The side-effect effect is the seemingly irrational tendency for people to say harmful side effects were more intentional than helpful side effects of the same action. But the tendency may not be irrational. According to the Tradeoffs Justification Model, judgments of a person's intentions to cause harm depend on how that person decided to act, and on whether the reasons for acting justified causing the harmful consequences. Across three experiments (N = 660), unjustified harms were viewed as more intentional than (...) justified harms. If the person had a choice of what to do and knowingly caused harm for no good reason, people judged that the person must have actually desired and intended to cause the harm. However, if the person had a strong, compelling reason (e.g., to ransom his daughter from kidnappers) that the observer deemed to have justified causing the harm, then observers thought the harm was weakly intended at most. Taboo harms that violated sacred moral values were especially likely to be seen as intentional because most reasons do not adequately justify violating a sacred value. (shrink)

use and tool making underlying a system of production mediating between needs and their satisfaction. – The relationship of the entire community to the ...

A key distinction in ethics is between members and nonmembers of the moral community. Over time, our notion of this community has expanded as we have moved from a rationality criterion to a sentience criterion for membership. I argue that a sentience criterion is insufficient to accommodate all members of the moral community; the true underlying criterion can be understood in terms of whether a being has interests. This may be extended to conscious, self-aware machines, as well as to any (...) autonomous intelligent machines. Such machines exhibit an ability to formulate desires for the course of their own existence; this gives them basic moral standing. While not all machines display autonomy, those which do must be treated as moral patients; to ignore their claims to moral recognition is to repeat past errors. I thus urge moral generosity with respect to the ethical claims of intelligent machines. (shrink)

How does language (spoken or written) impact thought? One useful way to approach this important but elusive question may be to consider language itself as a cognition-enhancing animal-built structure. To take this perspective is to view language as a kind of self-constructed cognitive niche. These self-constructed cognitive niches play, I suggest, three distinct but deeply interlocking roles in human thought and reason. Working together, these three interlocking routines radically transform the human mind, and mark a genuine discontinuity in the space (...) of anitnal minds. (shrink)

In Supersizing the Mind, Andy Clark argues that the human mind is not bound inside the head but extends into body and environment.

How is it that thoroughly physical material beings such as ourselves can think, dream, feel, create and understand ideas, theories and concepts? How does mere matter give rise to all these non-material mental states, including consciousness itself? An answer to this central question of our existence is emerging at the busy intersection of neuroscience, psychology, artificial intelligence, and robotics.In this groundbreaking work, philosopher and cognitive scientist Andy Clark explores exciting new theories from these fields that reveal minds like ours (...) to be prediction machines - devices that have evolved to anticipate the incoming streams of sensory stimulation before they arrive. These predictions then initiate actions that structure our worlds and alter the very things we need to engage and predict. Clark takes us on a journey in discovering the circular causal flows and the self-structuring of the environment that define "the predictive brain." What emerges is a bold, new, cutting-edge vision that reveals the brain as our driving force in the daily surf through the waves of sensory stimulation. (shrink)

In common with history, all the social sciences crucially rely on descriptions of the past for their evidence. But when, if ever, is it reasonable to regard such descriptions as true? This book attempts to establish the conditions that warrant belief in historical descriptions. It does so in a non-technical way, analysing numerous illustrations of the different kinds of argument about the past employed by historians and others. The author concludes that no historical description can be finally proved, and that (...) we are only ever justified in believing them for certain practical purposes. This central question has not been addressed in such a thorough and systematic manner before. It draws on recent philosophy of history and will interest philosophers. But the wealth of material and accessibility of the presentation will also make it very valuable for historians and other social scientists concerned with the logic of their disciplines. (shrink)

Introduction Jamie Allen Time, of all the dimensions readily presented to experience, seems to do so most readily through things. Stuff, in supposed counter-valence to the negentropic resilience of living things, appears to us as that which degrades through time, and demarcates a more technical chronometry of sequential events. Situated outside the rotting of fruit and the ticking of clocks, a “deep time” persists. Like the ultra-hearing of the bat, and the infra-vision of the boa-constrictor, there exist living and non-living (...) agents and entities capable of revealing the fixity and finitude of our own perceptual frames for thinking and understanding. The recordings presented here consist of four extracts of documents made in deep geological repository sites (for the storage of nuclear waste). Here re-presented are the Yucca Mountain Repository; HADES, in Mol, Belgium; Gorleben in Germany and a further recording from Forsmark in Sweden (pretty much inaudible behind a loop of a pop song). These recordings are imagined acoustic amplifications of deep time, just as the astronomer’s telescope is (thought of a certain way), also a time machine. Stars and nuclear waste are unapparent objects of temporal thought. Andy Weir is an artist from London researching effects of deprioritised subjectivity and contemporary art. This project draws on work developing sonic fictions, stealthy earworms, and micropolitical agencies. Prompted for further thoughts about the recordings presented here, he offered up the interspersed discussion included. —JA Yucca Mountain Repository, Nevada, USA by continent I became interested in these sites originally as spaces that allude to a time outside of the human (‘deep time’) as they are designed to store waste ‘without future maintenance’. The very fact of thinking about these spaces or working on them—engineering etc.. (as I’m particularly interested them in a kind of practice rather than just an object of thought), in other words, forces a confrontation with thought of the extinction of humanity. I was interested in this as a production of affect at odds with the expected ‘ironic, can be whatever you like’ interpretive condition of contemporary art (art under the condition of neoliberalism, say, where the individual subject is prioritised as a free autonomous producer of the meaning of the work) When I thought about this a bit though it ran into paradoxes—yes, I could allude to deep time, but in doing so I just allude to its un-representability, drawing attention to the limits of representation and so reaffirming it—I was stuck in a representation/non-representational negative dialectic. In trying to somehow create a figure for deep time I was either reducing it to my description of it, or presenting it as irreducible. HADES Facility, Mol, Belgium by continent I don’t think I’ve escaped this in the work but my response to it was to create a sonic-fiction. This was based on the idea of a viral transmission of the affect of deep time (this is the ‘pyroclastic-soaked chrono-dread’) through receiving apparatuses, transforming the screen into an intercessor or mediating lure for the outside, a site of exposure multiplying virulently through its dissemination, invoking as much as trying to represent these spaces, the sounds as durations of exposure to contagious materials, and fictions as a way of excavating the strangeness of a world opaque to subjective reconfiguration... Testing out I suppose ways that art could start thinking about figuring the reality of ecological crisis. Gorleben Repository, Lower Saxony, Germany by continent While everything remains at the level of fiction I think the work is problematic. It doesn’t really model anything, giving too much authority to either romantic abandonment or the recuperation of romantic abandonment under its description by theory/philosophy, all contained and controlled by me within a fairly limited condition of what art can do. Deep Time Contagion is precisely a materialisation of and transmission of this paradox (i.e. with screen-media can only present deep time as unrepresentable or draw attention to an inability to present it) taking the comfort/panic induced by this paradox as its material. I’m working now on some new projects that take this as a point of departure. Forsmark Repository, Sweden (Robitussin Mix) by continent. (shrink)

Where does the mind stop and the rest of the world begin? The question invites two standard replies. Some accept the demarcations of skin and skull, and say that what is outside the body is outside the mind. Others are impressed by arguments suggesting that the meaning of our words "just ain't in the head", and hold that this externalism about meaning carries over into an externalism about mind. We propose to pursue a third position. We advocate a very different (...) sort of externalism: an _active externalism_, based on the active role of the environment in driving cognitive processes. (shrink)

--œWhere Brain, Body, and World Collide--� reprinted by permission of Daedalus, Journal of the American Academy of Arts and Sciences, from the issue entitled, --œThe Brain,--� Spring 1998, Vol. 127, No. 2.

In treating cognition as problem solving, Andy Clark suggests, we may often abstract too far from the very body and world in which our brains evolved to guide...

“There’s no disputing about taste.” That’s got a nice ring to it, but it’s not quite the ring of truth. While there’s definitely something right about the aphorism – there’s a reason why it is, after all, an aphorism, and why its utterance tends to produce so much nodding of heads and muttering of “just so” and “yes, quite” – it’s surprisingly difficult to put one’s finger on just what the truth in the neighborhood is, exactly. One thing that’s pretty (...) clear is that what’s right about the aphorism, that there’s no disputing about taste, isn’t that there’s no disputing about taste. There’s heaps of disputing about taste. People engage in disputes about which movies, music, paintings, literature, meals, furniture, architectural styles, etc. are good, beautiful, tasty, fun, elegant, ugly, disgusting, etc. all the time. This is obvious to anyone who has watched dueling-movie-critics shows, read theater reviews, or negotiated with a group or partner about which movie or restaurant to go to, or which sofa or painting to put in the living room. It takes great care and good aim to fling a brick without hitting somebody who’s engaged in a dispute about taste. (shrink)

Augmented reality blends the virtual and physical worlds such that the virtual content experienced by a user of AR technology depends on the user’s geographical location. Games such as Pokémon GO and technologies such as HoloLens are introducing an increasing number of people to augmented reality. AR technologies raise a number of ethical concerns; I focus on ethical rights surrounding the augmentation of a particular physical space. To address this I distinguish public and private spaces; I also separate the case (...) where we access augmentations via many different applications from the case where there is a more unified sphere of augmentation. Private property under a unified sphere of augmentation is akin to physical property; owners retain the right to augment their property and prevent others from augmenting it. Private property with competing apps is more complex; it is not clear that owners have a general right to prevent augmentations in this case, assuming those augmentations do not interfere with the owner’s use of the property. I raise several difficult cases, such as augmenting a daycare with explicit sexual or violent images. Public property with competing apps is relatively straightforward, and most augmentation is ethical; those apps simply function like different guidebooks. Under a unified sphere of augmentation it is unclear whether augmentations should be treated more like public speech or graffiti or some of each. Further consideration is needed to determine what kinds of augmentations we view as ethical. (shrink)

The paper relates to the classic issue of Islam and the Cross of Christ. It is in two parts. The first part tackles the “textual” issues of the crucifixion in the Qur’an and tafsir, including some of the “minority reports” in Islamic thought. The second part moves on to a Christian theological engagement with the mainstream Islamic denial of the crucifixion of the Messiah. Some of this section springboards off of the well-known discussion of these issues by Kenneth Cragg and (...) others, but the most original emphasis in this “theological” half of the paper is the attempt to bring the Christus Victor model of the Atonement into interaction with Islamic denials of the cross of Christ. (shrink)

Aesthetics and Music is a rich and interesting study. Hamilton's approach is innovative. He interleaves chapters on the history of philosophical thought about music with more theoretical discussions of music, sound, rhythm and improvisation, but does not cover the work–performance relation, depiction or expression. He draws on an atypically broad range of examples, including avant-garde, medieval, non-Western and jazz. The assumptions are humanist: ‘I wish to argue for an aesthetic conception of music as an art … according to which music (...) is a human activity grounded in the body and bodily movement and interfused with human life’.The historical chapters are valuable and not without analysis and criticism. Hamilton shows how the ancient Greek theorists were more interested in music's mathematical properties as reflecting the underlying harmony of relations between cosmic bodies than in the practice of musicians. While they equated the value of art with its contribution to an education for citizenship and while their concept of the arts differed …. (shrink)

The moral status of animals is a subject of controversy both within and beyond academic philosophy, especially regarding the question of whether and when it is ethical to eat meat. A commitment to animal rights and related notions of animal protection is often thought to entail a plant-based diet, but recent philosophical work challenges this view by arguing that, even if animals warrant a high degree of moral standing, we are permitted - or even obliged - to eat meat. (...) class='Hi'>Andy Lamey provides critical analysis of past and present dialogues surrounding animal rights, discussing topics including plant agriculture, animal cognition, and in vitro meat. He documents the trend toward a new kind of omnivorism that justifies meat-eating within a framework of animal protection, and evaluates for the first time which forms of this new omnivorism can be ethically justified, providing crucial guidance for philosophers as well as researchers in culture and agriculture. (shrink)

Brains, it has recently been argued, are essentially prediction machines. They are bundles of cells that support perception and action by constantly attempting to match incoming sensory inputs with top-down expectations or predictions. This is achieved using a hierarchical generative model that aims to minimize prediction error within a bidirectional cascade of cortical processing. Such accounts offer a unifying model of perception and action, illuminate the functional role of attention, and may neatly capture the special contribution of cortical processing to (...) adaptive success. This target article critically examines this approach, concluding that it offers the best clue yet to the shape of a unified science of mind and action. Sections 1 and 2 lay out the key elements and implications of the approach. Section 3 explores a variety of pitfalls and challenges, spanning the evidential, the methodological, and the more properly conceptual. The paper ends (sections 4 and 5) by asking how such approaches might impact our more general vision of mind, experience, and agency. (shrink)

Ranging across both standard philosophical territory and the landscape of cutting-edge cognitive science, Mindware: An Introduction to the Philosophy of Cognitive Science, Second Edition, is a vivid and engaging introduction to key issues, research, and opportunities in the field.Starting with the vision of mindware as software and debates between realists, instrumentalists, and eliminativists, Andy Clark takes students on a no-holds-barred journey through connectionism, dynamical systems, and real-world robotics before moving on to the frontiers of cognitive technologies, enactivism, predictive coding, (...) and the extended mind. Throughout, he highlights challenging issues in an effort to engage students in active debate. Each chapter opens with a brief sketch of a major research tradition or perspective, followed by concise critical discussions dealing with key topics and problems. (shrink)

see, a quarterly journal published by The Friends of Photography, presents striking photography and fine writing that explore the impact of lens-based images on contemporary culture. see places the medium of photography within the broad discourse of visual culture, including art, advertising, mass media, and literature. Unlike conventional photography-related journals, see lets photographers speak for themselves about their work and gives writers the freedom to address visual issues across a broad spectrum of concerns. Photographs ranging from contemporary to historical, as (...) well as images from lens-based media amd new electronic environments, are featured in tandem with fiction, poetry, essays, and critical commentary that respond to our image-dominated surroundings. In addition to beautifully reproduced portfolios of photographs and insightful, provocative writings, each volume of see includes a section of artist's pages, reviews of current exhibitions, books, and multimedia titles; and regular columns that address the formative and functional aspects of visual culture. (shrink)

Hohwy (Hohwy 2016, Hohwy 2017) argues there is a tension between the free energy principle and leading depictions of mind as embodied, enactive, and extended (so-called ‘EEE1 cognition’). The tension is traced to the importance, in free energy formulations, of a conception of mind and agency that depends upon the presence of a ‘Markov blanket’ demarcating the agent from the surrounding world. In what follows I show that the Markov blanket considerations do not, in fact, lead to the kinds of (...) tension that Hohwy depicts. On the contrary, they actively favour the EEE story. This is because the Markov property, as exemplified in biological agents, picks out neither a unique nor a stationary boundary. It is this multiplicity and mutability– rather than the absence of agent-environment boundaries as such - that EEE cognition celebrates. (shrink)

A very simple contextualist treatment of a sentence containing an epistemic modal, e.g. a might be F, is that it is true iff for all the contextually salient community knows, a is F. It is widely agreed that the simple theory will not work in some cases, but the counterexamples produced so far seem amenable to a more complicated contextualist theory. We argue, however, that no contextualist theory can capture the evaluations speakers naturally make of sentences containing epistemic modals. If (...) we want to respect these evaluations, our best option is a relativist theory of epistemic modals. On a relativist theory, an utterance of a might be F can be true relative to one context of evaluation and false relative to another. We argue that such a theory does better than any rival approach at capturing all the behaviour of epistemic modals. (shrink)

I think that there are good reasons to adopt a relativist semantics for epistemic modal claims such as ``the treasure might be under the palm tree'', according to which such utterances determine a truth value relative to something finer-grained than just a world (or a <world, time> pair). Anyone who is inclined to relativise truth to more than just worlds and times faces a problem about assertion. It's easy to be puzzled about just what purpose would be served by assertions (...) of this kind, and how to understand what we'd be up to in our use of sentences like ``the treasure might be under the palm tree'', if they have such peculiar truth conditions. After providing a very quick argument to motivate a relativist view of epistemic modals, I bring out and attempt to resolve this problem in making sense of the role of assertions with relativist truth conditions. Solving this problem should be helpful in two ways: first, it eliminates an apparently forceful objection to relativism, and second, spelling out the relativist account of assertion and communication will help to make clear just what the relativist position is, exactly, and why it's interesting. (shrink)

A very simple contextualist treatment of a sentence containing an epistemic modal, e.g. a might be F, is that it is true iff for all the contextually salient community knows, a is F. It is widely agreed that the simple theory will not work in some cases, but the counterexamples produced so far seem amenable to a more complicated contextualist theory. We argue, however, that no contextualist theory can capture the evaluations speakers naturally make of sentences containing epistemic modals. If (...) we want to respect these evaluations, our best option is a relativist theory of epistemic modals. On a relativist theory, an utterance of a might be F can be true relative to one context of evaluation and false relative to another. We argue that such a theory does better than any rival approach at capturing all the behaviour of epistemic modals. (shrink)

All the world's a stage,/And all the men and women merely players; They have their exits and entrances; And one man in his time plays many parts.This piece, co-authored by a doctor and patient in dialogue with one another, points to the promise of prioritizing moral agency in clinical interactions and how this can promote recovery. This response will consider the broader social, philosophical and clinical context of madness in the United States. It will also signal the relevance of this (...) piece to the larger body of work about recovery and mental health services. Finally, it will indicate the implications of this piece for existing mental health services and best practices, especially shared decision-making.For the... (shrink)

Calls for taking up wisdom in its place risk re-inscribing coloniality at the level of signification if attempts to resituate intelligibility in the specificity of place are not enacted through a careful translation of experience between victims and perpetrators of colonial violence. At some level, decolonization ought to be conceived as a kind of translation. Emmanuel Levinas’ project to “translate” Judaism into Greek is one way of staging such decolonial translation by providing us an internal critique of coloniality while remaining (...) receptive to indigenous inspirations that enrich eco-phenomenological ways of encountering place. In the final instance, however, this paper calls for encountering place through the indigenous languages that make place ethically legible. (shrink)