§1.1 What m otivated the perpetrators of the holocaust? Christopher Browning and Daniel Goldhagen differ in their analysis of Reserve Police Battalion 101 (Browning 1992, Goldhagen 1996). The battalion consisted of around 500 ‘ordinary’ Germ ans who, during the period 1942-44, killed around 40,000 Jews and who deported as m any to the death cam ps. Browning and Goldhagen differ over the m otivation wit h which the m en killed. I want to com m ent on a central aspect (...) of this debate. (shrink)

I consider the metaphysical consequences of the view that propositional attitudes have essential normative properties. I argue that realism should take a weak rather than a strong form. I argue that expressivism cannot get off the ground. And I argue that eliminativism is self-refuting.

I give an informal presentation of the evolutionary game theoretic approach to the conventions that constitute linguistic meaning. The aim is to give a philosophical interpretation of the project, which accounts for the role of game theoretic mathematics in explaining linguistic phenomena. I articulate the main virtue of this sort of account, which is its psychological economy, and I point to the casual mechanisms that are the ground of the application of evolutionary game theory to linguistic phenomena. Lastly, I consider (...) the objection that the account cannot explain predication, logic, and compositionality. (shrink)

I argue against inferentialism about logic. First, I argue against an analogy between logic and chess, before considering a more basic objection to stipulating inference rules as a way of establishing the meaning of logical constants. The objectionthe Mushroom Omelette Objectionis that stipulative acts are partly constituted by logical notions, and therefore cannot be used to explain logical thought. I then argue that the same problem also attaches to following existing conventional rules, since either those rules have logical contents, or (...) following those conventional rules is done for logical reasons. Lastly, I compare this argument with other arguments found in Quine’s early work, and consider two attempts to reply to Quine. (shrink)

We describe music in terms of emotion. How should we understand this? Some say that emotion descriptions should be understood literally. Let us call those views “literalist.” By contrast “nonliteralists” deny this and say that such descriptions are typically metaphorical.1 This issue about the linguistic description of music is connected with a central issue about the na- ture of music. That issue is whether there is any essential connection between music and emotion. According to what we can call “emotion theories,” (...) it is essential to music to be somehow related to real emotion. Prominent examples of such theories are these: it is the main function of all or most music to express emotions, to arouse emotions, or to represent emotions. 2 In my view, such theories have little plausibility, and they face a battery of powerful objections. In particular, these theories are objectionable on the grounds that essential features of emotion preclude such essential relations between music and emotion. 3 Yet to argue against various specific emotion theories of music, of which there is a large variety, does not address the reasons that draw people to emotion theories. I think that there are two main reasons. The first is that the most obvious explanation of why we describe music in emotion terms is that emotions, or relations to emotions, are part of what music is. The second reason is introspective, or phenomenological—that much music moves us when we listen to it, so it seems that music generates emotions in us, which we project onto the music when we describe it in emotion terms. In this article, my negative purpose is to dissolve these two reasons. My positive purpose is to argue for a particular nonliteralist view of linguistic descriptions of music in terms of emotion, a.. (shrink)

I raise the issue of the role of God with respect to morality and why we should be concerned with Him. Then the difficulty that God existence is still irrelevant even if He created the world and even if the Divine Commandment Theory is right that He is responsible for Morality. A Jewish Neo-Aristotelian solution is considered but rejected, and the Jewish Neoplatonist solution endorsed and sympathetically but cautiously endorsed. Free Will is considered from the Neoplatonist point of view. Something (...) like Jewish incarnation is suggested at the end, with an appendix on sex. (shrink)

Zangwill (“Our Moral Duty to Eat Meat”, “If you care about animals, you should eat them”) has argued that we have a duty to eat meat. In this paper I first show that Zangwill’s essays contain two distinct conclusions: (1) a rather weak thesis that his argument is officially supposed to establish, and (2) a much stronger, advertised thesis that his argument is not officially supposed to establish, but on whose basis he gives concrete recommendations for action and (...) launches polemic attacks on vegans, animal rights activists, and others. Consequently, I argue that Zangwill is likely culpable of some combination of epistemic failure, objectionable carnist activism, and trolling. In the second part of this paper I rebut Zangwill’s argument proper. I conclude by identifying some important issues in the vicinity concerning the suffering of wildlife and population ethics generalized to both human and non-human animals. (shrink)

Moral response-dependent metaethical theories characterize moral properties in terms of the reactions of certain classes of individuals. Nick Zangwill has argued that such theories are flawed: they are unable to accommodate the motive of duty. That is, they are unable to provide a suitable reason for anyone to perform morally right actions simply because they are morally right. I argue that Zangwill ignores significant differences between various approvals, and various individuals, and that moral response-dependent theories can accommodate the (...) motive of duty. (shrink)

This paper is devoted to defending philosophical studies of mind, especially traditional ones. In my view, human mentality is a dialogue with myself, which has a social aspect that is never explained nor predicted by scientific studies. We firstly derive this picture from Descartes’ classical argmuments (§§2-3), and then develop it in the context of Kantian ethics (§4). Some readers think this combination arbitrary. However, these two philosophers agree on mind/body dualism (§5), and further, the fact that the dialogue is (...) often made in an ethical situation leads us to Kantian ethics. We shall draw this developed picture within the format of modern practical syllogisms (§§5-13). Finally, we shall refer to Nick Zangwill’s normative essentialism for the completion of our whole picture (§§7-8). (shrink)

Music presents itself as a process, a continuation, following through. Musical works and music experience is perceived as development, succession, dialogical reaching out and harmonizing. Not one process but many. Among those various processes that make music the author focuses on a specific process of human development, which occurs during listening as much as during performing music. This is a process of growing and self-realization. In the course of the paper following the processual character of music, author turns to Maurice (...) Merleau-Ponty and Mikel Dufrenne in the phenomenological tradition, to Jerrold Levinson and his understanding of music through a listening moment to moment process and also to Theodor Adorno and his way of explaining music as a process of dialectical development. (shrink)

This paper elaborates and defends an expressivist account of the claims of mind-independence embedded in ordinary moral thought. In response to objections from Zangwill and Jenkins it is argued that the expressivist 'internal reading' of such claims is compatible with their conceptual status and that the only 'external reading' available doesn't commit expressivisists to any sort of subjectivism. In the process a 'commitment-theoretic' account of the semantics of conditionals and negations is defended.

In this paper I present an account of musical arousal that takes into account key demands of formalist philosophers such as Peter Kivy and Nick Zangwill. Formalists prioritise our understanding and appreciation of the music itself. As a result, they demand that any feelings we have in response to music must be directed at the music alone, without being distracted by non-musical associations. To accommodate these requirements I appeal to a mechanism of contagion which I synthesize with the expectation-based (...) arousal mechanism proposed by Leonard Meyer. This account connects musical expressivity and arousal in a way that formalists have rejected, but I argue that it provides the best explanation of our observations of listener responses while also focusing on the music itself. (shrink)

This is a critical discussion of Nick Zangwill’s Aesthetic Creation Theory of Art, as presented in his book Aesthetic Creation. The discussion focuses on two questions: first, whether the notion of art implied by Zangwill’s theory is at once too wide and too narrow; second, whether Zangwill is right about the persistence conditions of works of art.

What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some (...) perfumes. On the other hand, Jerrold Levinson’s intentional-historical definition and Dominic Lopes’s approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation. (shrink)

ABSTRACTIn a series of articles, Asbjørn Steglich-Petersen and Nick Zangwill argue that, since propositional attitude ascription judgements do not behave like normative judgements in being subject to a priori normative supervenience and the Because Constraint, PAs cannot be constitutively normative.1 I argue that, for a specific version of normativism, according to which PAs are normative commitments, these arguments fail. To this end, I argue that commitments and obligations should be distinguished. Then, I show that the intuitions allegedly governing all (...) normative judgements do not even purport to hold for commitment-attributing judgements.RÉSUMÉDans une série d'articles, Asbjørn Steglich-Petersen et Nick Zangwill font valoir que, puisque les jugements d'attribution d'attitude propositionnelle ne se comportent pas comme des jugements normatifs en étant soumis à la survenance normative a priori et à la contrainte du Parce que, les AP ne peuvent être constitutivement normatives. Je soutiens que, pour une version spécifique du normativisme, selon laquelle les AP sont des engagements normatifs, ces arguments échouent. À cette fin, je soutiens d'abord que les engagements et les obligations devraient être séparés. Ensuite, je démontre que les intuitions qui régiraient prétendument tous les jugements normatifs ne prétendent même pas s'appliquer aux jugements attributifs d'un engagement. (shrink)

In a recent paper (2008), I presented two arguments against the thesis that intentional states are essentially normative. In this paper, I defend those arguments from two recent responses, one from Nick Zangwill in his (2010), and one from Daniel Laurier in the present volume, and offer improvements of my arguments in light of Laurier’s criticism.

This paper critically examines two objections and raises a new objection against the besire theory of moral judgment. Firstly, Smith (1994) observes that a belief that p tends to expire whereas a desire that p tends to endure on the perception that not p. His observation does not refute the sophisticated version of the besire theory that to besire that p is to believe that p and to desire to act in accordance with the belief that p. Secondly, Zangwill (...) (2008) claims that the strength of motivation may vary while the degree of belief remains constant. Besirists would reply that a besire admits of both degree and strength. Finally, I argue that the belief that p endures while the desire to act on the belief that p expires with the introduction of a new bodily condition, and hence that the belief and the desire are distinct mental states. (shrink)

Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...) sounds produced by either musicians a on stage, a stereo, or a portable device. This approach is illustrated in recent work by Nick Zangwill. Drawing on essentialist assumptions, Zangwill concludes that properly musical experience is effectively disembodied and radically private. While this seems plausible when we consider the essentialists’ paradigm case, Zangwill’s conclusion seems odd once we consider the wide variety of ways that people experience music. One’s body and social situation seem ineluctably enmeshed within the experience of, e.g., hot jazz played in a nightclub, where listeners bob their heads and dance to the music, cheer on the musicians, and socialize with their fellow concertgoers. The question this paper aims to answer is: should we consider this and similar experiences of music properly “musical”? I maintain that we should. Far from the world of pure music that Zangwill and others relegate properly musical experience, I conclude that our musical experiences are fully enmeshed within the somatic, affective, and interpersonal dimensions of human life. (shrink)

Beauty is evil, a surreptitious diversion of earthly delights planted by the devil, according to the third century theologian-philosopher Tertullian. Beauty is a manifestation of the divine on earth, according to another third century philosopher, Plotinus. Could these two really be talking about the same thing? That beauty evokes an experience of pleasure is probably the only point on which all participants in the continuing debate on beauty agree. But what kinds of pleasure one considers relevant to an experience of (...) beauty, is the crux of the problem of beauty. In ancient, medieval and eighteenth century philosophy, the problem of beauty was framed by the larger concern of what constituted a good life. The question regarding the nature of beauty was answered with a view to its role in achieving the good life for those who cultivated its apprehension. In the twentieth century, philosophers framed the problem of beauty as a problem for conceptual analysis. The questions asked were: Is beauty subjective or objective? Are there properties in the object that count towards beauty in all cases; that are sufficient or necessary for an object to be judged beautiful? What kind of pleasure is the pleasure we experience of beauty? I will examine how these questions can be seen to have been answered by earlier philosophical traditions and then I will use these questions as a guide to developing an explanatory theory of beauty based on contemporary theories of perception. (shrink)

Moderate formalism is the view that all artworks which have aesthetic properties have formal aesthetic properties, and some but not all of those works also have non-formal aesthetic properties. Nick Zangwill develops this view in his Metaphysics of Beauty after having argued against its alternatives – extreme formalism and anti-formalism. This article reviews his arguments against the rivals of moderate formalism, and argues that the rejection of anti-formalism is unjustified. Zangwill does not succeed in proving that the broadly (...) determined (context-determined) properties of artworks are in some cases irrelevant to their aesthetic properties – and following that, interpretation and assessment. A historical argument presented here shows how aesthetic properties of every work must partly supervene on this work’s contextual properties. In particular, this disproves Zangwill’s claim that epistemological matters are unessential in determining the artwork’s properties, and exposes some problems his account has with explaining relations between nonaesthetic and aesthetic properties. (shrink)

This book is a compilation of papers that Zangwill has had published previously in a number of journals; this journal among them. The topics of these papers centre on the nature of aesthetic properties. Read as such, the papers are, for the most part, erudite and illuminating, presenting as they do a very clear synthesis of various well known positions on the relation of aesthetic properties to non-aesthetic properties; the relation of beauty to other aesthetic concepts; and the nature (...) of the aesthetic. (shrink)

This volume initiates a welcome new Oxford Studies series based on the annual meeting of the Arizona Workshop in Normative Ethics, organized by Mark Timmons. The back matter indicates that the series is a place where, "Leading philosophers present original contributions to our understanding of a wide range of moral issues and positions." But Timmons himself says more accurately, it seems, that the series aims to provide "some of the best contemporary work in the field of contemporary ethical theory" (p. (...) ix). In what follows I focus on only two of the individual papers; but first I want to make some remarks by way of overview and introduction. (shrink)