In his argument for the possibility of knowledge of spatial objects, in the Transcendental Deduction of the B-version of the Critique of Pure Reason, Kant makes a crucial distinction between space as “form of intuition” and space as “formal intuition.” The traditional interpretation regards the distinction between the two notions as reflecting a distinction between indeterminate space and determinations of space by the understanding, respectively. By contrast, a recent influential reading has argued that the two notions can (...) be fused into one and that space as such is first generated by the understanding through an act of synthesis of the imagination. Against this reading, this article argues that a key characteristic of space as a form of intuition is its nonconceptual unity, which defines the properties of space and is as such necessarily independent of determination by the understanding through the transcendental synthesis of the imagination. The conceptual unity that the understanding prescribes to the manifold in intuition, by means of the categories, defines the formal intuition. Furthermore, this article argues that it is the sui generis, nonconceptual unity of space, when takenas a unity for the understanding by means of conceptual determination, that first enables geometric knowledge and knowledge of spatially located particulars. (shrink)

Ian White; VIII*—Kant on Forms of Intuition, Proceedings of the Aristotelian Society, Volume 79, Issue 1, 1 June 1979, Pages 123–136, https://doi.org/10.1093/ar.

Ian White; VIII*—Kant on Forms of Intuition, Proceedings of the Aristotelian Society, Volume 79, Issue 1, 1 June 1979, Pages 123–136, https://doi.org/10.1093/ar.

NOTE: this is a substantial revision of a previously uploaded draft. Intuitions are often thought of as inputs to theoretical reasoning. For example, you might form a belief by taking an intuition at face value, or you might take your intuitions as starting points in the method of reflective equilibrium. The aim of this paper is to argue that in addition to these roles intuitions also play action-guiding roles. The argument proceeds by reflection on the transmission of justification (...) through inference. According to inferential internalists, in order to gain justification for believing the conclusion of an argument by inferring it from the premises in that argument one must “see” that the premises support the conclusion. I motivate this view and endorse the idea that one’s “seeing” such a support relation consists of one’s having an intuition. In a number of recent papers, Paul Boghossian has pressed a regress argument against inferential internalism inspired by Lewis Carroll’s dialogue “What the Tortoise Said to Achilles.” I develop a response to Bogossian’s argument according to which intuitions work like mental imperatives and inferences are mental actions performed by obeying them. After developing this response to Boghossian’s argument, I take up the question of what it is in virtue of which intuitions play a guidance role, when they do so. (shrink)

An understanding of the nature and development of nursing intuition can help nurse educators foster it in young nurses and give clinicians more confidence in this aspect of their knowledge, allowing them to respond with greater assurance to their intuitions. In this paper, accounts from philosophy and neurophysiology are used to argue that intuition, specifically nursing intuition, is a valid form of knowledge. The paper argues that nursing intuition, a kind of practical intuition, is (...) composed of four distinct aspects that include: embodied knowledge rather like that knowledge we have when we have learned to ride a bicycle; well‐trained sensory perceptions attentive to subtle details of complex, often rapidly changing situations; a significant store of pertinent conceptual knowledge; and a history of habitual actions intentionally directed towards achieving the best outcomes for our patients. Contemporary neurophysiology research strongly suggests that human persons experience other persons such that they directly understand the meaning of a variety of different human actions, intentions, emotions, and sensations in immediate, non‐reflective, and non‐conceptual perceptions. This research is supported by the philosophical theories of Jacques Maritain and Yves R. Simon found in their accounts of practical knowledge. Together, these accounts offer us a rich view of the reality of nursing intuition that helps us understand why we find intuitive actions in some but not all nurses and gives us some specific information about how to develop intuition in young nurses. Finally, this research shows us a path for further research. (shrink)

Kant is the last classical practitioner of foundationalist epistemology in the Cartesian tradition, a tradition which saw the major problem of the theory of knowledge as one of providing a metaphysical account of the way in which the subjective contents of the individual mind come to have indubitable objective reference. But he is also the inaugurator of a very different approach to epistemology, one that sees methodology or rules of cognitive procedure as fundamental in determining the objectivity of knowledge. An (...) examination of Kant's reconstruction of the traditional form-matter distinction and his application of it to the manifold of intuition in the Critique of Pure Reason brings out the transitional character of his philosophy with particular force, and shows the immense impact of his work on the central epistemological issues of representation, explanation, and justification. While Kant continues to employ the traditional term Vorstellung , he extends its signification beyond that of a subjective mental content to an intersubjectively shared scheme of description. Where he adopts scholastic usage in referring to categories as concepts, he does not regard them as highest genera, but interprets them as rules of connection, thereby providing a logical framework suitable for functional, rather than essentialist explanation. Finally, while retaining in his transcendental psychology the conception of mental activity derivative of the older empirical psychology, Kant still manages to distinguish successfully the previously conflated questions of the causal origins vs. the grounds of justification of knowledge. Consideration of subsequent developments in regard to these issues in the light of Kant's work not only lends a certain amount of support to pragmatic conceptions of the nature of knowledge and its justification, but also suggests some promising directions for future epistemological investigation along evolutionary lines. (shrink)

This paper considers ways that experimental design can affect judgments about informally presented context shifting experiments. Reasons are given to think that judgments about informal context shifting experiments are affected by an exclusive reliance on binary truth value judgments and by experimenter bias. Exclusive reliance on binary truth value judgments may produce experimental artifacts by obscuring important differences of degree between the phenomena being investigated. Experimenter bias is an effect generated when, for example, experimenters disclose (even unconsciously) their own beliefs (...) about the outcome of an experiment. Eliminating experimenter bias from context shifting experiments makes it far less obvious what the “intuitive” responses to those experiments are. After it is shown how those different kinds of bias can affect judgments about informal context shifting experiments, those experiments are revised to control for those forms of bias. The upshot of these investigations is that participants in the contextualist debate who employ informal experiments should pay just as much attention to the design of their experiments as those who employ more formal experimental techniques if they want to avoid obscuring the phenomena they aim to uncover. (shrink)

An act’s form of apprehension (Auffassungsform) determines whether it is a perception, an imagination, or a signitive act. It must be distinguished from the act’s quality, which determines whether the act is, for instance, assertoric, merely entertaining, wishing, or doubting. The notion of form of apprehension is explained by recourse to the so-called content–apprehension model (Inhalt-Auffassung Schema); it is characteristic of the Logical Investigations that in it all objectifying acts are analyzed in terms of that model. The distinction (...) between intuitive and signitive acts is made, and the notion of saturation (Fu ̈lle) is described, by recourse to the notion of form of apprehension. (shrink)

An act’s form of apprehension determines whether it is a perception, an imagination, or a signitive act. It must be distinguished from the act’s quality, which determines whether the act is, for instance, assertoric, merely entertaining, wishing, or doubting. The notion of form of apprehension is explained by recourse to the so-called content-apprehension model ; it is characteristic of the Logical Investigations that in it all objectifying acts are analyzed in terms of that model. The distinction between intuitive (...) and signitive acts is made, and the notion of saturation is described, by recourse to the notion of form of apprehension. (shrink)

According to Kant, the axioms of intuition, i.e. space and time, must provide an organization of the sensory experience. However, this first orderliness of empirical sensations seems to depend on a kind of faculty pertaining to subjectivity, rather than to the encounter of these same intuitions with the real properties of phenomena. Starting from an analysis of some very significant developments in mathematical and theoretical physics in the last decades, in which intuition played an important role, we argue (...) that nevertheless intuition comes into play in a fundamentally different way to that which Kant had foreseen: in the form of a formal or “categorical” yet not sensible intuition. We show further that the statement that our space is mathematically three-dimensional and locally Euclidean by no means follows from a supposed a priori nature of the sensible or subjective space as Kant claimed. In fact, the three-dimensional space can bear many different geometrical and topological structures, as particularly the mathematical results of Milnor, Smale, Thurston and Donaldson demonstrated. On the other hand, it has been stressed that even the phenomenological or perceptual space, and especially the visual system, carries a very rich geometrical organization whose structure is essentially non-Euclidean. Finally, we argue that in order to grasp the meaning of abstract geometric objects, as n-dimensional spaces, connections on a manifold, fiber spaces, module spaces, knotted spaces and so forth, where sensible intuition is essentially lacking and where therefore another type of mathematical idealization intervenes, we need to develop a new form of intuition. (shrink)

In the contemporary philosophy of set theory, discussion of new axioms that purport to resolve independence necessitates an explanation of how they come to be justified. Ordinarily, justification is divided into two broad kinds: intrinsic justification relates to how `intuitively plausible' an axiom is, whereas extrinsic justification supports an axiom by identifying certain `desirable' consequences. This paper puts pressure on how this distinction is formulated and construed. In particular, we argue that the distinction as often presented is neither well-demarcated nor (...) sufficiently precise. Instead, we suggest that the process of justification in set theory should not be thought of as neatly divisible in this way, but should rather be understood as a conceptually indivisible notion linked to the goal of explanation. (shrink)

Traditional philosophy relies heavily on the use of rational intuition to establish theses and conclusions. This essay takes up the matter of intuition and argues for a stunning conclusion: appeal to rational intuition is epistemically justified only if a form of foundationalism is true. This type of foundationalism is the thesis that there is at least one proposition whose justification depends on nothing other than itself. The article also argues that unless we can establish that some (...) intuitions are justified, philosophy as an enterprise that provides non-empirical knowledge is impossible. Not to put too fine a point on it then: philosophy is possible only if foundationalism is true. Whether this should be construed as the strongest possible defense of foundationalism, or the greatest objection to the pretensions of philosophy is left to the reader. (shrink)

Since Austin’s introduction of the locutionary-illocutionary-perlocutionary distinction, it has been a matter of debate within speech act theory whether illocutionary acts like promising, warning, refusing and telling require audience ‘uptake’ in order to be performed. Philosophers on different sides of this debate have tried to support their positions by appealing to hypothetical scenarios, designed to elicit intuitive judgements about the role of uptake. However, philosophers’ intuitions appeared to remain deadlocked, while laypeople’s intuitions have not yet been probed. To begin rectifying (...) that, we ran two experiments probing lay intuitions about the implications of uptake failure. Overall, we found that participants’ responses were skewed towards agreement that speech acts were performed, despite the lack of uptake. There were, however, significant differences across the four different speech act types we investigated (with the highest levels of agreement found for refusing, followed by warning, then telling, and finally promising). We also obtained evidence of complex effects relating to the (high or low) stakes involved in the scenarios. While this study only represents an initial exploration of intuitions about uptake, our results form a basis for further research into their nature and significance, across a range of speech acts, scenarios, and experimental designs. (shrink)

The topic of the paper is the notion of intuition in Descartes’ philosophy and its epistemic functions. Descartes introduces his notion of intuition in the context of a description of his method and process of knowing and doing science. Intuition is a significant component of this process. I intend to show that the main epistemic functions of intuition in Descartes’ philosophy are differentiated. Intuition is essential not only in the context of justification (the Cartesian synthetic (...) method of proof) but also and especially in the context of discovery (the Cartesian analytic method of discovery). It plays not only a role in the foundation of cogito but also on different stages of constructing the system of knowledge. Intuition has important functions in grasping simple natures, forming primary concepts, comprehending complex natures, forming primary propositions (including primary principles), and capturing relationships between them and building deductive reasoning (the role of intuition in deduction). Hence, intuition is the foundation for all primary stages of producing knowledge. It is active and important element of pure thinking (a priori) in human knowledge, and science. It fulfils these functions due to its specific epistemic properties. I also argue that intuition is not an autonomous and complete type of knowledge. Nor is it an intuitive thesis, but rather the basis of a justification for theses (including cogito). (shrink)

Traditionally, the ideas of “intuitive” and “discursive” forms of understanding have been seen as near opposites. Whereas an intuitive understanding could have a direct grasp of something, a discursive understanding would always depend on what is given to it, as mediated by concepts. In this essay, I suggest that Paul Ricoeur’s conception of analogy presents a way of overcoming this opposition. For Ricoeur, an analogy works within discursive understanding, but it depends on an eventful insight that leads beyond what is (...) merely given in discourse. The analogy “gives more” for thought. Yet, as I argue, what analogy gives for thought is always explicable in conceptual terms: any intuitive understanding is commensurate with a discursive one. I illustrate Ricoeur’s mediation of discursive and intuitive understanding in particular with his conception of metaphor, which vividly depends on overcoming a discursive contradiction by analogical and intuitive means. Before introducing Ricoeur’s conception, I discuss the Kantian background of the intuitive/discursive distinction. In particular, I suggest how Goethe’s attempt to revitalize a notion of intuitive understanding can be compared to Ricoeur’s conception, though Ricoeur improves upon Goethe by grounding intuition in the specific phenomenon of analogy. (shrink)

This dissertation examines the recent arguments against the “Centrality” thesis—the thesis that intuition plays central evidential roles in philosophical inquiry—and their implications for the negative program in experimental philosophy. Two types of objections to Centrality are discussed. First, there are some objections which turn out to only work against Centrality when it is taken as a potential form of philosophical exceptionalism. I respond by showing that negative experimental philosophy doesn’t need the assumption that philosophy is distinctive in its (...) reliance on intuitions. Second, there are some objections which turn out to be related to some particular view concerning the nature of evidence. In response, I distinguish between several different versions of Centrality, and argue that the version of Centrality that experimentalists need remains innocuous. Though none of the arguments against Centrality works as intended, I agree with its opponents that negative experimental philosophers have mischaracterized philosophical practice in a way which has problematic consequences for at least some versions of their argument. Specifically, I contend that philosophical practice grants important evidential status to general intuitions and context-rich intuitions, but extant experimental studies have almost exclusively focused on case intuitions and context-poor intuitions. I conclude that those who work on the negative program of experimental philosophy need to more carefully examine how philosophers actually use intuition in their practice. (shrink)

This paper proposes an outline of a view concerning intuitions, tying them to our basic cognitive competences, or virtues-capacities, a view that is here called The Moderate Voice-of-Competence view. This view claims that intuitions form a kind, albeit a relatively superficial one, united by their phenomenal appearance, but linked to capacities for understanding various domains. Further, intuitions are extroverted, turned towards the items they are explicitly about, and normatively answerable to them; they teach us about things “outside”, not merely (...) about our representation(s) of them. This view also takes seriously the actual dialectics of having intuitions: asking (or being asked) a question, imagining a scenario, giving a simple, preliminary answer to the question, formulating the immediate intuition which is often developed by considering other examples, and so on. This work involves more than mere inference following rules of logic. Further, this view is for the most part committed to realism about the objects of intuitions, and is very keen on their explainability. Finally, this view offers a complex answerabout the normative epistemic status of intuitions, tilted towards a posteriority: although intuitions are prima face a priori, their reflective justification has a rich structure in which a posteriori elements play a crucial role. (shrink)

The way in which mathematics relates to experience has deeply engaged philosophers from the scientific revolution to the present. It has strongly influenced their views on epistemology, mathematics, science, and the nature of reality. Kant's views on the nature of mathematics and its relation to experience both influence and are influenced by his epistemology, and in particular the distinction Kant draws between concepts and intuitions. My dissertation contributes to clarifying the role of intuition in Kant's theory of mathematical cognition. (...) It focuses in particular on Kant's theory of magnitudes. This theory explains the applicability of mathematics to experience while bridging his philosophy of mathematics and his philosophy of science; it is therefore central. Kant's views on magnitudes, however, have been neglected. ;The dissertation divides into four parts. It begins by analyzing Kant's concept of magnitude and the closely related concepts of quanta, quantitas, quantity and number. These clarifications lay the groundwork for reconstructing and evaluating Kant's views. ;Understanding Kant's theory of mathematical cognition requires understanding how the quantitative forms of judgment and the categories of quantity are employed in mathematics. I argue for an interpretation that reflects the influence of 18$\sp{\rm th}$ Century metaphysics on Kant's thought, and reveals Kant's attempt to find a place for a mathematical conception of the world within that metaphysics. ;I also examine Kant's arguments for two fundamental properties of space--infinite divisibility and unlimited extent. I argue that intuition plays a perceptual role that can only be understood within the context of Kant's theory of imagination. ;Finally, I argue that according to Kant, a homogeneous manifold in intuition is required to represent composition and a mathematical version of the part/whole relation. The dissertation uses a modern understanding of the properties of relations to analyze the part/whole relations Kant refers to in his logic, and contrast them with the part/whole relations in his theory of magnitudes. Modern measurement theory aids in identifying Kant's insights into the conditions for the applicability of mathematics to experience. Kant's insights constitute an important part of his views on the role of intuition in mathematics. (shrink)

In his Philosophy of Mind, Hegel treats human sensibility differently in the sections on anthropology, phenomenology, and psychology. With the recent revival of Hegel’s work, there has been a lively debate about how to understand the progression from more primitive to more sophisticated human capacities. This paper differentiates three influential readings to that effect – the animals-first, the emancipatory, and the rational-first reading – and argues that they risk misconstruing mental development as a transition from one category of capacities to (...) the other. The transition is rendered in terms of either accumulation, emancipation, or maturation. But this basic picture confuses the capacities characterizing us as a kind of animal, a kind of consciousness, and a conceptually self-conscious being. This paper explains how anthropology, phenomenology, and psychology articulate complementary, but irreducible categories of human capacities. The apparently more basic capacities are abstractable aspects of those that come later in the order of presentation. The distinct kinds of capacities do not stand separately on a three-step ladder of mental development but are aspects of one singular and synchronous development of the human mind. Their particular development is mutually dependent on each other but can be properly accounted for only in distinctive categorial terms. (shrink)

This dissertation concerns the foundations of epistemic modality. I examine the nature of epistemic modality, when the modal operator is interpreted as concerning both apriority and conceivability, as well as states of knowledge and belief. The dissertation demonstrates how phenomenal consciousness and gradational possible-worlds models in Bayesian perceptual psychology relate to epistemic modal space. The dissertation demonstrates, then, how epistemic modality relates to the computational theory of mind; metaphysical modality; deontic modality; logical modality; the types of mathematical modality; to the (...) epistemic status of undecidable propositions and abstraction principles in the philosophy of mathematics; to the apriori-aposteriori distinction; to the modal profile of rational propositional intuition; and to the types of intention, when the latter is interpreted as a modal mental state. Examining the nature of epistemic logic itself, I develop a novel approach to conditions of self-knowledge in the setting of the modal μ-calculus, as well as novel epistemicist solutions to Curry's, the liar, and the knowability paradoxes. Solutions to previously intransigent issues concerning the first-person concept; the distinction between fundamental and derivative truths; and the unity of intention and its role in decision theory, are developed along the way. (shrink)

This paper argues that, notwithstanding the remarkable popularity of Woodward's (2003) interventionist analysis of causation, the exact definitional details of that theory are surprisingly little understood. There exists a discrepancy in the literature between the clarity about the logical details of interventionism, on the one hand, and the enormous work interventionism is expected to do, on the other. The first part of the paper distinguishes three significantly different readings of the logical form of Woodward's (2003) interventionist theory and identifies (...) the reading that best captures the basic intuitions behind interventionism. In the second part, I show that this preferable reading is far from doing all the work that friends of interventionism would like it to do. (shrink)

What are pure geometric forms? In what sense are there an infinite number of points on a line? What is the relationship between empirically correct statements about real bodily figures (or movements) and the ideal truths of a pure mathematical geometry (also in space-time)? Starting from Kant and Wittgenstein, the book demonstrates how our dealings with figures and symbols is to be understood beyond the technical mastery of forms of calculation and proof.

In this short paper, I outline a non-standard account of what it feels like to have an intuition. According to this account, intuitive contents are ontologically ambiguous. Because intuition alone is liable to persuade us of both motivated inferences and necessary truths, it is not a reliable source of evidence. However, we would not be able to grasp the concept of necessity without intuitions. Hence, I do not think it is any good to ignore or quarantine our intuitions (...) when forming judgments. (shrink)

The phenomenology of a priori intuition is explored at length (where a priori intuition is taken to be not a form of belief but rather a form of seeming, specifically intellectual as opposed to sensory seeming). Various reductive accounts of intuition are criticized, and Humean empiricism (which, unlike radical empiricism, does admit analyticity intuitions as evidence) is shown to be epistemically self-defeating. This paper also recapitulates the defense of the thesis of the Autonomy and Authority (...) of Philosophy given in the author’s “A Priori Knowledge and the Scope of Philosophy” (Philosophical Studies, 1996). (shrink)

This book represents the most comprehensive account to date of an important but widely contested approach to ethics--intuitionism, the view that there is a plurality of moral principles, each of which we can know directly. Robert Audi casts intuitionism in a form that provides a major alternative to the more familiar ethical perspectives. He introduces intuitionism in its historical context and clarifies--and improves and defends--W. D. Ross's influential formulation. Bringing Ross out from under the shadow of G. E. Moore, (...) he puts a reconstructed version of Rossian intuitionism on the map as a full-scale, plausible contemporary theory. A major contribution of the book is its integration of Rossian intuitionism with Kantian ethics; this yields a view with advantages over other intuitionist theories and over Kantian ethics taken alone. Audi proceeds to anchor Kantian intuitionism in a pluralistic theory of value, leading to an account of the perennially debated relation between the right and the good. Finally, he sets out the standards of conduct the theory affirms and shows how the theory can help guide concrete moral judgment. The Good in the Right is a self-contained original contribution, but readers interested in ethics or its history will find numerous connections with classical and contemporary literature. Written with clarity and concreteness, and with examples for every major point, it provides an ethical theory that is both intellectually cogent and plausible in application to moral problems. (shrink)

Kant famously claims that pure reason is subject to a transcendental illusion in which the subjective validity and the regulative use of a principle of reason are conflated with its objective validity and constitutive use. His doctrine of transcendental illusion is puzzling for he insists that this illusion is natural as well as necessary. The two dominant interpretation strategies cannot make sense of this puzzle because they turn out to be either too strong or too weak: they either struggle to (...) account for the legitimate, regulative use of the transcendental principle of reason or fall short of explaining the necessity of the transcendental illusion. In contrast, I shall argue that it is possible to account for the fact that the transcendental illusion is natural and necessary because it has its source in the discursive form of our human understanding, and that this illusion can nevertheless be known to be illusory because our discursive nature can be recognised as a merely particular form of understanding by comparing it with a possible, intuitive form of understanding in an act of critical self-reflection. (shrink)

Perception and intuition are our basic sources of knowledge. They are also capacities we deliberately improve in ways that draw on our knowledge. Elijah Chudnoff explores how this happens, developing an account of the epistemology of expert perception and expert intuition, and a rationalist view of the role of intuition in philosophy.

Kant famously claims that pure reason is subject to a transcendental illusion in which the subjective validity and the regulative use of a principle of reason are conflated with its objective validity and constitutive use. His doctrine of transcendental illusion is puzzling for he insists that this illusion is natural as well as necessary. The two dominant interpretation strategies cannot make sense of this puzzle because they turn out to be either too strong or too weak: they either struggle to (...) account for the legitimate, regulative use of the transcendental principle of reason or fall short of explaining the necessity of the transcendental illusion. In contrast, I shall argue that it is possible to account for the fact that the transcendental illusion is natural and necessary because it has its source in the discursive form of our human understanding, and that this illusion can nevertheless be known to be illusory because our discursive nature can be recognised as a merely particular form of understanding by comparing it with a possible, intuitive form of understanding in an act of critical self-reflection. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of (...) which are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of (...) which are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

Intuitive theories are sets of integrated concepts and causal laws that people adopt to comprehend, explain, and predict certain phenomena they encounter in the world. These theories are ‘intuitive’ because they are thought to drive our intuitions about how the physical and biological world, the mental life of people, and the society we live in work, without meeting the standards of explicit scientific theorizing. The proposal that people adopt such theories has been around at least since the 1970s. However, how (...) psychologists think about intuitive theories has been changing since they have been first proposed. In this chapter, we provide a short overview of the approaches to the function of intuitive theories and belief-forming systems more generally. While early characterization of intuitive theories emphasized their epistemic function, later attempts took an evolutionary view, claiming that they serve adaptive functions that are not always aligned with the goal of accurately tracking environmental states. A recent twist in this story is the proposal that shared intuitive theories may also serve social functions by providing a ‘theoretical common ground’ on which people interpret unobservable entities, such as memories, character traits, entitlements, and obligations. Such shared theories might be essential for social coordination via communication. (shrink)

As a non-representationalist form of integrating methodological naturalism with ontological naturalism, this work proposes a distinction between phenomenic and rational intuitions. Since this is not a static distinction, it offers a way of observing in which sense the apparent circularity between mental and theoretical representations is not a vicious one. The argument’s plausibility will have to be reinforced through considerations about the unstability of ontologies and about how to conceive conflicting intuitions.

ABSTRACTResearch has established that human thinking is often biased by intuitive judgement. The base-rate neglect effect provides such an example, so named because people often support their decisions in stereotypical individuating information, neglecting base-rates. Here, we test the hypothesis that reasoners acknowledge information provided by base-rates and may use individuating information in support of a “rational” decision process. Results from four experiments show that “base-rate neglecting” occurs when participants acknowledge sample distributions; participants who prefer individuating over base-rate information perceive base-rates (...) as less diagnostic and are more confident in their individuating-based responses; and that posterior probabilities predict more individuating-based responses for individuating-preference participants. However, data also show a deeper form of base-rate neglect: even when some partic... (shrink)