The dual concepts of mindfulness and mindlessness are described. Mindfulness is a state of conscious awareness in which the individual is implicitly aware of the context and content of information. It is a state of openness to novelty in which the individual actively constructs categories and distinctions. In contrast, mindlessness is a state of mind characterized by an over reliance on categories and distinctions drawn in the past and in which the individual is context-dependent and, as such, is oblivious to (...) novel aspects of the situation. Mindlessness is compared to more familiar concepts such as habit, functional fixedness, overlearning, and automatic processing. Like mindlessness, these concepts concern rigid invariant behavior that occurs with little or no conscious awareness. The primary difference is that mindlessness may result from a single exposure to information. When information is given in absolute language, is given by an authority, or initially appears irrelevant, there is little manifest reason to critically examine the information and thereby recognize the ways it may be context-dependent. Instead, the individual mindlessly forms a cognitive commitment to the information and freezes its potential meaning. Alternative meanings or uses of the information become unavailable for active cognitive use. Automatic vs controlled processing, while seemingly most similar to mindlessness/mindfulness, are orthogonal to them. One can process information in a controlled but mindless manner, or automatic but mindful. Related concepts like scripts, set, expectancy, labels, and roles direct behavior, but these too may be enacted mindlessly or mindfully. The major consequences of mindlessness/mindfulness are discussed with respect to their relevance for overt behavior , memory, and health. Finally, the relationship between traditional notions of consciousness and mindfulness is briefly examined. (shrink)

When people interact with novel technologies (e.g., robots, novel technological tools), the word “creepy” regularly pops up. We define creepy situations as ambiguous situations involving uneasy feelings as eliciting uneasy feelings and involving ambiguity (e.g., on how the behave or how to judge the situation). A common metric for creepiness would help evaluating creepiness of situations and developing adequate interventions against creepiness. Following psychometrical guidelines, we developed the Creepiness of Situation Scale (CRoSS) across four studies with a total of N (...) = 882 American and German participants. In Studies 1-3, participants watched a video of a creepy situation involving technology. Study 1 used exploratory factor analysis in an American sample and showed that creepiness consists of emotional creepiness and creepy ambiguity. In a German sample, Study 2 confirmed these subdimensions. Study 3 supported validity of the CRoSS as creepiness correlated positively with privacy concerns and computer anxiety, but negatively with controllability and transparency. Study 4 used the scale in a 2 (male vs. female experimenter) x 2 (male vs. female participant) x 2 (day vs. night) field study to demonstrate its usefulness for non-technological settings and its sensitivity to theory-based predictions. Results indicate that participants contacted by an experimenter at night-time reported higher feelings of creepiness. Overall, these studies suggest that the CRoSS is a psychometrically sound measure for research and practice. (shrink)

Je me propose de réfléchir ici sur une éthique pour notre temps, un temps où l'on reconnaît à chacun de nous la liberté de trouver sa propre voie, ses propres sources d'épanouissement, de choisir la forme d'existence qui lui convient. Il importe, m'a-t-il semblé, de déterminer et de s'approprier dès lors une éthique véritablement compatible avec des existences faites sur mesure, une éthique à laquelle chacun, malgré sa singularité, peut s'identifier. Où est le droit chemin quand tant de parcours différents (...) sont possibles? Quels jugements moraux porter sur ses semblables quand ils se comportent de manière si dissemblable? Quelle éthique convient-il de se donner pour vivre de manière constructive dans un monde en constante évolution sociale, technologique et scientifique? Comment surmonter la crise des valeurs que plusieurs considèrent comme caractéristique de notre époque? La réponse réside dans ce que j'appellerai une éthique de la coexistence. L'idée centrale en est la suivante : ce qui compte moralement, ce n'est pas la manière dont on existe (individuellement), mais la manière dont on coexiste. A mon sens, une éthique nous parlera d'autant plus aujourd'hui qu'elle ambitionnera d'en dire le moins sur ce que c'est que d'être homme ou femme, qu'elle spéculera le moins possible au niveau métaphysique, pour porter toute son attention sur la relation entre les humains et sur leur diversité. C'est à ce prix qu'il est possible de donner véritablement un sens concret à la liberté individuelle et au principe d'égalité sans rien enlever à la solidarité humaine. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity (...) of Langer's philosophy as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity (...) of Langer's philosophy as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

In this book Jonathan Lowe offers a lucid and wide-ranging introduction to the philosophy of mind. Using a problem-centred approach designed to stimulate as well as instruct, he begins with a general examination of the mind-body problem and moves on to detailed examination of more specific philosophical issues concerning sensation, perception, thought and language, rationality, artificial intelligence, action, personal identity and self-knowledge. His discussion is notably broad in scope, and distinctive in giving equal attention to deep metaphysical questions concerning the (...) mind and to the discoveries and theories of modern scientific psychology. It will be of interest to any reader with a basic grounding in modern philosophy. (shrink)

Forms of thought are involved whenever we name, describe, or identify things, and whenever we distinguish between what is, might be, or must be the case. It appears to be a distinctive feature of human thought that we can have modal thoughts, about what might be possible or necessary, and conditional thoughts, about what would or might be the case if something else were the case. Even the simplest thoughts are structured like sentences, containing referential and predicative elements, and studying (...) these structures is the main task of philosophical logic. This clear and accessible book investigates the forms of thought, drawing out and focusing on the central logical notions of reference, predication, identity, modality and conditionality. It will be useful to students and other interested readers in epistemology and metaphysics, philosophy of mind and language, and philosophical logic. (shrink)

Many of the objects that we perceive have an important characteristic: When they move, they change shape. For instance, when you watch a person walk across a room, her body constantly deforms. I suggest that we exercise a type of perceptual constancy in response to changes of this sort, which I call structure constancy. In this paper I offer an account of structure constancy. I introduce the notion of compositional structure, and propose that structure constancy involves perceptually representing an object (...) as retaining its compositional structure over time. I argue that compositional structure is represented in visual phenomenology, and I also assemble empirical evidence in support of the claim that compositional structure is recovered by the visual system. Finally, I draw out consequences of this account. I argue that structure constancy has implications for the predictive capacities of perception, and that the phenomenon places important constraints on viable accounts of both the format and reference frame of visual experience. (shrink)

Why does the problem of free will seem so intractable? I surmise that in large measure it does so because the free will debate, at least in its modern form, is conducted in terms of a mistaken approach to causality in general. At the heart of this approach is the assumption that all causation is fundamentally event causation. Of course, it is well-known that some philosophers of action want to invoke in addition an irreducible notion of agent causation, applicable only (...) in the sphere of intelligent agency. But such a view is generally dismissed as incompatible with the naturalism that has now become orthodoxy amongst mainstream analytical philosophers of mind. What I want to argue is that substances, not events, are the primary relata of causal relations and that agent causation should properly be conceived of as a species of substance causation. I shall try to show that by thus reconceiving the nature of causation and of agency, the problem of free will can be made more tractable. I shall also argue for a contention that may seem even less plausible at first sight, namely, that such a view of agency is perfectly compatible with a volitionist theory of action. (shrink)

E. J. Lowe; The problem of the many and the vagueness of constitution, Analysis, Volume 55, Issue 3, 1 July 1995, Pages 179–182, https://doi.org/10.1093/analys/.

The third book of Lucretius' great poem on the workings of the universe is devoted entirely to expounding the implications of Epicurus' dictum that death does not matter, 'is nothing to us'. The soul is not immortal: it no more exists after the dissolution of the body than it had done before its birth. Only if this fact is accepted can men rid themselves of irrational fears and achieve the state of ataraxia, freedom from mental disturbance, on which the Epicurean (...) definition of pleasure was based. To present this case Lucretius deploys the full range of poetic and rhetorical registers, soberly prohibitive, artfully decorative or passionately emotive as best suits his argument, reinforcing it with vivid and compelling imagery. This new edition has been completely revised, with a considerably enlarged Commentary and a new supplementary introduction taking account of the great amount of new scholarship of the last forty years. (shrink)

E. J. Lowe; Are the natural numbers individuals or sorts?, Analysis, Volume 53, Issue 3, 1 July 1993, Pages 142–146, https://doi.org/10.1093/analys/53.3.142.

Say that a ‘practical decision’ is a momentary intentional mental action of intention formation. According to what I’ll call the ‘Decisional Prior Intention Thesis’ (‘DPIT’), each practical decision is intentional at least partly in virtue of the representational content of some previously acquired intention. DPIT is entailed by the following widely endorsed thesis that I’ll call the ‘General Prior Intention Thesis’ (‘GPIT’): each intentional action is intentional at least partly in virtue of the representational content of some previously acquired intention. (...) Alfred Mele argues that a certain kind of case impugns DPIT. I defend DPIT from Mele’s argument by showing that his focal case is impossible. I then develop a new argument for an important portion of DPIT – viz., the thesis that, necessarily, if at t you decide to A, then just before t you have an intention whose representational content enables it to play an intentionality-grounding role relative to an act of deciding to A. The defense of DPIT and argument for the indicated portion of it jointly foreground and shed new light on the phenomenon of practical unsettledness – i.e. the felt unsettledness about what to do that precedes a practical decision. (shrink)

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

E. J. Lowe; Reply to ramachandran on conditionals and transitivity, Analysis, Volume 52, Issue 2, 1 April 1992, Pages 77–80, https://doi.org/10.1093/analys/52.2.

Apuleius' story of Cupid and Psyche, the relationship of the human Soul with divine Love, is one of the great allegories of world literature. It forms an integral part of and profoundly illuminates the message of his novel Metamorphoses or The Golden Ass, which relates the adventures of a young man and his spiritual fall and redemption. To enrich and deepen his basic plot, the origins of which are obscure, Apuleius has combined poetic sources, Platonic philosophy and popular iconography in (...) an unprecedented tour de force of literary creation. This edition sensitively elucidates the subtle art with which this transformation has been accomplished, and comprehensively illustrates both Apuleius' inventive handling of his various models and sources and the exuberant and idiosyncratic Latinity with forms the vehicle for it. It places in a fresh light the results of recent work on the ancient Novel and on Apuleius himself, and offers a stimulating, occasionally provocative, reading of his much-discussed text. The Latin is accompanied by a facing English translation, making the edition more accessible to students of comparative literature as well as to classicists. (shrink)

The Cambridge History of Classical Literature provides a comprehensive, critical survey of the literature of Greece and Rome from Homer till the Fall of Rome. This is the only modern work of this scope; it embodies the very considerable advances made by recent classical scholarship, and reflects too the increasing sophistication and vigour of critical work on ancient literature. The literature is presented throughout in the context of the culture and the social and hisotircal processes of which it is an (...) integral part. The overall aim is to offer an authoritative work of reference and appraisal for one of the world's greatest continuous literary traditions. The work is divided into two volumes, each with a similar and broadly chronological structure. Among the special features are important introductory chapters by the General Editors on 'Books and Readers', discussing the conditions under which literature was written and read in antiquity. There are also extensive Appendices or Authors and Works giving detailed factual information in a convenient form. Technical annotation is otherwise kept to a minimum, and all quotations in foreign languages are translated. (shrink)

This volume covers a relatively short span of time, rather less than the first three-quarters of the first century BC; but it was an age of profoundly important developments, with enduring consequences for the subsequent history of Latin literature. Original and innovative in widely differing ways as was the work of Lucretius, Sallust and Caesar in particular, the scene is dominated, historically, by two figures: Cicero and Catullus. Cicero was a politician and a man of affairs as well as a (...) man of latters, whose vast literary output reflects a range of intellectual interests unparalleled among surviving Roman writers; creator of a prose style the Quintilian regarded as synonymous with eloquence itself; and better known to us, from his letters, as a human being, than any other figure from classical antiquity. Catullus was a poet, single-mindedly devoted to fostering the tradition of learned Alexandrian poetry at Rome; the author of one slender volume of verse that has attracted more critical attention in proportion to its size than any other ancient poetry-book; and the lover of Lesbia. In these chapters it is shown how these, and other, Roman writers of genius continued the process of transforming their traditional Greek models into new and vigorous Latin forms, with lasting effects for oratory, historiography, and the higher genres of poetry. (shrink)