Argumenta – Journal of Analytic Philosophy

For Kant transcendental freedom consists in the power of agents to produce actions without being causally determined by antecedent conditions in exercising this power. He contends that we cannot establish whether we are actually or even possibly free in this sense. Kant claims only that our conception of ourselves as transcendentally free involves no inconsistency, and that as a result the belief that we are free in this sense meets a relevant standard of minimal credibility. Justification of this belief ultimately depends on practical reasons: the need to believe that…

In this essay I present Hegel’s philosophy of free will. Although free will plays a crucial role in Hegel's practical philosophy, freedom is also part of his philosophy of mind, his philosophy of nature, and his Science of Logic. After examining the philosophical motivations that led Hegel to create his system of philosophy, I will outline the basic concept of free will presented in the introduction to his Elements of the Philosophy of Right. This concept, however, still allows for free will skepticism, which motivates me to reconstruct the metaphysical…

Free will, famously described by David Hume as “the most contentious question of metaphysics, the most contentious science”, has long been a subject of intense debate, particularly regarding its compatibility with a deterministic universe and its implications for ethical questions, notably moral responsibility. Moritz Schlick, a leading figure in the Vienna Circle and the neopositivist movement, challenges the validity of this debate, asserting that it arises from linguistic and semantic confusions surrounding terms like ‘freedom’, ‘determinism’, and ‘will’. Reflecting the neopositivist disdain for metaphysics and normative ethics, Schlick posits that…

This essay is the English translation of the foreword to the Italian edition of Film, Art, and the Third Culture, published in 2022 as Cinema, evoluzione, neuroscienze: un’estetica naturalizzata del film (Rome: Dino Audino). It approaches Murray Smith’s study as a key entry point into the ongoing dialogue between film theory and the cognitive sciences, and as a catalyst for rethinking the epistemological foundations of film studies in light of neuroscience. The analysis situates Smith’s notion of “cooperative naturalism” within a broader critical framework that questions how the humanities can…

At the heart of Murray Smith’s proposal of a methodological “triangulation” is the principle that in our research we take into serious account three levels of analysis, with their respective types of evidence: the phenomenological level; the psychological level; and the neurophysiological level. However, the author’s trust in phenomenological evidence appears to be fluctuating, and the issue of how to concretely take advantage of it appears underexplored. On this grounding, I will address the broad topic of a rigorous usage of phenomenological evidence by touching upon three main points: 1)…

Smith’s Film, Art and the Third Culture is dedicated to developing a naturalized aesthetics of film, and at the heart of his proposal for a methodological “triangulation” is the principle that our research should take serious account of three levels of analysis, each with its respective type of evidence: the phenomenological level, the psychological level, and the neurophysiological level. While Smith addresses many aspects of our perceptual, emotional, and cognitive engagement with movies within this framework, he rarely discusses what underlies our visual engagement with films: the fact that they…

This paper rejects the autonomy myth that treats works of art as self-contained worlds and instead situates them within nature. Following Murray Smith’s “Third Culture” program, I retain triangulation—structure, function, and appearance—as necessary to explain how artworks affect perceivers: material structures impinge on perceivers’ brains, recruit psychological functions, and yield phenomenal experience. But triangulation is incomplete. I propose a fourth vertex—normativity—thus “squaring the triangle.” Normativity explains why works of art can and should be experienced in a certain way. Works of art are artifacts whose functions are stabilized by communities…

This paper critically examines Murray Smith’s proposal of building ‘the third culture’, a research paradigm that unites sciences and the humanities. While I am sympathetic to Smith’s proposal, exemplified in what he calls naturalized aesthetics, I argue that it is lacking in two respects: by not giving a proper account of the spectators’ moral engagements with films, and by ignoring a wider social nature and cultural embeddedness of spectators’ artistic experiences.

I respond to the commentaries of each of my critics, while seeking to offer a through line of argument distilling some central themes addressed in the symposium. In response to Terrone, I focus on the place of normativity in the model of triangulation, noting that “proto-normativity” is already present in the biological world. Sticking with normativity but shifting the focus specifically onto moral questions, I respond to Vidmar Jovanović’s comments on the ways in which character, and emotion, are related to morality, while also acknowledging the specifically political dimension of…