30th Nov. and 1st Dec. 2013 at Kyoto University. Organizer: Takeshi Sakon.

Jerry Fodor has consistently cited the persistence of illusions--especially the M.

. Against modernist illusions: why we need more democratic and constructivist alternatives to debunking conspiracy theories. Journal for Cultural Research: Vol. 25, What should academics do about conspiracy theories? Moving beyond debunking to better deal with conspiratorial movements, misinformation and post-truth., pp. 104-122.

An examination of the concept of illusion in the writings of Nietzsche, Benjamin, Castoriadis and the Situationists as viewed through the negative dialectics of Theodore Adorno.

Study of the concept of illusion, arising out of ignorance.

ABSTRACT People tend to be unable to evaluate themselves accurately in many areas. One such area is their own and others’ morality. The current research explores the self–other moral valuation difference in the context of moral foundation theory. We propose that people generally have a moral positive illusion. Specifically, people overestimate their own morality and underestimate the morality of others. Two studies provide converging evidence that individuals underestimate the average moral valuations of others on the five dimensions of (...) moral foundation theory. In particular, we demonstrate three moderators for moral positive illusion: moral foundation type, gender, and political identity. Specifically, compared with the binding foundations, people have greater moral positive illusions based on the individualizing foundations; compared to men, women have greater moral positive illusions; and compared with liberals, conservatives have greater moral positive illusions based on the binding foundations. (shrink)

The persistence of certain illusions has been used to argue that some theories cannot affect our perceptual experiences. Learning that one of these illusions is an illusion involves accepting theories. Nevertheless, the illusion does not go away. It seems then that these theories cannot affect our perceptual experiences. This paper contests an assumption of this argument: that the only way in which our perceptions can be affected by holding these theories is by the illusion going away.

Many mental phenomena involve thinking about people who do not exist. Imagined characters appear in planning, dreams, fantasizing, imaginary companions, bereavement hallucinations, auditory verbal hallucinations, and as characters created in fictional narratives by authors. Sometimes these imagined persons are felt to be completely under our control, as when one fantasizes about having a great time at a party. Other times, characters feel as though they are outside of our conscious control. Dream characters, for example, are experienced by dreamers as autonomous (...) entities, and often do things that frighten and surprise dreamers. Some imagined persons, such as characters in fiction, start off under conscious control of the author, but over time, can appear to gain an illusion of independent agency. I propose an explanation for different autonomy attributions: characters are by default non-autonomous, unless their personalities are well-practiced. Characters become autonomous because modeling their thinking has become automatized, like many other well-practiced activities. (shrink)

Our usual view of the Renaissance poetic, as we derive it from the explicit statements which we normally cite, sees it primarily as a rhetorical theory which is essentially Platonic in the universal meanings behind individual words, images, or fictions. Accordingly, poetic words, images, or fictions are taken to be purely allegorical, functioning as arbitrary or at most as conventional signs: each word, image, or fiction is seen as thoroughly dispensable, indeed interchangeable with others, to be used just so (...) long as we can get beyond it to the ultimate meaning which it presumably signifies. This rather simple—if not simplistic—semiology leaves the body of poetry as empty as modern post-Saussurean linguistics often leaves the body of language. By treating all poetic devices as transparent elements through which various universal "truths" are revealed, the rhetorical/allegorical theory converts all the poet's dispositions of words into devices of persuasion on the service of a function higher than that of poetry. Such is the way that, for example, a conservative, widely influential theorist like Scaliger clearly formulated the principle. And for as careful a commentator on Renaissance imagery as Rosemund Tuve, these are the farthest reaches of the Renaissance poetic; she argues that any more subtle a claim is merely the consequence of the modern mind trying anachronistically to sophisticate an older tradition. Her examination of explicit statements by major Renaissance writers on poetics finds reinforcement in the logic of Petrus Ramus as she extends it to a total stylistics, or even to a linguistics.1 · 1. Rosemund Tuve, Elizabethan and Metaphysical Imagery: Renaissance Poetic and Twentieth-Century Critics . Murray Krieger, University Professor of English and director of The Irvine School of Criticism and Theory at the University of California at Irvine, is the author of, among other works, The Tragic Vision, The Classic Vision, and, most recently, Theory of Criticism: A Tradition and its System. The present essay is part of his book, Poetic Presence and Illusion: Essays in Critical History and Theory. "Fiction, History, and Empirical Reality," his previous contribution to Critical Inquiry, appeared in the Winter 1974 issue. (shrink)

According to a classic but nowadays discarded philosophical theory, perceptual experience is a complex of nonconceptual sensory states and full-blown propositional beliefs. This classical dual-component theory of experience is often taken to be obsolete. In particular, there seem to be cases in which perceptual experience and belief conflict: cases of known illusions, wherein subjects have beliefs contrary to the contents of their experiences. Modern dual-component theories reject the belief requirement and instead hold that perceptual experience is a complex (...) of nonconceptual sensory states and some other sort of conceptual state. The most popular modern dual-component theory appeals to sui generis propositional attitudes called ‘perceptual seemings’. This article argues that the classical dual-component theory has the resources to explain known illusions without giving up the claim that the conceptual components of experience are beliefs. The classical dual-component view, though often viewed as outdated and implausible, should be regarded as a serious contender in contemporary debates about the nature of perceptual experience. (shrink)

These lucid studies of Derrida, Foucault, Habermas, and Rorty analyze majorcontributions to recent critical theory and forge a distinct position in the current philosophicaldebate.Thomas McCarthy is John Schaffer Professor in the Humanities ...

In this comprehensive analysis of Jürgen Habermas's philosophy and social theory, Marie Fleming takes strong issue with Habermas over his understanding of rationality and the lifeworld, emancipation, history, and gender. Throughout the book she focuses attention on the various ways in which an idea of emancipation motivates and shapes his universalist theory and how it persists over several major changes in methodology. Her critique of Habermas begins from the view that universalism has to include a vision of gender (...) equality, and she asks why Habermas, despite deeply held concerns about equality and inclusiveness, repeatedly and systematically relegates matters of gender to secondary status in his social and moral theory. She extends her critique to a range of issues in his theory of rationality and examines what she views as his very problematical claims about truthfulness, art, and bourgeois intimacy. The point of Fleming's critique of Habermas is not to dispute universalism, but to build on the key universalist principles of inclusiveness and equality. She is not persuaded by the view, shared by both sympathizers of Habermas and his postmodern critics, that to be for or against Habermas is to be for or against universalism. Her intention rather is to show that Habermas's theory of modernity is so structured that it cannot achieve its universalist aims. Contending that his theory is not universalist enough, she claims that universalism has to be reconceived as a radical, critical, and historical project. (shrink)

A new theory of the neuropsychological underpinnings of phenomenal consciousness, “asynchronous introspection theory,” is proposed that emphasizes asynchrony between different neurocognitive processes. We provide a detailed explanation of how a mind might arrive at a cognitive structure isomorphic to the cognitive structure that would emerge from experiential qualia. The theory suggests that a temporal illusion is created because of the mismatch between the real physical timeline and the neurally constructed timeline composed inside a person’s brain. This (...) temporal illusion leads to the origination of a thought that one has had a certain experience wherein the thought and the feeling seem synchronous to the person but, in fact, are not. This leads to the thought, “I had a feeling.” The theory is elaborated via a metaphorical “robot supervisor model” and is shown to explain many current problems of phenomenal consciousness. (shrink)

The aim of this article is to present a critical overview of Jacques Derrida’s objections to the theories of phenomenological experience. I present and analyze Derrida’s principal arguments which show that the primordial character of such experiences is only apparent. I also try to sketch a possible line of defense and to undermine some of the interpretational presuppositions introduced by the author of La voix et le phénomène.

Temporal non-dynamists hold that there is no temporal passage, but concede that many of us judge that it seems as though time passes. Phenomenal Illusionists suppose that things do seem this way, even though things are not this way. They attempt to explain how it is that we are subject to a pervasive phenomenal illusion. More recently, Cognitive Error Theorists have argued that our experiences do not seem that way; rather, we are subject to an error that leads us (...) mistakenly to believe that our experiences seem that way. Cognitive Error Theory is a relatively new view and little has been said to explain why we make such an error, or where, in the cognitive architecture, such an error might creep in. In this paper we remedy this by offering a number of hypotheses about the source of error. In so doing we aim to show that Cognitive Error Theory is a plausible competitor to Phenomenal Illusion Theory. (shrink)

ABSTRACT Understanding is a demanding epistemic state. It involves not just knowledge that things are thus and so, but grasping the reasons why and seeing how things hang together. Understanding, then, typically requires inquiry. Many of our inquiries are conducted online nowadays, with the help of search engines, forums, and social media platforms. In this paper, I explore the idea that online inquiry easily leads to what I will call online illusions of understanding. Both the structure of online information presentation (...) (with hyperlinks, shares, retweets, likes, etc.) and the operation of recommender systems and the like make it easy for people using them to form the impression that they are conducting inquiry responsibly, whereas they are in fact fed with irrelevant information, or, even worse, falsehoods, misinformation, disinformation, or outright conspiracy theories. (shrink)

Examples of sensory illusion show the failure of the attempt of traditional sense-datum theory to account for something's phenomenally appearing to be F by postulating the existence of a sense-datum that is actually F. the Muller-Lyer Illusion cannot be explained by postulating two sensibly presented lines that actually have the lengths the physical lines appear to have. Illusions due to color contrast cannot be explained by postulating sense-data that actually have the colors the physical samples appear to (...) have. (shrink)

A central thesis of Frankish's argument for illusionism is the claim that illusionism is possibly true. This is what the realist about phenomenal consciousness must deny. Frankish's argument for that premise is based on a widely shared understanding of phenomenal consciousness as being a matter of certain events instantiating special properties. I argue that the illusionist's reasoning is difficult to avoid if one accepts this common account. A positive argument for the thesis that the mere possibility of illusionism can be (...) excluded is developed. It uses a proposal about how the notion of phenomenal consciousness should be taken to pick out the phenomenon it refers to. Given that account it becomes obvious that the illusionist cannot be understood as seriously accepting his own theory. The belief in illusionism thus turns out to be an illusion. (shrink)

Modern epistemology has run into several paradoxes in its efforts to explain how knowledge acquisition can be both socially based and still able to determine objective facts about the world. In this important book, Richmond Campbell attempts to dispel some of these paradoxes, to show how they are ultimately just "illusions of paradox," by developing ideas central to two of the most promising currents in epistemology: feminist epistemology and naturalized epistemology. Campbell's aim is to construct a coherent theory of (...) knowing that is feminist and "naturalized." Illusions of Paradox will be valuable for students and scholars of epistemology and women's studies. (shrink)

Theodor Adorno's Aesthetic Theory is a vast labyrinth that anyone interested in modern aesthetic theory must at some time enter. Because of his immense difficulty of the same order as Derrida - Adorno's reception has been slowed by the lack of a comprehensive and comprehensible account of the intentions of his aesthetics. This is the first book to put Aesthetic Theory into context and outline the main ideas and relevant debates, offering readers a valuable guide through this (...) huge, difficult, but revelatory work. Its extended argument is that, despite Adorno's assumptions of autonomism, cognitivism, and aesthetic modernism, his idea of artistic truth content offers crucial insights for contemporary philosophical aesthetics.The eleven chapters are divided into three parts: Context, Content, and Critique. The first part offers a brief biography, describes Adorno's debates with Benjamin, Brecht, and Lukács, and outlines his philosophical program. The second part is an interpretation of Adorno's aesthetics, examining how he situates art in society, production, politics, and history and uncovering the social, political, and historical dimensions of his idea of artistic truth. The third part evaluates Adorno's contribution by confronting it with the critiques of Peter Bürger, Frederic Jameson, and Albrecht Wellmer.Lambert Zuidervaart is Professor of Philosophy at Calvin College. (shrink)

Patrick Suppes'' set-theoretical approach to the analysis of theories, and Joseph D. Sneed''s metatheory are briefly outlined. The notions of observation, illusion and hallucination are reconstructed according to these approaches. It is argued that the terms perception and truth are theoretical with respect to observation but nontheoretical with respect to illusion and hallucination. Hallucination is construed as a special kind of illusion.

Supporters of the A-theory of time sometimes refer to an alleged experience of the passage of time in support of their theory. In this paper I argue that it is an illusion that we experience the passage of time, for such an experience is impossible. My argument relies on the general assertion that experience is contingent, in the sense that if it is possible to experience the passage of time, it is also possible to experience that time (...) does not pass. Having established this claim, I argue that it is impossible to experience that time does not pass, and hence that it is impossible to experience the passage of time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Illusions of KnowingMatthew T. Kapstein (bio)Knowing Illusion: Bringing a Tibetan Debate into Contemporary Discourse, Volume I: A Philosophical History of the Debate, and Volume II: Translations. By The Yakherds ( José Cabezón, Ryan Conlon, Thomas Doctor, Douglas Duckworth, Jed Forman, Jay Garfield, John Powers, Sonam Thakchöe, Tashi Tsering, and Geshé Yeshes Thabkhas). New York: Oxford University Press, 2020.Metaphysics is a subject much more curious than useful, the knowledge (...) of which, like that of a sunken reef, serves chiefly to enable us to keep clear of it.Charles S. Peirce, "How to Make Our Ideas Clear"I. The Elusive Way to the MiddleKnowing Illusion: Bringing a Tibetan Debate into Contemporary Discourse is the fruit of collaborative efforts by the Yakherds, a group of scholars stemming from the earlier Cowherds, in which two of the present herdsmen—Sonam Thakchöe and Jay Garfield—were active as well.1 In moving from the broad issues of Buddhist philosophy that occupied the Cowherds to a tightly focused study of a particular debate in Tibet, the group has parted from the gentle cattle of the Indian plains to tend more rugged Himalayan stock. The present work, in two volumes, offers an exceptionally lucid guide to some of the main lines of Madhyamaka thought in Tibet and the disputes that these engendered. It constitutes an essential contribution to our knowledge of the philosophical traditions of Tibetan Buddhism, but, beyond this, merits the attention of those focusing on their Indian background and on Buddhist philosophies more generally. Indeed, Knowing Illusion is among the rare works in this area that may be profitably taken up by philosophers who are not specifically concerned with Buddhist or other Asian ways of thought, but who may wish to explore approaches beyond those of the Euro-American tradition to some of the central topics of philosophy overall: truth and falsehood, knowledge and ignorance, existence and illusion, belief and argument. Of the many interesting [End Page 1023] questions raised in Knowing Illusion, whether from the perspective of specialized Tibetan Buddhist Studies or of philosophy more broadly, only a sample can be addressed in the space of this review.The unifying thread in Knowing Illusion is a series of written disputes that were provoked by a fifteenth-century teacher belonging to the Sakyapa order of Tibetan Buddhism, Taktsang Sherab Rinchen (1405–1477), in his treatise titled Freedom from Extremes Accomplished through Comprehensive Knowledge of Philosophy (hereinafter Comprehensive Knowledge of Philosophy).2 Central to these debates was the challenge of squaring the Madhyamaka philosophy of Nāgārjuna (second century c.e.), whose teaching of ultimate emptiness (śūnyatā) seemed to undermine most—perhaps all—claims to knowledge, with the positive theory of knowledge (pramāṇa) advanced by Dignāga (fifth century c.e.) and Dharmakīrti (sixth century c.e.). The problem had already preoccupied Indian Buddhist thinkers, including philosophers Bhāviveka (sixth century c.e.) and Śāntarakṣita (eighth century c.e.), who sought to harmonize the insights of Madhyamaka with those of the pramāṇa school, and Dharmakīrti's contemporary Candrakīrti, whose trenchant interpretations of Nāgārjuna appeared to undermine the entire project of a 'theory of knowledge'.3 In Tibet, thinkers of the former camp came to be known as proponents of Svātantrika-Mādhyamika (so-called because they affirmed that emptiness could be established through positive proof, svatantra), while those allied with Candrakīrti were said to follow Prāsaṅgika-Mādhyamika (who allowed only indirect proof, reductio ad absurdum, or prasaṅga).4The debate reemerged forcefully in Tibet, and not merely as a historical exercise, in tandem with the expansion of monastic colleges there during the twelfth century, as Tibetan teachers increasingly elaborated original perspectives on the Indian classics. Many aspects of the Svātantrika/Prāsaṅgika split were co. (shrink)

Illusionism about phenomenal consciousness is the thesis that phenomenal consciousness does not exist, even though it seems to exist. This thesis is widely judged to be uniquely counterintuitive: the idea that consciousness is an illusion strikes most people as absurd, and seems almost impossible to contemplate in earnest. Defenders of illusionism should be able to explain the apparent absurdity of their own thesis, within their own framework. However, this is no trivial task: arguably, none of the illusionist theories currently (...) on the market is able to do this. I present a new theory of phenomenal introspection and argue that it might deal with the task at hand. (shrink)

Illusion is a significant concept in philosophy, art history, literary theory and aesthetics. It has a concrete scientific basis in the perspective of modern cognitive neuroscience. Historically, it has been critically discussed by many philosophers, including Plato, Bacon, Descartes, Kant, and Nietzsche, who considered it to be a distortion of reality. Yet illusion is connected with so many basic aesthetic issues -- such as ambiguity, imagination, and imagery -- that it remains an indispensable concept in modern aesthetics. (...) In the different art media communication of creators with appreciators involves illusory imagery. Its importance is emphasized by Ernst Gombrich in his Art and Illusion, one of the most influential art history texts in the English-speaking world. The concept of illusion becomes the crossing point of classical philosophy and contemporary aesthetics. In this article, the philosophical, psychological and aesthetic bases of illusion will be introduced. In different fields, illusion has different content, but depends on the same psychological mechanisms. The neural mechanisms that underpin aesthetic illusion in contemporary artistic production also function in the modern ideology described by Adorno, Eagleton, and Williams. Not all aesthetic illusions have positive functions, which sometimes leads to distorted cognition and emotional complexity. When it deviates too far from reality, aesthetic illusion contains particular cognitive emotional qualities that conflict with artistic imagery in classical arts. As a bearer of modern aesthetic emotion, it is also shaped by special economic and political situations and always has a kind of ideological character. Thus aesthetic illusion often promotes new configurations of aesthetics and art history. (shrink)

This book aims to present trompe-l'oeil painting as an ambigous aesthetic ideal offered by early modern theory of art. It embodies the idea of an image identical to what it represents. It is interpreted in terms of perceptual and aesthetic illusion, mimesis, diegesis, play, irony and scientific illustration.

This chapter contains sections titled: A Permanent Collection? The Phenomenology of Determining a Changing Object in a Moving Subject Visible Freedom: Nineteenth‐Century German Aesthetic Theories and Legacies Transformation A Lasting Impression.

Projecting Illusion offers a systematic analysis of the impression of reality in the cinema and the pleasure it gives to the film spectator. Film provides a compelling experience that can be considered as a form of illusion akin to the experience of day-dream and dream. Examining the concept of illusion and its relationship to fantasy in the experience of visual representation, Richard Allen situates his explanation within the context of an analytical criticism of contemporary film and critical (...) theory. He argues that many contemporary film theorists correctly identify the significance of the impression of reality, although their explanation of it is incorrect because of an invalid philosophical understanding of the relationship between the mind, representation and reality. Offering a clear presentation and critique of the central arguments of contemporary film and critical theory, Allen also touches on fundamental issues in current discourses of philosophy, art history and feminist theory. (shrink)