Kitcher, Patricia. Kant’s Thinker
2011, Oxford University Press.
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Added by: Chris Blake-Turner, Contributed by: Charlotte Sabourin
Abstract: The book presents Kant's theory of the cognitive subject. It begins by setting the stage for his discussions of the unity and power of 'apperception' by presenting the attempts of his predecessors to explain the nature of the self and of self-consciousness, and the relation between self-consciousness and object cognition. The central chapters lay out the structure of the transcendental deduction, the argument from cognition to the necessary unity of apperception, and the relations among his theories of the unity and power of apperception, the 'psychological ideal,' and the 'noumenal' self. Later chapters draw on this material to offer a more precise account of his criticism that the Rational Psychologists failed to understand the unique character of the representation 'I-think' and to defend Kant against the charges that his theory of cognition and apperception is inconsistent or psychologistic. The concluding chapters present Kantian alternatives to recent theories of the activities of the self in cognition and moral action, the self-ascription of belief, knowledge of other minds, the appropriate explananda for theories of consciousness, and the efficacy of 'transcendental' arguments.Kind, Amy. Transparency and Representationalist Theories of Consciousness2010, Philosophy Compass 5 (10):902-913.-
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Added by: Clotilde Torregrossa, Contributed by: Simon Prosser
Abstract: Over the past few decades, as philosophers of mind have begun to rethink the sharp divide that was traditionally drawn between the phenomenal character of an experience (what it's like to have that experience) and its intentional content (what it represents), representationalist theories of consciousness have become increasingly popular. On this view, phenomenal character is reduced to intentional content. This article explores a key motivation for this theory, namely, considerations of experiential transparency. Experience is said to be transparent in that we 'look right through it' to the objects of that experience, and this is supposed to support the representationalist claim that there are no intrinsic aspects of our experience.Comment: Useful survey on 'transparency' arguments for representationalism/intentionalism
Jeshion, Robin. Slurs and Stereotypes2013, Analytic Philosophy 54 (3):314-329.-
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Added by: Clotilde Torregrossa, Contributed by: Thomas Hodgson
Introduction: With such a robust set of explanatory advantages, stereotype semantics are increasingly influencing the development of theories of slurring terms. My aim here is quite simply to quell the tide. I focus upon the two best developed and most general theories, those of Hom and Camp, whose accounts differ primarily in how the stereotype is expressed and how the encoding of the stereotype affects truth conditions.Comment:
Kind, Amy. What’s so transparent about transparency?2003, Philosophical Studies 115 (3):225-244.-
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Added by: Clotilde Torregrossa, Contributed by: Nora Heinzelmann
Abstract: Intuitions about the transparency of experience have recently begun to play a key role in the debate about qualia. Specifically, such intuitions have been used by representationalists to support their view that the phenomenal character of our experience can be wholly explained in terms of its intentional content.[i] But what exactly does it mean to say that experience is transparent? In my view, recent discussions of transparency leave matters considerably murkier than one would like. As I will suggest, there is reason to believe that experience is not transparent in the way that representationalism requires. Although there is a sense in which experience can be said to be transparent, transparency in this sense does not give us any particular motivation for representationalism - or at least, not the pure or strong representationalism that it is usually invoked to supportComment:
Jaggar, Alison M.. Love and knowledge: Emotion in feminist epistemology1989, Inquiry: An Interdisciplinary Journal of Philosophy 32 (2):151 - 176.-
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Added by: Chris Blake-Turner, Contributed by: Wayne Riggs
Abstract: This paper argues that, by construing emotion as epistemologically subversive, the Western tradition has tended to obscure the vital role of emotion in the construction of knowledge. The paper begins with an account of emotion that stresses its active, voluntary, and socially constructed aspects, and indicates how emotion is involved in evaluation and observation. It then moves on to show how the myth of dispassionate investigation has functioned historically to undermine the epistemic authority of women as well as other social groups associated culturally with emotion. Finally, the paper sketches some ways in which the emotions ofunderclass groups, especially women, may contribute to the development of a critical social theory.Comment:
Irvin, Sherri. The artist’s sanction in contemporary art2005, Journal of Aesthetics and Art Criticism 63 (4):315-326.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Contemporary artworks raise a variety of ontological, epistemological, and interpretative questions that have not yet been adequately dealt with in aesthetics. Whereas traditional visual artworks have typically had a set of privi leged and (ideally) unchanging properties fixed at a particular moment early in their histories, a contemporary installation artwork may be installed differently each time it is taken out of storage, or even constituted out of different objects at each exhibition site. The resulting variation in its configuration and visual properties may simply be a function of the changing features of galleries or available materials, or it may be essential to the work's meaning. Or both: many contemporary works are site specific, essentially responsive to their environments in such a way that context is incorporated into the work's meaningComment:
Irvin, Sherri. Appropriation and authorship in contemporary art2005, British Journal of Aesthetics 45 (2):123-137.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it.Comment:
Irvin, Sherri. Scratching an itch2008, Journal of Aesthetics and Art Criticism 66 (1):25-35.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: In recent years, momentum has been gathering in defense of the appropriateness of aesthetic discourse in relation to a number of domains other than art and nature. Philosophers have argued that food, sports, and sex can be viewed aesthetically. It has been claimed that the "lower senses" of smell, taste, and touch may play legitimate or even exclusive roles in some aesthetic judgments. And there has been sustained criticism of the view that aesthetic judgments must be disinterested or must transport us out of the concerns of everyday life. Can this extension of the realm of the aesthetic be taken even further, so as to accommodate the idea that even the most mundane incidents of everyday life have an aesthetic character, or that there can be aesthetic experiences of such incidents? With attention to two especially hard cases, itches and scratches, I will argue that it is appropriate and worthwhile to think of even the simplest moments of everyday life in aesthetic terms. It is appropriate, because on the most plausible accounts of aesthetic experience there can be legitimate aesthetic experiences of itching and scratching; and it is worthwhile, because aesthetic attention to this domain offers the prospect of unique and significant satisfaction.Comment:
Inness, Julie C.. Privacy, Intimacy, and Isolation1996, OUP USA.-
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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Publisher's Note: This book undermines privacy scepticism, proving a strong theoretical foundation for many of our everyday and legal privacy claims. Inness argues that intimacy is the core of privacy, including privacy appeals in tort and constitutional law. She explores the myriad of debates and puts forth an intimacy and control-based account of privacy which escapes these criticisms.Comment:
Hungerland, Isabel C.. The Logic of Aesthetic Concepts1962, Proceedings and Addresses of the American Philosophical Association 36: 43 - 66.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: There are two sorts of descriptions, or accounts, that we can give of works of art or of anything else that makes up our world of relatively stable objects. I can describe a painting, a chair, a mountain, or a man in terms of colors, shapes, spatial relation of parts, and so on. I can also describe the same four objects by talking about the dynamic ten sions of the first, or its lack of visual balance; the grace and elegance of the second; the gloominess or majesty of the third; and the trimness or gawkiness of the fourth. The first sort of description, or account, may answer a wide variety of general purposes, central among them that of identifying particular objects. A museum curator might so describe a painting for future reference in identifying the particular work of one painter; an auctioneer identifies pieces of furniture by such descriptions; a map-maker, a mountain; and a police department, a Man Wanted. The second sort of account of the same objects could not usefully serve such purposes. The second sort, usually if not always, is found in the context of the evaluating of objects. "This is a fine Sheraton chair-it is graceful, but sturdy." Here, relevant reasons are furnished for an aesthe tic rating of an object, and the first sort of description does not, and could not, serve this functionComment:
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