Slurs are rhetorically insidious and theoretically interesting because they communicate something above and beyond the truth-conditional predication of group membership, something which typically though not always projects across 'blocking' constructions like negation, conditionals, and indirect quotation, and which is exceptionally resistant to direct challenge. I argue that neither pure expressivism nor straightforward truth-conditionalism can account for the sort of commitment that speakers undertake by using slurs. Instead, I claim, users of slurs endorse a denigrating perspective on the targeted group.

Climate change assessments rely upon scenarios of socioeconomic developments to conceptualize alternative outcomes for global greenhouse gas emissions. These are used in conjunction with climate models to make projections of future climate. Specifically, the estimations of greenhouse gas emissions based on socioeconomic scenarios constrain climate models in their outcomes of temperatures, precipitation, etc. Traditionally, the fundamental logic of the socioeconomic scenarios—that is, the logic that makes them plausible—is developed and prioritized using methods that are very subjective. This introduces a fundamental (...) challenge for climate change assessment: The veracity of projections of future climate currently rests on subjective ground. We elaborate on these subjective aspects of scenarios in climate change research. We then consider an alternative method for developing scenarios, a systems dynamics approach called ‘Cross-Impact Balance’ (CIB) analysis. We discuss notions of ‘objective’ and ‘objectivity’ as criteria for distinguishing appropriate scenario methods for climate change research. We distinguish seven distinct meanings of ‘objective,’ and demonstrate that CIB analysis is more objective than traditional subjective approaches. However, we also consider criticisms concerning which of the seven meanings of ‘objective’ are appropriate for scenario work. Finally, we arrive at conclusions regarding which meanings of ‘objective’ and ‘objectivity’ are relevant for climate change research. Because scientific assessments uncover knowledge relevant to the responses of a real, independently existing climate system, this requires scenario methodologies employed in such studies to also uphold the seven meanings of ‘objective’ and ‘objectivity.’. (shrink)

Recently, cognitivist accounts about art have come under pressure to provide stronger arguments for the view that artworks can yield genuine insight and understanding. In Gregory Currie’s Imagining and Knowing: Learning from Fiction, for example, a convincing case is laid out to the effect that any knowledge gained from engaging with art must “be judged by the very standards that are used in assessing the claim of science to do the same” (Currie 2020: 8) if indeed it is to count (...) as knowledge. Cognitivists must thus rally to provide sturdier grounds for their view. The revived interest in this philosophical discussion targets not only the concept of knowledge at the heart of cognitivist and anti-cognitivist debate, but also highlights a more specific question about how, exactly, some artworks can (arguably) afford cognitive import and change how we think about the world, ourselves and the many events, persons and situations we encounter. This paper seeks to explore some of the ways in which art is capable of altering our epistemic perspectives in ways that might count as knowledge despite circumventing some standards of evidential requirement. In so doing we will contrast two alternative conceptions of how we stand to learn from art. Whereas the former is modelled on the idea that knowledge is something that can be “extracted” from our experience of particular works of art, the latter relies on a notion of such understanding as primarily borne out of a different kind of engagement with art. We shall call this the subtractive conception and cumulative conception respectively. The cumulative conception, we shall argue, better explains why at least some insights and instances of knowledge gained from art seem to elude the evidential standards called for by sceptics of cognitivism. (shrink)

This paper is concerned with the role of conscious agency in human action. On a folk-psychological view of the structure of agency, intentions, conceived as conscious mental states, are the causes of actions. In the last decades, the development of new psychological and neuroscientific methods has made conscious agency an object of empirical investigation and yielded results that challenge the received wisdom. Most famously, the results of Libet’s studies on the ‘readiness potential’ have been interpreted by many as evidence in (...) favor of a skeptical attitude towards conscious agency. It is questionable, however, whether action initiation should be regarded as the touchstone of conscious agency. I shall argue that the traditional folk-psychological view, but also some of the objections leveled against it, rest in part on an over-simplified conception of the structure of agency, that neglects both the role of control processes after action initiation and the role of planning processes before action initiation. Taking these processes into account can lead to a reassessment of the relation between intentions and action and of the role of conscious agency in action production. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Impossible Sacrifice of Poetry: Bataille and the Nancian Critique of SacrificeElisabeth Arnould (bio)When, at the very center of his Inner Experience, Bataille arrives at what he calls the “uppermost extremity of non-meaning,” he stages for us one of the principal scenes of his “sacrifice of knowledge.” It depicts Rimbaud, turning his back on his works, making the ultimate and definitive sacrifice of poetry. This scene, which complements two (...) other representations of the “supplice” of the experience—the crucifixion of God and the oncoming madness of Hegel—rounds out the triple sacrificial vocation of an experience of nonknowledge, at once “a-theological,” “a-gnoseological,” and “a-poetological.” It extends to poetry and language the critical and sovereign imperative of an experience that can only be called “inner” insofar as it renounces truth, knowledge, and, ultimately, speech.What exactly, however, does this sacrificial renunciation of words represent for Bataille and why did he choose to load it with all the transgressive weight of the experience of nonknowledge (“non-savoir”)? Why place the self-sacrifice of poetry at the very center of a book that would be annulled by an immolation of speech? Indeed, why make this final “supplice”—a sacrifice of words performed and dedicated “to” “nothing”—into the core of the book’s interior rapture? Isn’t this figure of death and silence incurably equivocal? Does it not attribute the traditional traits of a “nothingness” to this “rapturous heart” of finitude that Bataille always wanted to designate as the “impossible” object of his experience? And is it not, therefore, condemned to appropriate, through this representation, the nonmeaning of a finitude that Bataille, far from conceptualizing as simple nothingness, usually prefers to designate ambiguously as “nonknowledge”?Such are the questions I shall address in reevaluating Bataille’s concept of sacrifice in light of Jean-Luc Nancy’s critique. In his article “The Unsacrificeable,” Nancy was the first to point out the problematic nature of the sacrificial model in Bataille’s conceptualization of finitude. According to Nancy, sacrifice, including the self-sacrifice of Rimbaud so important to Bataille, is the vehicle of an “ontotheological” appropriation. And it is through sacrifice that Bataille’s reflection on finitude attempts to domesticate death while claiming to abandon it to the aporetic enunciation of a “nonknowledge.”I shall thus examine the problematic figure of poetry’s self-sacrifice in order to expose, with Nancy, the equivocality of its conceptual appropriation. In light of Bataille’s multiple stagings and interpretations of this figure, however, I shall also attempt to demonstrate how his writing on and of sacrifice already contains the seeds of its own critique and attempts to exceed itself. Bataille did not simply want to reveal, in Rimbaud’s self-sacrifice, the inexpressible truth of finitude; he also wanted to denounce the comical lie of the sacrificial appropriation. And it is this double valence of the Rimbaldian self-sacrifice that I shall try to bring forth. [End Page 86]Before elucidating the meaning and function of this figure in the specific context of Inner Experience and questioning its possible duplicity, one must examine the general notion upon which it is modeled. Poetry’s self-sacrifice is the “consummate” form 1 of a sacrifice that we find in the form of stagings and commentaries in Bataille’s work. As is well known, the question of sacrifice has always occupied a central place in Bataille’s thought. He has not only studied this protean ethnological phenomenon we call “sacrifice” but has also wanted to give sacrifice, beyond traditional “ontotheological” interpretations and recent anthropological reconstructions, a meaning that far exceeds these restricted determinations. Sacrifice is not simply, for Bataille, a theoretical object. A paradigmatic manifestation of the sacred and its transgressions, it marks rather a limit to conceptualization and constitutes a stumbling block to thought. As such, it is, for Bataille—or, as he himself maintains, for all thought—the locus of an interruption. Cross-culturally, sacrifice delineates the limit thought comes up against when it faces what it cannot think.As the negation of our corporeal and intellectual limits, as the bloody excess that erupts before the fascinated eyes of a spectator, sacrifice “represents,” for... (shrink)

Three commitments guide Dennett’s approach to the study of consciousness. First, an ontological commitment to materialist monism. Second, a methodological commitment to what he calls ‘heterophenomenology.’ Third, a ‘doxological’ commitment that can be expressed as the view that there is no room for a distinction between a subject’s beliefs about how things seem to her and what things actually seem to her, or, to put it otherwise, as the view that there is no room for a reality/appearance distinction for consciousness. (...) We investigate how Dennett’s third doxological commitment relates to his first two commitments and whether its acceptance should be seen as a mere logical consequence of acceptance of the first two. We will argue that this is not the case, that Dennett’s doxological commitment is in need of independent motivation, and that this independent motivation is not forthcoming. (shrink)

Cet article examine un problème particulier posé par une approche naturaliste et représentationnaliste de la perception: lui est-il ou non possible de rendre compte d'une caractéristique que Husserl considérait comme constitutive de la perception, à savoir le fait que l'objet dans la perception est comme donné en personne (leibhaftig). La première section donne un bref aperçu des motivations qui sont à l'origine de l'intérêt actuellement suscité dans les sciences cognitives par l'intentionnalité perceptive. La deuxième section aborde le problème de la (...) Leibhaftigkeit de l'objet dans la perception et examine les raisons pour lesquelles celle-ci peut paraître constituer une difficulté pour une approche représentationnelle de la perception. La dernière section examine les moyens dont une telle approche dispose pour résoudre ce problème. This paper examines the problem whether a naturalistic and representational approach to perception can account for a feature that Husserl considers as a fundamental caracteristic of perception, namely the fact that the object in perception appears as if given in person (leibhaftig). The first section briefly sketches the reasons why perceptual intentionality is presently the focus of a lot of attention in cognitive science. The second section is concerned with the problem of the Leibhaftigkeit of the object in perception and with the reasons why this may constitute a difficulty for a representational approach to perception.The last section considers the moves available to such an approach in order to solve the problem. (shrink)

One of America's most celebrated poets, Emily Dickinson was virtually unpublished in her lifetime. When a slim volume of her poems emerged on the American scene in 1890, her work created shockwaves that have not subsided yet. Famously precise and sparse, Emily Dickinson's poetry is often described as philosophical, both because her poetry grapples with philosophical topics like death, spirituality, and the darkening operations of the mind, and because she approaches those topics in a characteristically philosophical manner: analyzing and extrapolating (...) from close observation, exploring alternatives, and connecting thoughts into cumulative demonstrations. But unlike Lucretius or Pope, she cannot be accused of producing versified treatises. Many of her poems are unsettling in their lack of conclusion; their disparate insights often stand in conflict; and her logic turns crucially on imagery, juxtaposition, assonance, slant rhyme, and punctuation. The six chapters of this volume collectively argue that Dickinson is an epistemically ambitious poet, who explores fundamental questions by advancing arguments that are designed to convince. Dickinson exemplifies abstract ideas in tangible form and habituates readers into productive trains of thought--she doesn't just make philosophical claims, but demonstrates how poetry can make a distinct contribution to philosophy. All essays in this volume, drawn from both philosophers and literary theorists, serve as a counterpoint to recent critical work, which has emphasized Dickinson's anguished uncertainty, her nonconventional style, and the unsettled status of her manuscripts. On the view that emerges here, knowing is like cleaning, mending, and lacemakingL a form of hard, ongoing work, but one for which poetry is a powerful, perhaps indispensable, tool. (shrink)

When King Lear announces that he will divide his kingdom between his daughters according to the degree of love they profess for him, the youngest princess Cordelia is at a loss. Whereas her two oth...