This volume attempts to solve a grave problem about critical self-reflection. The worry is that we critical thinkers are all in "epistemic bad faith" in light of what psychology tells us. After all, the research shows not merely that we are bad at detecting "ego-threatening" thoughts à la Freud. It also indicates that we are ignorant of even our ordinary thoughts—e.g., reasons for our moral judgments of others (Haidt 2001), and even mundane reasons for buying one pair of stockings over another! (Nisbett & Wilson 1977) However, reflection on one’s thoughts requires knowing what those thoughts are in the first place. So if ignorance is the norm, why attempt self-reflection? The activity would just display naivety about psychology. Yet while respecting all the data, this book argues that, remarkably, we are sometimes infallible in our self-discerning judgments. Even so, infallibility does not imply indubitability, and there is no Cartesian ambition to provide a "foundation" for empirical knowledge. The point is rather to explain how self-reflection as a rational activity is possible.

Do we have introspective access to our own thoughts? Peter Carruthers challenges the consensus that we do: he argues that access to our own thoughts is always interpretive, grounded in perceptual awareness and sensory imagery. He proposes a bold new theory of self-knowledge, with radical implications for understanding of consciousness and agency.

Downward causation plays a fundamental role in many theories of metaphysics and philosophy of mind. It is strictly connected with many topics in philosophy, including but not limited to: emergence, mental causation, the nature of causation, the nature of causal powers and dispositions, laws of nature, and the possibility of ontological and epistemic reductions. Philosophical and Scientific Perspectives on Downward Causation brings together experts from different fields—including William Bechtel, Stewart Clark and Tom Lancaster, Carl Gillett, John Heil, Robin F. Hendry, Max Kistler, Stephen Mumford and Rani Lill Anjum —who delve into classic and unexplored lines of philosophical inquiry related to downward causation. It critically assesses the possibility of downward causation given different ontological assumptions and explores the connection between downward causation and the metaphysics of causation and dispositions. Finally, it presents different cases of downward causation in empirical fields such as physics, chemistry, biology and the neurosciences. This volume is both a useful introduction and a collection of original contributions on this fascinating and hotly debated philosophical topic.

The notion of disinterestedness is often conceived of as antiquated or ideological. In spite of this, Hilgers argues that one cannot reject it if one wishes to understand the nature of art. He claims that an artwork typically asks a person to adopt a disinterested attitude towards what it shows, and that the effect of such an adoption is that it makes the person temporarily lose the sense of herself, while enabling her to gain a sense of the other. Due to an artwork’s particular wealth, multiperspectivity, and dialecticity, the engagement with it cannot culminate in the construction of world-views, but must initiate a process of self-critical thinking, which is a precondition of real self-determination. Ultimately, then, the aesthetic experience of art consists of a dynamic process of losing the sense of oneself, while gaining a sense of the other, and of achieving selfhood. In his book, Hilgers spells out the nature of this process by means of rethinking Kant’s and Schopenhauer’s aesthetic theories in light of more recent developments in philosophy–specifically in hermeneutics, critical theory, and analytic philosophy–and within the arts themselves–specifically within film and performance art.

This book argues that Sellars’ theory of intentionality can be understood as an advancement of a transcendental philosophical approach. It shows how Sellars develops his theory of intentionality through his engagement with the theoretical philosophy of Immanuel Kant. The book delivers a provocative reinterpretation of one of the most problematic and controversial concepts of Sellars' philosophy: the picturing-relation. Sellars' theory of intentionality addresses the question of how to reconcile two aspects that seem opposed: the non-relational theory of intellectual and linguistic content and a causal-transcendental theory of representation inspired by the philosophy of the early Wittgenstein. The author explains how both parts cohere in a transcendental account of finite knowledge. He claims that this can only be achieved by reading Sellars as committed to a transcendental methodology inspired by Kant. In a final step, he brings his interpretation to bear on the contemporary metaphilosophical debate on pragmatism and expressivism. Intentionality in Sellars will be of interest to scholars of Sellars and Kant, as well as researchers working in philosophy of mind, epistemology, and the history of nineteenth- and twentieth-century philosophy.

Isn’t That Clever provides a new account of the nature of humor – the cleverness account – according to which humor is intentional conspicuous acts of playful cleverness. By defining humor in this way, answers can be found to longstanding questions about humor ethics (Are there jokes that are wrong to tell? Are there jokes that can only be told by certain people?) and humor aesthetics (What makes for a good joke? Is humor subjective?). In addition to humor in general, Isn’t That Clever asks questions about comedy as an art form such as whether there are limits to what can be said in dealing with a heckler and how do we determine whether one comedian has stolen jokes from another.

This book offers a philosophical examination of incarceration as a form of punishment. A diverse group of contributors engages with research in criminology, economics, law, and sociology to help contextualize the philosophical issues.