I read Ernst Gombrich’s wonderful book Art and Illusion in 1981. I’d completed my BA a few months earlier, and I was spending a year in Geneva on a scholarship, before returning to Oxford to begin the BPhil. The topic in philosophy that interested me most at that time was perception, and I was struck by the extent to which Gombrich’s arguments relied on views about visual perception that he had inherited from the Helmholtzian tradition in psychology, and therefore indirectly (...) from Locke and Kant. I thought that arguments in the philosophy of perception exposed serious mistakes and confusions in this tradition, and that they could therefore shed important light on the fascinating questions about pictorial art that Gombrich discussed in his book. (shrink)

In this article, I oppose the view that knowledge is a species of belief, and argue that belief should be defined in terms of knowledge, instead of the other way round. However, I reject the idea that the concept of knowledge has a primary or basic role or position in our system of mental and logical concepts, because I reject the hierarchical conception of philosophical analysis implicit in this idea. I approach the topic of knowledge and belief from a discussion (...) of Richard Holton’s views about facts and factive verbs. (shrink)

pt. I. The Republic, tr. by H. Davis, with a special introduction by F. Z. Rooker.--pt. II. The Statesman, tr. by G. Burgess.

Editor's IntroductionWhen Oxford University Press sent us the three enormous volumes of Irwin's The Development of Ethics, we had two thoughts: First, the book is very important and demands a review; second, since human sacrifice is abolished in North America, it will be very difficult to find a reviewer. We handed the volumes to several interested persons, who in the end returned the books saying the task was beyond them. Then, my wife, a lifetime worker at that center of (...) communal thought, the United Nations, suggested that we form a team to review the book. We put an announcement out on the Web, asking for reviewers to do a chapter each, at 250 words a review. We got several hundred volunteers, and chose 82 to review the 96 chapters of Irwin. We got 81 of 82 reviews, 75 before the deadline, six slightly later. For purposes of completeness, I filled in the sole missing review. Would that the students in my seminars were so punctual! I would like to thank Elyse Turr at Oxford University Press for the PDFs, and my 82 reviewers for their expertise and diligence. I am grateful to all the volunteers who showed an interest in this strange and perhaps unprecedented project, and who patiently endured the vetting process. Special thanks is due to Laura di Summa, who coordinated all the pieces of this incredible puzzle. Did we accomplish something, something new, by mobilizing 82 minds to review one book? I hope so, but I can now only say what they say on television: “America, it's up to you.”. (shrink)

Fully adequate answers to these questions are best provided in a comprehensive philosophy of logic. Within shorter compass, it is nevertheless possible to be guided by some conditions that are necessary to adequate answers. These will be results of the analysis of propositions and statements. They are necessary, since no answers to the questions about the constants will be acceptable if, for example, it follows from the answers that propositions or statements cannot be unities, or that propositions or statements cannot (...) be true or false. (shrink)

I shall be mainly concerned with the question ‘What is personal propositional knowledge?’. This question is obviously quite narrowly focused, in three respects. In the first place, there is impersonal as well as personal knowledge. Second, a distinction is often drawn between propositional knowledge and practical knowledge. And third, as well as asking what knowledge is, it is also possible to ask whether and how knowledge of various kinds can be acquired: causal knowledge, a priori knowledge, moral knowledge, and so (...) on. I shall dwell briefly on each of these three points. First, there is the distinction between personal and impersonal knowledge – in other words, between the psychological concept of knowledge and the social one.1 We use the concept of knowledge to describe the cognitive condition of individuals; but we also use it to describe the progress of scientific and historical research. So for example we can speak or enquire about the state of knowledge in a particular field of biology or history. And if we do so, we are evidently not concerned with what anyone in particular knows about, say, the genetics of fruit flies or the career of Charlemagne, but rather with what the scientific or academic community knows. Needless to say, there is a close connection between personal and impersonal knowledge. But ‘It is known that p’ does not simply mean ‘Someone or other. (shrink)

The Pursuit of Existentialism explores how Existentialism has survived and how its key themes and concerns remain integral to continental philosophy today. The Pursuit of Existentialism places the creation of Existentialism - in the work of Sartre, Camus and Beauvoir - in its historical context, assessing how it drew on the work of Nietzsche and Kierkegaard. The book then goes on to focus on the complex heritage of post-Sartrean thinking from Heidegger to today. Theorists and schools covered include: Heidegger's infamous (...) critique of existentialism; (the dissident surrealists÷ from Bataille to Blanchot; feminist thinking from Arendt to Kristeva; postmodernist theorising from Baudrillard and Lyotard; psychoanalytic thinking from Lacan and Zizek; and deconstructive and political philosophy from Derrida and Badiou. (shrink)

1. I want to discuss a new area of scientific research called neuro-aesthetics, which is the study of art by neuroscientists. The most prominent champions of neuroaesthetics are V.S. Ramachandran and Semir Zeki, both of whom have both made ambitious claims about their work. Ramachandran says boldly that he has discovered “the key to understanding what art really is”, and that his theory of art can be tested by brain imaging experiments, although he does not describe these experiments, or explain (...) what results the theory predicts (Ramachandran and Hirstein 1999, 17). Zeki, who originally coined the term “neuro-aesthetics”, claims to have laid the foundations for understanding “the biological basis of aesthetic experience”, and to have formulated a “neurobiological definition of art” (Zeki 1999, 2, 22). If these claims are true, we are at the dawn of a new age in the study of art. Up to now, most of the people studying art have been historians, some of whom can read Latin, but hardly any of whom have mastered even the rudiments of brain science. And aesthetics has been in the hands of philosophers, who still disagree among themselves about ideas that were stated in the fourth century BC. Neuroaesthetics is different. As Ramachandran (2000, 19) says: “These ideas have the advantage that, unlike the vague notions of philosophers and art historians, they can be tested experimentally”. So, is neuro-aesthetics the next big thing? I want to assess its prospects, starting with Ramachandran. (shrink)

I agree with much of what is said in this article; and I also will quote Roland Barthes, but for a different purpose. But I believe that it is a mistake to judge contextualism by its theory rather than its practice. If we look carefully at what is actually done in contextualist criticism, we will find that the "contradictions in its basic premises" which trouble Wasiolek have also allowed it to overcome the limitations that a strict construction of "autonomy" would (...) impose. We will also find that what really distinguished contextualism, what the concept of autonomy leads to in practice, is not an impoverishment but a deepening and enrichment of the literary experience and, third, that the theoretical developments in other critical schools have vindicated at least one cardinal principle of contextualism, namely, that the meaning of a literary work is inherently ambivalent or indeterminate. By following the lead, we can, I believe, provide a better theoretical base for contextualism, although I am not sure that it would be or should be one that "includes the world rather than excludes it," as Wasiolek demands it. Lawrence W. Hyman professor of English at Brooklyn College of the City University of New York, is the author of a book on Milton's poetry,The Quarrel Within, and articles on critical theory. He responds in this essay to Edward Wasiolek's "Wanted: A New Contextualism". Hyman has also contributed "CRITICAL RESPONSE: Harpsichord Exercises and My Lai Massacre" to Critical Inquiry. (shrink)

Enactivist accounts of language use generally treat concrete words in terms of motor intentionality systems and affordances for action. There is less consensus, though, regarding how abstract words are to be understood in enactivist terms. I draw on Merleau-Ponty’s later philosophy to argue, against the representationalist paradigm that has dominated the cognitive scientific and philosophical traditions, that language is fundamentally a mode of participation in our world. In particular, language orients us within our milieus in a manner that extends into (...) the depth of the idea-endowed world. This conceptualization of language allows us to see that abstract words orient us bodily just as surely as concrete words do, albeit in a manner that is more diffuse across the entirety of given situations, as I will show with an example of abstract language use in Don DeLillo’s novel Underworld. These insights are applied to some of the recent enactivist discourse to suggest some ways in which representationalism maintains a latent presence in this discourse. I conclude by pointing to developments in conceptual metaphor theory that can enrich our sense of how abstract language is involved in embodied understanding. (shrink)

Chapter 11 considers book I of the Republic and mainly treats the role book I plays in the dialogue. It is argued that book I is written to illustrate how the Socrates of the early dialogues would have tried to find a definition of justice. Hence, the goal of this book appears to show the limits of a certain way of searching for definitions and to dismiss it. The role of the other characters of book I--Cephalus, Polemarchus, and Thrasymachus-- is (...) relevant in order to describe fully the aporetic character of this approach. (shrink)

I argue that itches, tickles, aches and pains—sensations of all sorts—are generally in the places where we say they are. So, for example, if I say that I have an itch in the big toe on my left foot, then, by and large, that is the very place where the itch is. James denied this in the 1890s; Russell and Broad denied it in the 1920s; Wittgenstein and Ryle denied it in the 1940s; Lewis and Armstrong denied it in the (...) 1960s; and since then various kinds of materialists have denied it. But if itches etc. are states of the sensitive parts of bodies, then it is true. (shrink)

In the Meno, Socrates asks why knowledge is a better guide to acting the right way than true belief. The answer he proposes is ingenious, but it fails to solve the puzzle, and some recent attempts to solve it also fail. I shall argue that the puzzle cannot be solved as long as we conceive of knowledge as a kind of belief, or allow our conception of knowledge to be governed by the contrast between knowledge and belief.

Professor Jessica Utts and I were given the task of evaluating the program on "Anomalous Mental Phenomena" carried out at SRI International (formerly the Stanford Research Institute) from 1973 through 1989 and continued at SAIC (Science Applications International Corporation) from 1992 through 1994. We were asked to evaluate this research in terms of its scientific value. We were also asked to comment on its potential utility for intelligence applications.

§1 Analytic philosophers interested in depiction have focused for the most part on two problems: first, explaining how pictures represent; second, describing the distinctive kinds of artistic value pictures can possess, or the distinctive ways in which they can embody artistic values that extend more broadly across the arts. I shall discuss the first problem here. The main concepts I shall be concerned with are depiction, resemblance, sense and reference.

I AM GRATEFUL to Dean Dougherty and his colleagues for inviting me to this celebration of Paul Weiss's birthday. I admire and care for Paul Weiss, and I have learned from him. I have also learned because of him. Even now, years after my graduate studies, he is a familiar, a benign, but of course not always a gentle goad to my thoughts. Just the other day--I suppose Paul thought I was becoming too comfortable--he added a postscript to a short (...) note, urging me to hurry up to become seventy, because seventy is so fine a time to philosophize. (shrink)

This paper is about the semantic structure of verbal and deverbal noun phrases. The focus is on noun phrases which describe actions, perceptions, sensations and beliefs. It is commonly thought that actions are movements of parts of the agent’s body which we typically describe in terms of their effects, and that perceptions are slices of sensible experience which we typically describe in terms of their causes. And many philosophers hold that sensations and beliefs are states of the central nervous system (...) which we generally describe in terms of their typical causes and effects. For example ‘Brutus’s killing of Caesar’ is thought to describe a movement of a part of Brutus’s body – e.g. the thrust of an arm – in terms of one of its effects, namely, Caesar’s death. And ‘ Hyman ’s visual perception of a table in front of him’ is thought to describe the visual experience I’m having right now in terms of its cause. The object of the paper is to show that these doctrines misrepresent the semantic structure of verbal and deverbal noun phrases. (shrink)

Heidegger argues that modern technology is quantifiably different from all earlier periods because of a shift in ethos from in situ craftwork to globalised production and storage at the behest of consumerism. He argues that this shift in technology has fundamentally shaped our epistemology, and it is almost impossible to comprehend anything outside the technological enframing of knowledge. The exception is when something breaks down, and the fault ‘shows up’ in fresh ways. Stiegler has several important addendums to Heidegger’s thesis. (...) Firstly, that Heidegger fails to fully appreciate the early Greek myth of Prometheus, and the technological depth that fire offers all human societies. Secondly, the fall, or failure, which is doubled in the myth of Prometheus, and shows up in epistemology accordingly. Thirdly the acceleration of technology since the onset of Information Technology, and the way this is disorientating our Being. I argue the fall in both Heidegger and early Stiegler has encaptured their imagination. In later work, Stiegler argues that acceleration is fused with algorithmic pretensions, that are distorting and undermining the creative political imaginary, and making it difficult to revalue the values that underpin the nihilist Anthropocene. The overcoming of the Anthropocene engages politics, economics, power, physics, and ecology. (shrink)

I discuss Timothy Willliamson’s conjecture that ‘knowing is the most general factive stative attitude, that which one has to a proposition if one has any factive stative attitude to it at all’.

Traditionally, the story that opens chapter three of Genesis is called The Fall . David Daube, who was the greatest authority on ancient law in his generation, and a biblical scholar of exceptional brilliance, said that it should be called The Rise . I shall explain why shortly, but first let me remind you of the orthodox interpretation of the story.

What is the difference between the changes in your body that you yourself cause personally, such as the movements of your legs when you walk, or your lips when you speak, and the ones you do not cause personally, such as the contraction of your heart, or your foot bobbing up and down when your legs are crossed? Since the seventeenth century, most philosophers have said that will or intention makes the difference. I reject this answer and propose an alternative (...) that doesn't just apply to animals capable of having intentions, but to all agents with functionally differentiated parts. (shrink)

The modern causal theory of perception—the theory defended by Grice and Strawson—differs from the classical theory advanced by Descartes and Locke in two ways. First, the modern theory is an exercise in conceptual analysis. Secondly, it is a version of what is sometimes called direct realism. I shall comment on these points in turn.

The origins of philosophy of education as a discipline are relatively late, and can be traced in the Anglo-American academic world from the 1960s and a specific emphasis on conceptual problems deriving from the analytical tradition of philosophy. In more recent years, however, there has been a notable ‘Continentalist’ turn in the discipline, leading to a re-evaluation of key texts and philosophers from the French and German traditions and their relation to the discourse of education. One paradigmatic example here is (...) the work of the French postmodernist thinker Jean-Francois Lyotard. In this essay, I explore how Lyotard’s powerful critique of education in his early work, especially with regard to his influence on the May ‘68 events at Nanterre University, can be seen as crucially important, now again, to a current crisis in educational philosophy in the Western world. Moreover, Lyotard’s post-’68 work, with his paradigmatic The Postmodern Condition: A Report on Knowledge as especially important, can be seen as providing a very challenging riposte to both ‘managerialist’ and instrumentalist philosophies on the one side but also to overly simplistic ‘liberatory’ educational critiques on the other side. (shrink)

Available from UMI in association with The British Library. Requires signed TDF. ;Metaphor and analogy are the scaffolding of science. Kepler's theory of the retinal picture could not have been built without the analogy between an eye and a camera obscura, and, two hundred and fifty years later, Charles Darwin devoted most of the first chapter of The origin of Species to discussion of pigeon fanciers. Unlike Darwin, Kepler was bewitched by his own imagination and was led to wonder "how (...) this image or picture is joined to the visual faculty, which is situated in the retina and in the nerve, and whether it is placed within the hollows of the brain, before the soul or tribunal of the visual faculty, or whether the visual faculty, like a magistrate sent by the soul from the administrative chamber of the brain, descends into the optic nerve or retina to meet this image, as though to a lower court" . ;The theory of the retinal image answered the crucial question of medieval optics: the scaffolding had served its purpose and should have been dismantled. Instead, Kepler mistook it for a part of the building: what he construed as a scientific problem was nothing more than the extension of a metaphor. As a result, and in spite of his remarkable achievement, he left the theory of vision in a state of confusion. ;I intend to show that Descartes revolutionized visual theory by manipulating the pair of analogies which had dominated visual theory since its inception and by advancing a theory of depiction which has since become orthodox. Advocates of the first analogy suggest that seeing the world is rather like seeing pictures of it; Kepler's analogy between the eye and a camera obscura, which was anticipated by Leonardo de Vinci, was a variation on this theme. Advocates of the second analogy compare vision to the use of a walking-stick: the air transmits an impression of a visible object to the eye rather as a walking-stick enables us to find our way around in the dark by transmitting pressures to the hand. As I shall show, Descartes' rejection of the pictorial analogy in favour of the walking-stick analogy and his theory of depiction were designed to salvage Kepler's theory of the retinal picture, a pearl of great price, from its murky setting. ;Descartes aimed to show that whilst Kepler's theory of the retinal picture correctly described the optics of the eye, the pictorial analogy was misleading and stood in the way of a mechanistic theory of perception. ;Current visual theory is Cartesian in some respects and un-Cartesian in others. The walking-stick analogy is no longer used, but the explanatory pattern that it served to illustrate is adhered to closely where the perception of brightness and colour are concerned, and the causal theory of depiction commands widespread support. At the same time, the pictorial analogy has not lost its appeal. (shrink)

The Aristotelian Corpus contains two extended treatments of justice as a virtue of character: Magna Moralia i 33 and Nicomachean Ethics Book V (or Eudemian Ethics Book IV). Differences between the two treatments include these: (1) MM denies, but EN V affirms, that natural justice is part of political justice; (2) MM denies, but EN V affirms, that general (or ‘universal’) justice is an other-directed virtue that should concern us in the treatment of justice as a virtue; (3) MM does (...) not discuss the relation between equity (epieikeia) and justice, while EN V affirms that equity and justice do not conflict. Are these differences connected? How are they to be explained? Might they help us to answer questions about (a) the relation of MM to the other two ethical treatises, and (b) the relation of EN V to the EE and to the EN? (shrink)

People support ethical antirealism with various arguments. Gilbert Harman thinks if a property of goodness existed, it would have detectable effects on objects that have it. However, Harman reasons, the good has no such detectable effects. Internalists think if good objects had some goodness property, that property would bond to desire and action in a way inconsistent with ethical realism. I defend ethical realism from the two arguments. I explain how good can both name a property and how objects with (...) that property might dispose people to seek them. This explanation of the good's magnetism provides a reply to Harman. (shrink)

That there is something not altogether honest about a didactic novel can be seen once we imagine a novel which violates our political sympathies or our moral principles, such as a novel that shows the Nazis or the American soldiers at My Lai as heroes. We certainly would not like this novel. But could we refute it because of our certain knowledge that these men, in real life, were murderers? I don't think so, since a skillful writer could easily make (...) his characters act heroically in the situation—and even make us dislike their victims. Could we say that the situation is false? Perhaps, but since the actions and the characters are fictional, what does it mean to refute them? We can say that a novel is bad or unconvincing if the characters do not resemble people in real life or if the actions do not satisfy our sense of logic or probability. But these are literary objections, not political ones. And because the writer cannot be refuted by evidence from the real world, he cannot make pronouncements about this world. For example, even if there were evidence that no slave resembled Tom and no overseer resembled Legree, such evidence could not refute the novel Uncle Tom's Cabin. And as Moody Prior points out in his essay , our disagreement with the philosophy of spiritual, rather than physical resistance to slavery cannot take away the heroism of Tom's action. His final act of forgiveness is indeed Christ-like, and no philosophy of political activism which is validated by, let us say, our admiration for Tom within the novel cannot validate Tom's kind of inward action in the real world. If it did, then our admiration for Tom, a fictional character, would prelude our support for a more active resistance to oppression. But, of course, it does not, or at least it should not, if we are to see fiction as performing a different role than politics and philosophy. Lawrence W. Hyman, professor of English at Brooklyn College of the City University of New York, is the author of The Quarrel Within: Art and Morality in Milton's Poetry. His previous contribution to Critical Inquiry, "The 'New Contextualism' Has Arrived: A Reply to Edward Wasiolek," appeared in the Winter 1975 issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Audio BooksWilliam IrwinI hide my audio book habit because most of my colleagues, and even some of my snobbier students, regard audio books as a sign of an impending dark age of mass illiteracy. Feeling uneasy, I wonder: when The Brothers Karamazov comes up in conversation am I obliged to "confess" that I listened to the unabridged audio book, but did not silently read the massive tome? Is (...) there a difference that makes a difference between listening to an audio book and reading a printed book?IPeople read less today, partly because reading silently is not social; we crave the company of loved ones at the end of the day, and so prefer to watch television with them. Silent reading does not fit today's multitasking lifestyle; you can listen to music while you drive or jog, but you cannot read a book. Or, then again, perhaps you can, if listening to an audio book is reading after all. Time does not need to be specifically set aside for an audio book the way it does with a conventional book—the lights don't even have to be on. And surprisingly, it is satisfying to listen to a book ten minutes at a time while running errands. Perhaps this is because getting started is as easy as pressing a button. By contrast, few people read printed books in ten minute blocks, presumably because it takes something for most people to warm up to reading. If they are going to read, then they are going to do it for a sustained time—something longer than a ten-minute block. It is easier to "push through" and finish an audio book. I nearly gave up on Catch-22; it's too thick and over the top with satire for my taste. And I surely would have given up on it if I had been reading the book silently. I stuck with [End Page 358] the audio book, however, largely because it was easy to continue; I just pressed play every time I got in my car.Books on tape have been available for quite some time, but, despite often being abridged, they were too clunky and cumbersome for most people. The availability of books on CD and for MP3 download makes it all much more convenient. Audio books are now the fastest growing segment of the book industry and are likely to become even more common and popular, perhaps some day eclipsing the sale of conventional books, perhaps some day becoming the normal way of "reading" literature. And far from being abridged, some audio books today include extras. For example, the audio version of The Amber Spyglass includes epigrams before each chapter that are not in the print version.IIHarold Bloom says, "Deep reading really demands the inner ear as well as the outer ear. You need the whole cognitive process, that part of you which is open to wisdom. You need the text in front of you."1 Before listening to audio books myself I would have agreed with Bloom; but now I suspect he simply has never listened to an audio book. Skeptical of literature on audio, I started my audio experience with nonfiction. Pleasantly surprised with nonfiction, I tried listening to fiction and found the presentation very different. Nonfiction books are simply read, whereas works of fiction are typically performed—characters get distinct voices and the reader really puts on a show. Most audio book performances of literature are much like a one-man play, taking us back to the days of traveling bards and rhapsodes.In The Performance of Reading Peter Kivy highlights that for most of its history Western literature has been experienced out loud.2 As is well known, Homer's Iliad and Odyssey were performed out loud by bards, as Beowulf was centuries later. But less well known is the fact that even after the invention of the printing press, when books were still scarce and expensive, even people in possession of books generally read them out loud to themselves and to others. So it is odd that along with Harold Bloom, my colleagues and students, look with mistrust at... (shrink)

In a recent paper in this journal, 'Pictures, Colour and Resemblance', Michael Newall criticizes my views about how colours are depicted. In this reply, I set out my views and then discuss Newall's criticism of them.

The prelims comprise: I II III IV V VI VII VIII IX Notes Reference Further reading.

Pleasure is one of the strongest candidates for an occurrence that might be good, in some respect, unconditionally. Malicious pleasure is one of the most often cited alleged counter-examples to pleasure’s being an unconditional good. Correctly evaluating malicious pleasure is more complex than people realize. I defend pleasure’s unconditionally good status from critics of malicious pleasure.

I apply some of Gash’s interpretation of radical constructivism to an analogous critique of naïve realism in contemporary philosophy of education. It explores the significant potential in ….

Pictures have always played a prominent role in philosophical speculation about the mind, but the concept of a picture has itself been the object of philosophical scrutiny only intermittently. As a matter of fact, it was studied most intensively in the course of a theological controversy in the Eastern Roman Empire, during the eighth century - which is a sufficient indication of its marginal place in the history of philosophy. Perhaps this is because pictures have never produced in us the (...) theoretical paralysis which Augustine famously associated with time, but have on the contrary generally seemed too unproblematic to deserve much time from philosophers. Even today, after several decades of accumulating theory, philosophers with no stake in the matter are often impervious to its charm. I feel some sympathy for this attitude, because the task of explaining the nature of depiction is, I believe, one which calls for the refinement rather than refutation of our first thoughts about it. But a precise understanding of depiction is both a necessary prolegomenon to a significant part of aesthetics, and a useful prophylactic against confusion in the theory of the imagination. Besides, there is also the pleasure of the chase, which J. L. Austin nonchalantly appealed to many years before the Research Assessment Exercise was inaugurated. (shrink)

Bayle's conception of reason is notoriously difficult to unravel, as are its consequences for the rationality of religious belief. The secondary literature has generally coalesced around two interpretations of Bayle's conception of reason. The “superskeptical” interpretation holds that reason is the source of its own undoing, not to be trusted; religious belief turns out to be irrational on this conception of reason, but this is hardly cause for alarm. The jusqu'au bout (to the very end) interpretation holds that reason is (...) to be followed wherever it leads, and if one follows closely, reason requires the rejection of religious belief. On both models, religious belief turns out to be irrational. In this piece, I summarize and examine these two interpretations, and using José Maia Neto's exposition of Bayle as an Academic skeptic, I propose a third that I call “common sense” skepticism. On this reading, reason does indeed use logic to form and sort beliefs – including some religious beliefs – but only holds to those beliefs fallibilistically. There may be a category of religious beliefs, however, that can only be recommended by faith; these would be religious beliefs that lack rational evidence, or exhibit rational contradictions. On this view, while some religious beliefs may turn out to be rational, there will likely be a set of core religious beliefs that come out to be irrational. I end by highlighting a suggestion by Bayle that reason itself may recommend revelation as a guide to belief, conferring a kind of intermediate rationality even on apparently irrational religious beliefs. (shrink)

John Locke, Bertrand Russell, and other people argue that there must be indefinable words. I show how these people err in the reasoning they use to support this thesis.

In a group exam, students first do an exam individually and then redo the same exam in small groups. Studies have shown that group exams provide a number of benefits, including improvements in performance, learning, motivation, and preparation, as well as a reduction in anxiety. However, little has been written on whether group exams are fair. This paper aims to discuss and reject three fairness concerns that arise from (i) improved performance, (ii) improved learning, and (iii) accessibility. It also discusses (...) in detail the benefits of improved learning, arguing that they are the most valuable benefit which makes group exams particularly suitable for philosophy education. (shrink)

In my article ‘Pains and Places’ ), I argue, first, that sensations, such as aches and pains, are generally in the places where we say they are; and second, that sensations are states or modes of the sensitive parts of the bodies of sentient animals. Here I reply to Trus Wyller’s criticism of my views, in his article ‘The Place of Pain in Life’ ), and I comment on Kant’s claim, in his Dreams of a Spirit-Seer, that ‘I am as (...) immediately in my finger-tip as I am in my head’. (shrink)

Both Plato and Aristotle have something to say about admiration. But in order to know where to look, and in order to appreciate the force of their remarks, we need to sketch a little of the ethical background that they presuppose. I begin, therefore, with ancient Greek ethics in the wider sense, and discuss the treatment of admiration and related attitudes by Homer, Herodotus, and other pre-Platonic sources. Then I turn to the views of Plato, Adam Smith, Aristotle and Cicero. (...) This order of discussion allows us to see why admiration is both morally significant and, in some respects, morally unreliable. (shrink)

Philosophical and technoculture studies surrounding the existential understanding of the human–technology–world experience have seen a slow but steady increase that makes a turn to material hermeneutics in the second decade of the twenty-first century (Ihde in Postphenomenology: essays in the postmodern context. Northwestern University Press, Evanston, 1993; Capurro in AI Soc 25(1):35–42, 2010; Romele in Digital hermeneutics: philosophical investigations in new media and technologies. Routledge, Abingdon, 2020; among others). This renewed focus makes sense because human–technology–world experiences need to be interpreted. (...) And many of these are more complicated to study, precisely because technology is at the root of the experiences. One interesting subset of technologies is media technologies, also called digital media, which intertwines the device and the content to mediate together in the world (Irwin in Digital media: human-technology connection. Lexington Books, Lanham, 2016). Visual media technologies and media content, together, through what is called moving image technologies, create virtual role-playing, virtual and augmented reality, video games, and social media focused worlds that have become central experiences in contemporary culture. Just as image-based scientific instruments read the world in different ways, so to do these visual mediated experiences. How might this comingled “reading” of technology explain the digital film language and experience? I contend that understanding the existential “early” film experience helps understand the new age of cinema, with implications for digital media, digital representation of the visual, and technoscience and technoculture studies. The material hermeneutics perspective called postphenomenology is one way to study these visually focused human–technology–world perceptual and interpretive experiences. Don Ihde’s methodological framework (1990, 1993, 1996, 2002, 2010, 2012, 2016, 2019) is both an idea from technoscience studies and a set of nuanced vocabulary that helps to explore and reveal variations, patterns, and trajectories of the whole-body experience of technology. This use case will first explore traditional cinema and then the “new age” term “moving image”, to learn more about this complicated and radically transforming technological experience. Work by Don Ihde and Vivian Sobchack is considered. (shrink)

In the Meno, Socrates asks why knowledge is a better guide to acting the right way than true belief. The answer he proposes is ingenious, but it fails to solve the puzzle, and some recent attempts to solve it also fail. I shall argue that the puzzle cannot be solved as long as we conceive of knowledge as a kind of belief, or allow our conception of knowledge to be governed by the contrast between knowledge and belief.