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How can we explain our capacity to think about particulars in our external environment? Many philosophers have answered this question in terms of a sophisticated conception of space and time and the movement of objects therein. A more recent reaction against this view sought to explain this capacity solely in terms of perceptual mechanisms of object individuation. Neither explanation remains fully satisfactory. This book argues for a more desirable middle ground in terms of a pragmatist approach to demonstrative thought, where this capacity is explained through graded practical knowledge of objects. This view allows us to do justice to important insights put forward by both positions criticized in the book, while avoiding their potential shortcomings. It also paves the way to a more pragmatist approach to the theory of mental representation, where the notion of practical knowledge is allowed to play a central role in our cognitive life. Finally, it shows how practical knowledge may be firmly rooted in neurobiological processes and mechanisms that conform to what the empirical sciences tell us about the mind.
The notion of singular (or de re) thought has become central in philosophy of mind and language, yet there is still little consensus concerning the best way to think about the nature of singular thought. Coinciding with recognition of the need for more clarity about the notion, there has been a surge of interest in the concept of a mental file as a way to understand what is distinctive about singular thought. What isn't always clear, however, is what mental files are meant to be, and why we should believe that thoughts that employ them are singular as opposed to descriptive. This volume brings together original chapters by leading scholars which aim to examine and evaluate the viability of the mental files framework for theorizing about singular thought. The first section of the volume addresses the central issues of the definition and nature of singular thought, as well as how it relates to the notion of a mental file. The second section addresses the legitimacy of the mental files conception of singular thought by assessing the philosophical motivations or the purported empirical support for the view, or by laying out a specific version of it. The third section helps to clarify both the notion of a mental file and the mental files conception of singular thought by focusing on their role in explaining de jure coreference in thought and language. The volume then concludes with a final section that casts doubt on the mental files conception and the legitimacy of the file-theoretic framework more generally.
The central concern of the cognitive phenomenology debate is whether there is a distinctive 'cognitive phenomenology, ' that is, a kind of phenomenology that has cognitive or conceptual character in some sense that needs to be precisely determined. This volume addresses the question of whether conscious thought has cognitive phenomenology.
What is the role of consciousness in our mental lives? Declan Smithies argues here that consciousness is essential to explaining how we can acquire knowledge and justified belief about ourselves and the world around us. On this view, unconscious beings cannot form justified beliefs and so they cannot know anything at all. Consciousness is the ultimate basis of all knowledge and epistemic justification. Smithies builds a sustained argument for the epistemic role of phenomenal consciousness which draws on a range of considerations in epistemology and the philosophy of mind. His position combines two key claims. The first is phenomenal mentalism, which says that epistemic justification is determined by the phenomenally individuated facts about your mental states. The second is accessibilism, which says that epistemic justification is luminously accessible in the sense that you're always in a position to know which beliefs you have epistemic justification to hold. Smithies integrates these two claims into a unified theory of epistemic justification, which he calls phenomenal accessibilism. The book is divided into two parts, which converge on this theory of epistemic justification from opposite directions. Part 1 argues from the bottom up by drawing on considerations in the philosophy of mind about the role of consciousness in mental representation, perception, cognition, and introspection. Part 2 argues from the top down by arguing from general principles in epistemology about the nature of epistemic justification. These mutually reinforcing arguments form the basis for a unified theory of the epistemic role of phenomenal consciousness, one that bridges the gap between epistemology and philosophy of mind.
How human musical experience emerges from the audition of organized tones is a riddle of long standing. In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. Nussbaum founds his naturalistic theory of musical representation on the collusion between the physics of sound and the organization of the human mind-brain. He argues that important varieties of experience afforded by Western tonal art music since 1650 arise through the feeling of tone, the sense of movement in musical space, cognition, emotional arousal, and the engagement, by way of specific emotional responses, of deeply rooted human ideals. Construing the art music of the modern West as representational, as a symbolic system that carries extramusical content, Nussbaum attempts to make normative principles of musical representation explicit and bring them into reflective equilibrium with the intuitions of competent listeners. Nussbaum identifies three modes of musical representation, describes the basis of extramusical meaning, and analyzes musical works as created historical entities (performances of which are tokens or replicas). In addition, he explains how music gives rise to emotions and evokes states of mind that are religious in character. Nussbaum's argument proceeds from biology, psychology, and philosophy to music--and occasionally from music back to biology, psychology, and philosophy. The human mind-brain, writes Nussbaum, is a living record of its evolutionary history; relatively recent cognitive acquisitions derive from older representational functions of which we are hardly aware. Consideration of musical art can help bring to light the more ancient cognitive functions that underlie modern human cognition. The biology, psychology, and philosophy of musical representation, he argues, have something to tell us about what we are, based on what we have been.
Internalism about the mind is the view that your thoughts and sensations are constituted by conditions inside your skin. Externalism denies this, and over the past 30 years has become the dominant view in philosophy of mind. Joseph Mendola argues that the externalist theories are false and develops a viable internalist alternative.
Devoted exclusively to the topic, this book analyses immunity to error through misidentification as an important feature of personal judgments.
Beginning with works of Frege, Russell, and Wittgenstein, The Bloomsbury Companion to the Philosophy of Language provides a critical history of the core concepts in the area. From generative syntax and formal semantics to broader philosophical issues such as intentional contexts, theories of meaning and context dependence, a well-known team of experts offer insightful analysis into some of the fundamental questions asked by the philosophy of language. The result is a comprehensive introduction, featuring a series of research tools, including an A to Z of key terms and concepts, a detailed list of resources and a fully annotated bibliography. For students and scholars looking to better understand the questions and debates informing the subject, this is an essential study tool.
This book proposes a new and systematic interpretation of the mental nature, function and structure, and importance of the imagination in Book 1, 'Of the Understanding', of Hume's Treatise of Human Nature. The proposed interpretation has deeply revisionary implications for Hume's philosophy of mind and for his naturalism, epistemology, and stance to scepticism. The book remedies a surprising blindspot in Hume scholarship and contributes to the current, lively philosophical debate on imagination. Hume's philosophy, if rightly understood, gives suggestions about how to treat imagination as a mental natural kind, its cognitive complexity and variety of functions notwithstanding. Hume's imagination is a faculty of inference and the source of a distinctive kind of idea, which complements our sensible representations of objects. Our cognitive nature, if restricted to the representation of objects and of their relations, would leave ordinary and philosophical cognition seriously underdetermined and expose us to scepticism. Only the non-representational, inferential faculty of the imagination can put in place and vindicate ideas like causation, body, and self, which support our cognitive practices. The book reconstructs how Hume's naturalist inferentialism about the imagination develops this fundamental insight. Its five parts deal with the dualism of representation and inference; the explanation of generality and modality; the production of causal ideas; the production of spatial and temporal content, and the distinction of an external world of bodies and an internal one of selves; and the replacement of the understanding with imagination in the analysis of cognition and in epistemology.
Modes of Presentation analyses a collection of problems, known as 'Frege's puzzle', resulting from how thinkers and speakers have a limited perspective on reference in thought and language. Heck argues that these puzzles have much to teach us both about the foundations of cognition and the nature of linguistic communication.