Mario De Caro

According to a widespread view, a complete explanatory reduction of all aspects of the human mind to the electro-chemical functioning of the brain is at hand and will certainly produce vast and positive cultural, political and social consequences. However, notwithstanding the astonishing advances generated by the neurosciences in recent years for our understanding of the mechanisms and functions of the brain, the application of these findings to the specific but crucial issue of human agency can be considered a “pre-paradigmatic science” (in Thomas Kuhn’s sense). This implies that the situation is, at the same time, intellectually stimulating and methodologically confused. More specifically—because of the lack of a solid, unitary and coherent methodological framework as to how to connect neurophysiology and agency—it frequently happens that tentative approaches, bold but very preliminary claims and even clearly flawed interpretations of experimental data are taken for granted. In this article some examples of such conceptual confusions and intellectual hubris will be presented, which derive from the most recent literature at the intersection between neurosciences, on the one hand, and philosophy, politics and social sciences, on the other hand. It will also be argued that, in some of these cases, hasty and over-ambitious conclusions may produce negative social and political consequences. The general upshot will be that very much has still to be clarified as to what and how neurosciences can tell us about human agency and that, in the meantime, intellectual and methodological caution is to be recommended.

The article discusses the proposals for replying to the skeptical challenge developed by the so-called Neo-mysterians, and more particularly by the most eloquent of them, Colin McGinn. McGinn’s version of mysterianism, which he labels “Transcendental Naturalism,” is a very candid and rigorous form of scientific naturalism since (contrary to the standard naturalistic views) it is prepared to concede both that the attempts to reduce philosophically controversial phenomena – such as knowledge, free will, consciousness, meaning and the self – do not work and that those phenomena cannot be eliminated from our worldview. But McGinn is criticized nonetheless since he concludes from such irreducibility and ineliminability that, for our species at least, philosophical riddles will always remain unsolvable “mysteries.” It is argued that a much more plausible conclusion would be to question the legitimacy of some of the premises from which McGinn draws his “mysterian” conclusion. More specifically, it is claimed that McGinn’s thesis that genuine explanations have to have a bottom-up, aggregative format is an unreasonable one.

The critical concern of the present volume is contemporary naturalism, both in its scientific version and as represented by newly emerging hopes for another, philosophically more liberal, naturalism.1 The papers collected here are state-of-the-art discussions that question the appeal, rational motivations, and presuppositions of scientific naturalism across a broad range of philosophical topics. As an alternative to scientific naturalism, we offer the outlines of a new non- reductive form of naturalism and a more inclusive conception of nature than any provided by the natural sciences. Our authors collectively believe that holding scientific naturalism up for philosophical scrutiny and challenging its misconceptions is of the first importance both for understanding ourselves and our place in the world; and, also, for the future direction of philosophy itself.

What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest that does not come down to an interest in the dramatic representation or in the pictorial representation. We will argue that this is a distinctively cinematic interest. In section I we outline Scruton’s argument. In section II we point out an interest in how the cinematic medium presents the portrayed subject as detached from the spectator’s environment. In section III, by referring to Wittgenstein’s account of the contemplation from outside, we contend that the interest in films introduced in section II can count as an aesthetic interest. In section IV we argue that both documentaries and fiction films can elicit this kind of interest. In section V we compare the three different kinds of aesthetic interest that, in our view, a film can elicit. In section VI we describe the corresponding kinds of cinematic achievements.