Tom McClelland

Kriegel’s self-representationalist theory of phenomenal consciousness pursues two projects. The first is to offer a positive account of how conscious experience arises from physical brain processes. The second is to explain why consciousness misleadingly appears to be irreducible to the physical i.e. to ‘demystify’ consciousness. This paper seeks to determine whether SR succeeds on the second project. Kriegel trades on a distinction between the subjective character and qualitative character of conscious states. Subjective character is the property of being a conscious state at all, while qualitative character determines what it is like to be in that state. Kriegel claims that SR explains why subjective character misleadingly appears irreducible, thereby neutralising the apparent irreducibility of consciousness. I argue that although SR credibly demystifies subjective character, it cannot explain why qualitative character also appears irreducible. I conclude that we should pursue the possibility of a hybrid position that combines SR with an account that does explain the apparent irreducibility of qualitative character

In this vivid and engaging book Mark Rowlands asks whether animals are capable of being moral. His answer is a mitigated 'yes', supported by an ambitious and convincing philosophical argument. A great deal of attention has been given to the question of whether animals deserve our moral consideration. Much less has been given to the question of whether animals themselves are moral beings. The dominant view among both philosophers and scientists has been that they are not. The standard position is that animals lack the mental faculties necessary for moral action. Rowlands tries to show that '...the blanket dismissal of the possibility of moral action in animals cannot be sustained...'. He systematically attacks the assumptions behind this entrenched attitude and attempts to show us what kind of moral traits an animal mind could support.

Phenomenal consciousness presents a distinctive explanatory problem. Some regard this problem as ‘hard’, which has troubling implications for the science and metaphysics of consciousness. Some regard it as ‘easy’, which ignores the special explanatory difficulties that consciousness offers. Others are unable to decide between these two uncomfortable positions. All three camps assume that the problem of consciousness is either easy or hard. I argue against this disjunction and suggest that the problem may be ‘tricky’—that is, partly easy and partly hard. This possibility emerges when we recognise that consciousness raises two explanatory questions. The Consciousness Question concerns why a subject is conscious rather than unconscious. The Character Question concerns why a conscious subject’s experience has the phenomenology it has rather than some other. I explore the possibility of one or other of these explanatory challenges being hard and the other easy, and consider the dialectical ramifications this has for all sides of the debate.

To what extent can film - or individual films - act as a vehicle of or forum for philosophy itself?. Many have responded that films can indeed do philosophy to a substantial degree. Furthermore, it has been claimed that this virtue does not belong solely to ‘art’ films, but that popular cinema too can do philosophy. A case in point is Spike Jonze’s 1999 film Being John Malkovich, the Oscar-winning screenplay of which was written by Charlie Kaufman. The outrageous premise of this comic fantasy is summarised by the film’s protagonist, Craig Schwartz: "There's a tiny door in my office Maxine. It's a portal, and it takes you inside John Malkovich. You see the world through John Malkovich's eyes. And then, after about fifteen minutes, you're spit out into a ditch on the side of the New Jersey Turnpike." The philosophical issues that this scenario raises are manifold. My primary aim in this paper is to follow the film through its exploration of subjectivity, clarifying its insights with the aid of current philosophical work on the topic. Hopefully, this will enhance our understanding both of subjectivity, and of the philosophical relevance of the film. A secondary goal of this enquiry is to provide a clear example of film-as-philosophy, perhaps demonstrating how film contributes something to the philosophical forum that an academic text cannot.

Kantian Humility (KH) holds that the intrinsic properties of objects are unknowable for agents such as ourselves. Categorial properties, such as being an object, present a potential threat to KH. Cowling (2010) argues that knowing KH to be true requires knowledge of categorial properties. However, if such properties are shown to be intrinsic properties, then KH is committed to their being unknowable. I defend KH by presenting three alternative responses to this challenge. First, that categorial properties are not properties in the sense relevant to KH. Second, that if they are properties, they are not intrinsic properties. Third, that if they are intrinsic properties, KH is not committed to their being unknowable. I also show how these responses can be applied to a related objection to KH offered by Moore (2001)