In this paper I challenge the currently fashionable view that we should assess the basic premises of an argument for acceptability rather than for truth, and argue in favour of recognizing premise-truth as a criterion of argument goodness in one important sense and premise-acceptability as a criterion of argument goodness in another important sense.

Biological processes are often explained by identifying the underlying mechanisms that generate a phenomenon of interest. I characterize a basic account of mechanistic explanation and then present three challenges to this account, illustrated with examples from molecular biology. The basic mechanistic account is insufficient for explaining nonsequential and nonlinear dynamic processes, is insufficient for explaining the inherently stochastic nature of many biological mechanisms, and fails to give a proper framework for analyzing organization. I suggest that biological processes are best approached (...) as a multidimensional gradient—with some processes being paradigmatic cases of mechanisms and some being marginal cases. (shrink)

The conventional view is that Enlightenment thinkers all believed that the fruits of Reason would always be beneficial. Is this accurate? Laclos's celebrated novel "Les Liaisons dangereueses", published in 1782, provides a perspective on the world of Reason that certainly does not square with that view. Working at the level of individual psychology, Reason in Laclos's novel divides the world into the strong and the weak – more specifically, the astute and the naïve. It defines human worth in terms of (...) a capacity to deceive and control others, a capacity that can only be fully expressed by the complete defeat and humiliation of one’s adversary. (shrink)

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample evidence (...) that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’. -/- Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians. (shrink)

A difference of opinion exists among some philosophers who have recently inquired whether Marx thinks that capitalism is distributively unjust. What has to be determined is whether in Marx's view the wage worker suffers an injustice in not receiving most or all of the surplus value he creates. Allen Wood argues that this is not Marx's view, and George Brenkert agrees, for quite similar reasons; but Ziyad Husami and Gary Young, on the other hand, argue in reply to Wood, and (...) on overlapping grounds, for the opposite interpretation; Wood, in turn, has defended himself against Husami. (shrink)

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.

It’s common knowledge that those objects we regard as great works of art have a capacity to survive across time. But that observation is only a half-truth: it tells us nothing about the nature of this power of survival – about how art endures. -/- This question was once at the heart of Western thinking about art. The Renaissance solved it by claiming that great art is “timeless”, “eternal” – impervious to time, a belief that exerted a powerful influence on (...) Enlightenment philosophers and, later, on modern aesthetics. -/- The notion that art is timeless was contradicted by nineteenth century thinkers such as Hegel, Marx, and Taine who stressed the historical embeddedness of art. The conflict of these two ideas, together with other major factors discussed in this paper, has left us today without a viable account of the nature of art’s capacity to transcend time. -/- This paper proposes an alternative solution: the proposition that art survives by a process of metamorphosis. But the principal emphasis of the paper is on the question itself: how does art transcend time? (a question that has nothing to do with the so-called “test of time”). If modern aesthetics is to remain relevant to our modern world of art, in which the art of the past – stretching back to Lascaux and beyond – is as important as Picasso and contemporary art, it urgently needs to address this neglected question. (shrink)

This paper briefly surveys several prominent modeling approaches to knowledge-based intelligent systems design and, especially, expert systems and the breakthroughs that have most broadened and improved their applications. We argue that the implementation of technology that aims to emulate rudimentary aspects of human intelligence has enhanced KBIS design, but that weaknesses remain that could be addressed with existing research in cognitive science. For example, we propose that systems based on representational plasticity, functional dynamism, domain specificity, creativity, and concept learning, with (...) their theoretical and experimental rigor, can best characterize the problem-solving capabilities of humans and can best overcome five key limitations currently exhibited by knowledge-based intelligent systems. We begin with a brief survey of the relevant work related to KBIS design and then discuss these five shortcomings with new suggestions for how to integrate results from cognitive science to resolve each of them. Our ultimate goal is to increase awareness and direct attention to areas of theoretical and experimental cognitive research that are fundamentally relevant to the goals underlying KBISes. (shrink)

One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...) to “imitate a gesture that is always anterior, never original”. This paper explains the understanding of artistic creation developed by the French art theorist André Malraux in his well-known book The Voices of Silence. Malraux argues that the true artist is involved in a creative act in the full sense of the term – creation ex nihilo – despite the debt he or she often owes to other artists. The paper also comments briefly on possible reasons why traditional post-Enlightenment aesthetics has said so little about the topic in question. (shrink)

Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.

Can novels, plays and poetry tell us something important and true about who we are, about others, and about life generally? The question seems to be of interest not only to writers on literary theory and aesthetics, but to people generally. This paper considers the issues involved.

One of the central explananda in the debate on social cognition is the interpretation of other people in terms of reasons for action. There is a growing dissatisfaction among participants in the debate concerning the descriptive adequacy of the traditional belief-desire model of action interpretation. Applying this model as an explanatory model at the subpersonal level threatens to leave the original explanandum largely unarticulated. Against this background we show how Brandom’s deontic scorekeeping model can be used as a valuable descriptive (...) tool for making folk psychology explicit. Following Brandom’s non-formalist and non-mentalistic account of reason discourse, we suggest that the process of making sense of others is best captured as proceeding from a ‘factive’ baseline. According to this picture the ascription of beliefs and desires is not the default interpretation strategy, but rather the result of prior scaffolding of the agent’s deontic score. We close by discussing Brandom’s model in the light of empirical findings on the ontogeny of reason attribution. (shrink)

Examines (1) the birth of art-as-beauty in Western art and the concomitant birth of the idea of art itself; (2) the death of art-of-beauty from Manet onwards. Also looks briefly at some major implications for aesthetics (the philosophy of art). Paper includes some relevant reproductions.

It has long been recognised that great art, whether visual art, literature or music, has a special capacity to “live on” – to endure – long after the moment of its creation. Thus, our world of art today includes, for example, ancient Mesopotamian sculpture, Shakespeare’s plays, and the music of medieval times. How does this capacity to endure operate? Or to ask that question another way: what does “endure” mean in the case of art? The Renaissance concluded that art endures (...) because it is timeless – impervious to change, “eternal”, “immortal” – and this solution, which was ratified without question by Enlightenment philosophers of art such as Hume and Kant, still lingers on in some quarters today. But developments since the nineteenth century have gravely weakened the credibility of the proposition that art is immortal, and the idea is now effectively dead. This leaves us with a major dilemma: if art is not impervious to change, how exactly does it endure? If the time-honoured solution of immortality is no longer viable, what alternative explanation can we find to replace it? -/- This paper explains why immortality is dead, describes our contemporary dilemma, and briefly canvasses a possible solution. (shrink)

Lynch et al., in an article in this issue, argue that an entire microbiome is rarely, if ever, the right target of analysis for causal explanations in microbiome research. They argue, using interventionist criteria of proportionality, specificity and stability, for restricting causal claims to the smallest subset of microbes—a causal core—that generate the effect of interest. A further question remains: what kind of interactions generate a consortium of microbes that can operate as causal agents in this manner? Here I introduce (...) two possible kinds of such consortia: ‘trojan horses’ and ‘syntrophic’ individuals. (shrink)

Critics often situate "Les Liaisons dangereuses" within the tradition of the novel of libertinage. Many consider it to be superior to its predecessors but argue nonetheless that it is part of an established tradition, not the beginning of something new. Malraux demurs. While noting similarities with the novel of libertinage, he contends that Laclos’ novel links up much more significantly with the novel of the future, its descendants including Julien Sorel and even Raskolnikov.

My main concern in this paper is with Trudy Govier’s acceptability criterion for the adequacy of the premises of an argument considered independently of whether they are “properly connected” to the conclusion. I consider arguments she makes against the view that a good argument must have true premises, and I con-tend that a theory of argument could hold both that for an argument to be a good argument its premises must be true and that for it to be a good (...) argument relative to its audience, the audience must be epistemically justified in accepting its premises as true. (shrink)

" Suitable for both newcomers to Malraux and more advanced students, the study also examines critical responses to these works by figures such as Maurice ...

This study provides a step by step explanation of André Malraux’s theory of art. Drawing on his major works, such as "The Voices of Silence" and "The Metamorphosis of the Gods," it examines topics such as the nature of artistic creation, the psychology of our response to art, the birth of the notion of “art” itself and its transformation after Manet, the birth and death of the idea of beauty, the neglected question of the relationship between art and the passage (...) of time, the emergence of our “first universal world of art,” the contemporary role of the art museum and the musée imaginaire, and the contentious question of the relationship between art and history. -/- Rejecting negative criticisms from writers such as Maurice Merleau-Ponty and E. H. Gombrich, the study argues that Malraux offers us a theory of art that is fully coherent and highly illuminating. In addition, the analysis shows that he presents a radical challenge to the traditional explanations of art inherited from the Enlightenment that have dominated Western thinking for some three hundred years. In short, the study unveils a way of understanding art that is nothing short of an intellectual revolution. -/- The book is the English version of a study entitled André Malraux et l’Art: Une Révolution Intellectuelle published in French by Peter Lang in April 2021. (shrink)

Cette étude présente une explication systématique des éléments clés de la théorie de l’art d’André Malraux. Se basant sur des œuvres telles que Les Voix du silence, Le Surnaturel, L’Irréel et L’Intemporel, elle aborde des sujets cruciaux comme la nature de la création artistique, la psychologie de notre réaction à l’art, la naissance de la notion d’« art » et sa transformation après Manet, la naissance et la mort de l’idée de beauté, la question cruellement négligée de la relation entre (...) l’art et le passage du temps, l’émergence de notre « premier monde de l’art universel », le rôle contemporain du musée d’art et du Musée Imaginaire, et la question épineuse du lien entre l’art et l’histoire. Contrairement aux critiques négatives parfois émises contre la pensée de Malraux, l’étude soutient qu’il nous offre une théorie de l’art mûrement réfléchie, entièrement cohérente et très éclairante. De surcroît, et malgré des allégations occasionnelles que la pensée de Malraux manque d’originalité, l’analyse montre que sa théorie de l’art est hautement originale et constitue un défi radical aux explications traditionnelles de l’art issues des Lumières qui ont dominé la pensée occidentale pendant quelque trois cents ans. En bref, l’étude dévoile une façon de comprendre la nature de l’art qui n’est rien de moins qu’une révolution intellectuelle. Le livre va être publie également en anglais. (shrink)

An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.

Discusses the gulf between the individual and collective experience, and the way the gulf is bridged in two of Malraux's novels.

Choderlos de Laclos’s novel 'Les Liaisons dangereuses', first published in 1782, is regarded as one of the outstanding works of French literature. This article concerns a well known commentary by the twentieth-century writer André Malraux which, though often mentioned by critics, has seldom been studied in detail. The article argues that, while Malraux endorses the favourable modern assessments of 'Les Liaisons dangereuses', his analysis diverges in important respects from prevailing critical opinion. In particular, he regards the work as the commencement (...) of an important new stage in the French novel rather than, as often argued, the culmination of the existing libertine tradition. (shrink)

After an initial period of popularity in the 1960s and 1970s, André Malraux’s works on the theory of art, "The Voices of Silence" and "The Metamorphosis of the Gods", lapsed into relative obscurity. A major factor in this fall from grace was the frosty reception given to these works by a number of leading art historians, including E.H. Gombrich, who accused Malraux of an irresponsible approach to art history and of "reckless inaccuracies". This essay examines a representative sample of the (...) art historians' arguments and contends that they reveal serious misreadings of Malraux’s texts and a recurring tendency to confuse matters of interpretation with matters of fact. The article suggests that the charge of irresponsibility might well be levelled at the critics themselves, and that the myth of Malraux as guilty of ‘reckless inaccuracies’ needs to be debunked. (shrink)

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of his times. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a much deeper significance. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the humanist artistic tradition that began with the Renaissance - a tradition founded on the (...) pursuit of a transcendent world of nobility, harmony and beauty. Following an illness that left him deaf for life, Goya developed an art of a fundamentally different kind - an art, Malraux writes, ruled by ‘the unity of the prison house’ which replaced transcendence with a pervasive feeling of dependence and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, the etchings and black paintings are the first announcement of the death of beauty in Western art. (shrink)

ABSTRACTOlder adults have greater difficulty than younger adults perceiving vocal emotions. To better characterise this effect, we explored its relation to age differences in sensory, cognitive and emotional functioning. Additionally, we examined the role of speaker age and listener sex. Participants aged 19–34 years and 60–85 years categorised neutral sentences spoken by ten younger and ten older speakers with a happy, neutral, sad, or angry voice. Acoustic analyses indicated that expressions from younger and older speakers denoted the intended emotion with (...) similar accuracy. As expected, younger participants outperformed older participants and this effect was statistically mediated by an age-related decline in both optimism and working-memory. Additionally, age differences in emotion perception were larger for younger as compared to older speakers and a better perception of younger as compared to older speakers was greater in younger as compared to older participants. Last, a female perception... (shrink)

This paper reports a psychological study of human categorization that looked at the procedures used by expert scientists when dealing with puzzling items. Five professional botanists were asked to specify a category from a set of positive and negative instances. The target category in the study was defined by a feature that was unusual, hence situations of uncertainty and puzzlement were generated. Subjects were asked to think aloud while solving the tasks, and their verbal reports were analyzed. A number of (...) problem solving strategies were identified, and subsequently integrated in a model of knowledge‐guided inductive categorization. Our model proposes that expert knowledge influences the subjects' reasoning in more complex ways than suggested by earlier investigations of scientific reasoning. As in previous studies, domain knowledge influenced our subjects' hypothesis generation and testing; but, additionally, it played a central role when subjects revised their hypotheses. (shrink)

Is autism a condition internal to the person that causes problems in social interaction? Or should we conceive of autism primarily at the level of interaction, as a “two-way” phenomenon that develops in the relation between the person with autism and her social-material environment? Over the last decade or so, this issue has increasingly gained interest, not only in academia, but also in the field of mental health care and in the wider public domain.Much is at stake here. Framing autism (...) as an internal deficit or rather as an interaction phenomenon has far-reaching implications for scientific research and clinical practice. It steers the focus of autism research by determining the kind of... (shrink)

The prelims comprise: Introduction Virtual Reality Virtual Metaphysics Virtual Identity Economic Reality.

In this article we take issue with theory theory and simulation theory accounts of folk psychology committed to (i) the belief-desire (BD) model and (ii) the assumption of universality (AU). Recent studies cast doubt on the compatibility of these commitments because they reveal considerable cross-cultural differences in folk psychologies. We present both theory theory and simulation theory with the following dilemma: either (i) keep the BD-model as an account of the surface properties of specific explicit folk psychologies and give up (...) AU in light of the cross-cultural evidence; or (ii) defend AU with respect to core capacities underlying different culture-specific folk psychologies, and explain why the BD-model will be genuinely explanatory at this level. (shrink)

In his thoughtful commentary, De Bruin invites us to say more about the notion of causation in our two-dimensional model of self-management in health care. In particular, he thinks there is a tension between 1) self-management-as-facilitation being causally efficacious and 2) “surgical” self-management interventions on specific variables being practically impossible in psychiatric conditions due to their complex dynamic nature. In particular, he asks us: “How can we establish the causal efficacy of these intentions if we are dealing with complex dynamic (...) systems that do not allow for precise surgical interventions?”. The assumption seems to be that one can only... (shrink)