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- Added by: Jie Gao, Contributed by:
Abstract: I introduce and argue for the importance of a cognitive state that I call alief. Paradigmatic alief can be characterized as a mental state with associatively-linked content that is representational, affective and behavioral, and that is activated – consciously or unconsciously – by features of the subject’s internal or ambient environment. Alief is a more primitive state than either belief or imagination: it directly activates behavioral response patterns (as opposed to motivating in conjunction with desire or pretended desire.) I argue that alief explains a large number of otherwise perplexing phenomena and plays a far larger role in causing behavior than has typically been recognized by philosophers. I argue further that the notion can be invoked to explain both the effectiveness and the limitations of certain sorts of example-based reasoning, and that it lies at the core of habit-based views of ethics.
Comment: In this influential paper, Gendler argues for the existence of an important cognitive states that she calls alief. It is a highly-relevant material for teachings on many topics, for example forms of belief, rationality and belief, varieties of irrationality, implicit bias and etc, in upper-division undergraduate courses and postgraduate courses.Export citation in BibTeX formatExport text citationView this text on PhilPapersExport citation in Reference Manager formatExport citation in EndNote formatExport citation in Zotero format
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- Added by: Rossen Ventzislavov, Contributed by:
Summary: The abject – expressed through the grotesque, the gross and the physically challenging – has long been a source of innovation and scandal in the art world. For Kristeva abjection accounts for much of the complexity of the human condition. She understands abjection to encompass various aspects of our humanity that are often seen as conceptually and/or experientially disparate – emotion, embodiment, affect, repression, criminality, hygiene etc. Kristeva’s guiding intuition is that the abject helps arbitrate between our perception of ourselves as subject and object. In the liminal space between the two, the “I” is experienced in its full heterogeneity to the frequent detriment of traditional ethical, aesthetic, and scientific considerations. This has direct bearing on performance art, whose history is marked by the deliberate departure from beauty and, concurrently, the constant renegotiation of identity between the extremes of subject and object.
Comment: Best if read together with Sigmund Freud’s “The Uncanny”
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