract Expressionism. Guilbaut's radical revisionist approach to the subject—which sought to reinterpret the entire development of Abstract Expressionism as an aesthetic weapon of the Cold War—provoked a slew of responses from art historians eager to either jump on the careening bandwagon of Marxist social histories of modern art or hunker down in the trenches to protect hard-won scholarly turf. The latter was the response of a loose federation of art historians eager to forge a scholarly orthodoxy. This emergent paradigm is revealed in a 1988 special issue of Art Journal called "Abstract Expressionism: New and Improved," coedited by Stephen Polcari and Ann Gibson. This issue included essays by those art historians who understood themselves as part of a "new generation" of scholars characterized by their collective desire to transcend the polemics and limitations of those critics and curators whose distorted picture of the movement would be restored to clarity through scholarly distance, a distance that a "new synthesis" of Abstract Expressionist "art, culture, history, and society together, not separately" would produce.2 Sandler and Guilbaut were swiftly dismissed by these art historians of the "new and improved," the former because of his formalism and close proximity to the artists—many of whom he knew personally—the latter because of his Marxism... (shrink)

Having concepts is a distinctive sort of cognitive capacity. One thing that conceptual thought requires is obeying the Generality Constraint: concepts ought to be freely recombinable with other concepts to form novel thoughts, independent of what they are concepts of. Having concepts, then, constrains cognitive architecture in interesting ways. In recent years, spurred on by the rise of evolutionary psychology, massively modular models of the mind have gained prominence. I argue that these architectures are incapable of satisfying the Generality Constraint, (...) and hence incapable of underpinning conceptual thought. I develop this argument with respect to two well-articulated proposals, due to Dan Sperber and Peter Carruthers. Neither proposal gives us a satisfactory explanation of Generality within the confines of a genuinely modular architecture. Massively modular minds may display considerable behavioral and cognitive flexibility, but not humanlike conceptualized thought. (shrink)

A trenchant defense of hierarchy in different spheres of our lives, from the personal to the political All complex and large-scale societies are organized along certain hierarchies, but the concept of hierarchy has become almost taboo in the modern world. Just Hierarchy contends that this stigma is a mistake. In fact, as Daniel Bell and Wang Pei show, it is neither possible nor advisable to do away with social hierarchies. Drawing their arguments from Chinese thought and culture as well (...) as other philosophies and traditions, Bell and Wang ask which forms of hierarchy are justified and how these can serve morally desirable goals. They look at ways of promoting just forms of hierarchy while minimizing the influence of unjust ones, such as those based on race, sex, or caste. Which hierarchical relations are morally justified and why? Bell and Wang argue that it depends on the nature of the social relation and context. Different hierarchical principles ought to govern different kinds of social relations: what justifies hierarchy among intimates is different from what justifies hierarchy among citizens, countries, humans and animals, and humans and intelligent machines. Morally justified hierarchies can and should govern different spheres of our social lives, though these will be very different from the unjust hierarchies that have governed us in the past. A vigorous, systematic defense of hierarchy in the modern world, Just Hierarchy examines how hierarchical social relations can have a useful purpose, not only in personal domains but also in larger political realms. (shrink)

There are good reasons to think natural languages are compositional. But compound nominals (CNs) are largely productive constructions that have proven highly recalcitrant to compositional semantic analysis. I evaluate existing proposals to treat CNs compositionally and argue that they are unsuccessful. I then articulate an alternative proposal according to which CNs contain covert indexicals. Features of the context allow a variety of relations to be expressed using CNs, but this variety is not expressed in the lexicon or the semantic rules (...) of the language. This proposal accounts for the diversity of contents CNs can be used to express while preserving compositionality. Finally, I defend this proposal against some recent anti-contextualist arguments. (shrink)

A ‘Radical Simulationist’ account of how folk psychology functions has been developed by Robert Gordon. I argue that Radical Simulationism is false. In its simplest form it is not sufficient to explain our attribution of mental states to subjects whose desires and preferences differ from our own. Modifying the theory to capture these attributions invariably generates innumerable other false attributions. Further, the theory predicts that deficits in mentalizing ought to co-occur with certain deficits in imagining perceptually-based scenarios. I present evidence (...) suggesting that this prediction is false, and outline further possible empirical tests of the theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

Machery denies the traditional view that concepts are constituents of thoughts, and he more provocatively argues that concepts should be eliminated from our best psychological taxonomy. I argue that the constituency view has much to recommend it (and is presupposed by much of his own theory), and that the evidence gives us grounds for pluralism, rather than eliminativism, about concepts.

Libet discovered that a substantial duration (> 0.5-1.0 s) of direct electrical stimulation of the surface of the somatosensory cortex at threshold currents is required before human subjects can report that a conscious somatosensory experience had occurred. Using a reaction time method we confirm that a similarly long stimulation duration at threshold currents is required for activation of elementary visual experiences (phosphenes) in human subjects following stimulation of the surface of the striate cortex. However, the reaction times for the subject (...) to respond to the cessation of the visual experience after the end of electrical stimulation could be as brief as 225-242 ms. We also carried out extensive studies in cats under a variety of anesthetic conditions using the same electrodes and parameters of stimulation employed in the human studies to study the patterns of neuronal activity beneath the stimulating surface electrode. Whereas sufficiently strong currents can activate neurons within milliseconds, stimulating currents close to threshold activate sustained neural activity only after at least 350-500 ms. When currents are close to threshold, some neurons are inhibited for several hundreds of millisecond before the balance between inhibition and excitation shifts towards excitation. These results suggest that the prolonged latencies, i.e., latencies beyond 200-250 ms, for the emergence of conscious experience following direct cortical stimulation result from a delay in the sustained activation of underlying cortical neurons at threshold currents rather than being due to any unusually long duration in central processing time. Intracellular records from cortical neurological cells during repetitive electrical stimulation of the surface of the feline striate cortex demonstrate that such stimulation induces a profound depolarizing shift in membrane potential that may persist after each stimulus train. Such a depolarization is evidence that extracellular K+ concentrations have increased during electrical stimulation. Such an increase in extracellular K+ progressively increases cortical excitability until the threshold for sustained activation of cortical neurons is reached and then exceeded. Consequently, the long latency for threshold activation of cortical neurons depends upon a dynamically increasing cortical facilatory process that begins hundreds of milliseconds before there is sustained activation of such neurons. In some cases, this facilatory process must overcome an initial stimulus-induced inhibition before neuronal firing commences. (shrink)

In this paper, we explore the link between understanding and transformative decisions. Paul (2014) suggests that one important aspect of making some decisions is that we make them not just on the basis of what data from other people tell us, but based on our own acquaintance with how the decision affects us. In this paper, we draw out a parallel between the sort of reasoning that Paul argues is required for authentic decision making and the sort of epistemic grasp (...) of a subject matter that is required for understanding. The central claim of this paper is that one’s ability to make a decision authentically is proportional to one’s ability to model what it is like to have the possible resultant experience. We endorse a broad notion according to which one can model something by thinking about relevantly similar things. (shrink)

Libet demonstrated that a substantial duration (>0.5-1.0 s) of direct electrical stimulation of the surface of a sensory cortex at a threshold or liminal current is required before a subject can experience a percept. Libet and his co-workers originally proposed that the result could be due either to spatial and temporal facilitation of the underlying neurons or additionally to a prolonged central processing time. However, over the next four decades, Libet chose to attribute the prolonged latency for evoking conscious experience (...) to a prolonged central processing time. In my view, Libet has not provided any convincing evidence, either on the basis of his own past work or in his critique of my paper, for his hypothesis of a central processing time exceeding 0.5s before conscious experience emerges following direct electrical threshold stimulation of the cortical surface. I stand by my original results and conclusion that such prolonged latencies are largely the consequence of a dynamically increasing cortical facilitatory process that begins hundreds of milliseconds before there is a sustained neuronal activation. In some cases, the facilitatory process must overcome an initial stimulus-induced inhibition before neuronal firing commences. (shrink)

In this essay I argue that Reinhold Niebuhr's ethics of self-restraint, though promising, is based on an incomplete and imprecise moral psychology. Although Niebuhr claims that reason cannot provide a sufficient grounding to motivate self-restraint, he does not disclose which human capacity might serve this purpose. I suggest that we can address this oversight by strengthening Niebuhr's tentative embrace of David Hume, and by developing a concept of the emotions in order to explain how human beings can cultivate a stable (...) inclination to self-restraint. This project is informed by and in the service of feminist critiques of Niebuhr and social concerns. (shrink)

The appearance of consciousness in the universe remains one of the major mysteries unsolved by science or philosophy. Absent an agreed-upon definition of consciousness or even a convenient system to test theories of consciousness, a confusing heterogeneity of theories proliferate. In pursuit of clarifying this complicated discourse, we here interpret various frameworks for the scientific and philosophical study of consciousness through the lens of social insect evolutionary biology. To do so, we first discuss the notion of a forward test versus (...) a reverse test, analogous to the normal and revolutionary phases of the scientific process. Contemporary theories of consciousness are forward tests for consciousness, in that they strive to become a means to classify the level of consciousness of arbitrary states and systems. Yet no such theory of consciousness has earned sufficient confidence such that it might be actually used as a forward test in ambiguous settings. What is needed now is thus a legitimate reverse test for theories of consciousness, to provide internal and external calibration of different frameworks. A reverse test for consciousness would ideally look like a method for referencing theories of consciousness to a tractable model system. We introduce the Ant Colony Test as a rigorous reverse test for consciousness. We show that social insect colonies, though disaggregated collectives, fulfill many of the prerequisites for conscious awareness met by humans and honey bee workers. A long lineage of philosophically-neutral neurobehavioral, evolutionary, and ecological studies on social insect colonies can thus be redeployed for the study of consciousness in general. We suggest that the ACT can provide insight into the nature of consciousness, and highlight the ant colony as a model system for ethically performing clarifying experiments about consciousness. (shrink)

models of cognition are essentially incomplete because they fail to capture the temporal properties of mental processing. I present two possible interpretations of the dynamicists' argument from time and show that neither one is successful. The disagreement between dynamicists and symbolic theorists rests not on temporal considerations per se, but on differences over the multiple realizability of cognitive states and the proper explanatory goals of psychology. The negative arguments of dynamicists against symbolic models fail, and it is doubtful whether pursuing (...) dynamicists' explanatory goals will lead to a robust psychological theory. Introduction Elements of the symbolic theory Elements of dynamical systems theory The argument from time 4.1 First interpretation of the argument from time 4.2 Second interpretation of the argument from time Limits of dynamical systems theory. (shrink)

Thought: A Journal of Philosophy, EarlyView.