Within the European history of ideas, at least three conceptions of metamorphosis can be distinguished. First, as celebrated in Ovid’s Metamorphoses, there is the vision of an open-ended flux of shapes in all directions, potentially with the ambiguous result of wavering identity. Secondly, at the centre of the synoptic gospels Jesus’s transfiguration is presented as a luminous elevation, rendering his true nature unambiguous. Thirdly, alchemy conceives of metamorphosis as contingent upon a meeting of polarities. The distinction is fit to disclose (...) crucial aspects of works of art, particularly of musical compositions. (shrink)

The production of artworks can be based on a fixed modus operandi, i.e., on a general manner and, alongside, specific patterns to be applied all over again. Alternatively, each artwork can be seen as (cor-)responding to an individual problem for which there is no recipe; in this case it needs to be looked at afresh. That approach characterizes the aesthetics of music composer Isabel Mundry (*1963); her art, ever unpredictable, is one of nuances.

Order has been ascribed both to nature and to society. There is a long tradition of claiming that the social order and the natural order are closely linked. Radical enlightenment challenged that tradition. According to Spinoza to call something orderly simply means that we can easily imagine and remember it; ascribing order thus betrays merely something about us, not about things. This challenging idea never became Enlightenment mainstream. In fact, ties between an objective natural order and our own human order (...) were widely popularized in the 18th century. Yet one strand of thinking, set out to undermine traditional views of order, turned up trumps. The British Enlightenment succeeded in undoing the time-honoured equation of order and hierarchy. (shrink)

Attempts to bestow a musical background upon spoken drama have been deemed widely superfluous; most films, by way of contrast, do employ music. This aesthetic divergence invites an account of film music in terms of lack and compensation. The standard account in such terms, viz. that music has to fill the vacuum of silence, does not explain what it is supposed to explain. Rather, music in cinema can restore in a different way the expression lost as reality is reduced to (...) mere pictures. (shrink)

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...) of art (‘Gesamtkunstwerk’) include or rather exclude chamber music? (shrink)

What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.

In the spirit of Fontenelle's "Dialogues des morts", Dorschel stages an imaginary conversation between 18th century composer Joseph Haydn and 20th century composer Anton von Webern. In the section of Hades reserved for composers, they confront their different musical poetics.

Remembrance is constitutive of music. For music emerges not as an isolated physical stimulus. Rather, it is experienced, i.e., a present musical moment is tied to its temporal antecedents. It is tempting to conceive of remembrance as repetition and as thus opposed to oblivion. Yet to memory selectivity is crucial. What is not selected, falls into oblivion. Hence as we remember we have forgotten already. The present moment evokes remembrance, and exhibits what was then in the light of what is (...) now. Remembrance changes the past it recovers. Listening to music, we may experience anamnesis to be metamorphosis. (shrink)

In design theory, moral categories have traditionally been used in favour of objectivity and soberness to oppose designers' aesthetic narcissism. This use of moral concepts is directed at the individual design object. The situation gets more complicated, however, as soon as the totality (or a large number) of objects of a certain type raises problems which could not have been predicted from features of the individual object as such. The essay attempts to clarify how ethical concepts could be relevant to (...) dealing with such complications. (shrink)

To call a piece of music sad or joyous need not imply reference to a subjective state. Speaking in this vein, we do not have to attribute sad or joyous feelings to the composer or to the performer. Nor do we predict that listeners will become sad or joyful when they will listen to a performance of that composition. Musical expression is not a mode of consciousness in those who produce it and it is not an effect of music either. (...) Rather, it is a feature of the music itself. Once we have discarded the psychological reduction of expression, the way may be clear to explore the intricate relation between expression and subjectivity. Friedrich von Hausegger’s Music as Expression (1885/87) stands out among the guides to be recommended for a journey along that path. (shrink)

Reference to past possibilities is not an additional luxury in writing history, after all facts have been established. For even facts become such only within a field of alternative options. What it means that one path was taken depends in part on answers to the question which other paths once open were not taken. Historical potential unrealized can be conceived of in a number of ways: as unfulfilled intentions, as unresolved problems, as suppressed endeavours, as waived alternatives within a context (...) of decision, or as losses incurred by gains in some other respect. Some of these conceptions are non-exclusive. None of them provides the single model to grasp past possibilities; rather, they will turn out to be more or less elucidative according to historical case. (shrink)

Is fear a ‘deficient mode’ of anxiety? This claim made by Martin Heidegger in ‘Being and Time’ (1927) depends on an analysis of intentionality. Emotions take objects: to love, to hate, to fear is to love, to hate, to fear someone or something. Yet anxiety, Heidegger maintains (‘Being and Time’ § 40), is about “nothing” (“nichts”) rather than “something” (“etwas”). Heidegger then turns lack of knowledge or understanding of what one’s anxiety is about into a revelation of “Nothing” (“Die Angst (...) offenbart das Nichts”; ‘Being and Time’ § 40) – a state meant to manifest freedom. Yet freedom is not increased but diminished if and when someone cannot judge the direction, extent and power of a threat. Concrete, determinate thought liberates; someone is less free in anxiety than in fear. (shrink)

Aestheticians in the tradition of Critical Theory have claimed that the or a purpose of musical interpretation is somehow to save or salvage or rescue ("retten") the musical work. What sense, if any, can be made of this claim? The notion of salvage or rescue presupposes the concept of danger. Threats to works of art emerge from two sources: from outside and from inside. Whilst the former problem is only touched upon, the latter is discussed in some detail, using the (...) example of Brahms' Alto Rhapsody op. 53. Kathleen Ferrier's and Clemens Krauss' interpretation of 1947 deals with rather than ignores the composer's crumbly attempt at fusing art and religion. Salvage as their attitude vis-a-vis the work is distinguished from cover-up on the one hand and exposure on the other hand. (shrink)

‘Metaphysical painting’ (‘pittura metafisica’) is a paradoxical term: extrasensory sensuousness, as it were. Painting is the representation of visible surfaces; metaphysics rejects surfaces, as deceptive, in favour of the deeper essence. But Giorgio de Chirico (1888–1978) who coined the term ‘pittura metafisica’ in 1919 was a follower of the anti-essentialist Nietzsche. ‘Metaphysics’, then, is not about discovering the essence of things but about shaping their appearances, their ‘physique’. This is an intriguing concept and the corollary to a subtle artistic oeuvre.

Does having some feeling or other ever count as an argument – and, should it? As a matter of fact, not just do persons sometimes refer to their feelings to make a point in debate. Often, they even treat them as irrefutable arguments; for they are, of course, certain of their own feelings. To make a point in debate by reference to one’s feelings, one has got to articulate them. As language is the core medium of debate (though it can (...) be supported by images etc.), feelings, then, have to be articulated in words. These words, to function in communication, must participate in what is general (though not necessarily universal). On that level of generality, other speakers of the same language can contest the feelings – not that they have occured within the first speaker’s subjectivity, but that they are reasonable reactions to circumstances. Hence if feeling is sometimes to be taken seriously as an argument, it is not irrefutable, but rather refutable; and to the extent that somebody insists that it is irrefutable, it cannot count as an argument. (shrink)

In his 'Contrat social', § 2.1, Jean-Jacques Rousseau argues that the general will alone can steer the forces of the state towards the end for which it was instituted, i.e., the common good. The argument's logical structure is more intricate than it seems at first glance. And the intricacy appears to be deliberate. Rousseau's authorial strategy is designed to evoke the reader's voice in articulating the fundamentals of politics.

It is known that sociobiology, the theory of the biological origins of the social behavior of living beings, is related to ethics. However, sociobiology does not include moral doctrines but simply describes facts. The present essay discusses two basic theses, “altruism” and “reciprocal altruism”, in order to prove that a natural science free of judgments and evaluations is contrary to a theory of ethics, such as the theory of Kant and Apel, as well as to intuitive theories of ethics. Ethics (...) is the explanatory theory of morality, and morality should be established at the theoretical level, so that doubt can be expressed and not restrained. (shrink)

The work of Richard Strauss has been disparaged as a music designed to be relished (“Genußmusik” was Adorno’s term), lacking any dimension of ‘transcendence’. The notion of ‘relish’ or ‘pleasure’ (“Genuß”), used for characterization rather than disparagement, can disclose crucial aspects of Strauss’s art, though it does not exhaust it. To oppose ‘relish’ or ‘pleasure’ (“Genuß”) to ‘transcendence’, however, either uses hidden theological premises or disregards that ‘relish’ or ‘pleasure’ (“Genuß”), bound to be pervious to its object, does transcend towards (...) it. (shrink)

Acting morally comes at a price. The fewer people act morally, the dearer moral acts will be to those who perform them. Even if it could be proven that a certain moral norm were valid, the question might still be open whether, under certain circumstances, the demand to follow it meant asking too much. The validity of a moral norm is independent from actual compliance. In that regard, moral norms differ from legal rules. A law that nobody obeys has eroded (...) and thus lost validity; a moral norm that nobody keeps, however, may still be valid. Yet the latter point does not render the question obsolete whether demanding obedience to a specific moral norm, under certain circumstances, could mean asking too much. The costs incurred might be, on the one hand, individual costs. But there may, on the other hand, also be moral costs of obeying a certain moral norm. For an individual might also have responsibilities towards others near her, e.g., her family or peers; acting in accordance with the strict moral standard, then, could do harm not just to her but also to those who rely, and must rely upon her. Yet to define moral limits to following moral rules appears to be self-defeating. (shrink)

Acting morally comes at a price. The fewer people act morally, the dearer moral acts will be to those who perform them. Even if it could be proven that a certain moral norm were valid, the question might still be open whether, under certain circumstances, the demand to follow it meant asking too much. The validity of a moral norm is independent from actual compliance. In that regard, moral norms differ from legal rules. A law that nobody obeys has eroded (...) and thus lost validity; a moral norm that nobody keeps, however, may still be valid. Yet the latter point does not render the question obsolete whether demanding obedience to a specific moral norm, under certain circumstances, could mean asking too much. The costs incurred might be, on the one hand, individual costs. But there may, on the other hand, also be moral costs of obeying a certain moral norm. For an individual might also have responsibilities towards others near her, e.g., her family or peers; acting in accordance with the strict moral standard, then, could do harm not just to her but also to those who rely, and must rely upon her. Yet to define moral limits to following moral rules appears to be self-defeating. (shrink)

Images, or icons, have been made the subject of a ‘turn’. But no new epoch under its sign is looming. The image is just one medium among others. The best we can do is to face what it may and what it may not achieve. Its main competitor is the word – though there is a field of transition between both. Words and numbers surpass the image when one needs to refer to something that cannot be seen – this holds (...) for ‘radioactivity’ just as much as for ‘responsibility’. To unambiguously show a categorial relation like causality or a logical feature like negation in an image borders on the impossible. (The aspiration to symbolize or manifest the invisible, though, has long inspired artistic images.) Pictures are accessible to the illiterate; while a language must be learned, an image seems to admit everyone. Yet that is in part an illusion. Obviously, it is not enough to see an image. To understand it, however, often a number of things must have been learnt in the first place, too. (shrink)

Friedrich Nietzsche was among the figures from the history of nineteenth century philosophy that, perhaps surprisingly, some of the Vienna Circle’s members had presented as one of their predecessors. While, primarily for political reasons, most Anglophone figures in the history of analytic philosophy had taken a dim view of Nietzsche, the Vienna Circle’s leader Moritz Schlick admired and praised Nietzsche, rejecting what he saw as a misinterpretation of Nietzsche as a militarist or proto-fascist. Schlick, Frank, Neurath, and Carnap were in (...) different ways committed to the view that Nietzsche made a significant contribution to the overcoming of metaphysics. Some of these philosophers praised the intimate connection Nietzsche drew between his philosophical outlook and empirical studies in psychology and physiology. In his 1912 lectures on Nietzsche, Schlick maintained that Nietzsche overcame an initial Schopenhauerian metaphysical-artistic phase in his thinking, and subsequently remained a positivist until his last writings. Frank and Neurath made the weaker claim that Nietzsche contributed to the development of a positivistic or scientific conception of the world. Schlick and Frank took a further step in seeing the mature Nietzsche as an Enlightenment thinker. (shrink)

Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism leads him to an alētheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein also rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: there are significant parallels to be drawn between Wittgenstein’s and Heidegger’s anti-scientism about aesthetics, (...) and that their anti-scientism leads both towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a broader metaphilosophical disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

Responsibility as accountability is normally taken to have stricter control conditions than responsibility as attributability. A common way to argue for this claim is to point to differences in the harmfulness of blame involved in these different kinds of responsibility. This paper argues that this explanation does not work once we shift our focus from other-directed blame to self-blame. To blame oneself in the accountability sense is to feel guilt and feeling guilty is to suffer. To blame oneself in the (...) attributability sense, it will be argued, is to feel shame and feeling shame is also to suffer. The different control conditions cannot be explained by a difference in the harm of blame. Instead, this paper argues that accountability and attributability are governed by different kinds of appropriateness: an agent S is accountability blameworthy for X only if S deserves to feel guilty; an agent S is attributability blameworthy for X only if it is fitting that S feels shame for X. (shrink)

Research on the ethics of algorithms has grown substantially over the past decade. Alongside the exponential development and application of machine learning algorithms, new ethical problems and solutions relating to their ubiquitous use in society have been proposed. This article builds on a review of the ethics of algorithms published in 2016, 2016). The goals are to contribute to the debate on the identification and analysis of the ethical implications of algorithms, to provide an updated analysis of epistemic and normative (...) concerns, and to offer actionable guidance for the governance of the design, development and deployment of algorithms. (shrink)

Andrea Cesalpino is an important figure in the history of science. He demonstrated that blood circulates into heart from veins and from the heart to arteries, paving the way to Harvey’s complete description of blood circulation. Moreover, he was the founder of botany as a systematic discipline, which he based, rather than on the observation of accidental similarities of plants, on the discovery of their vegetative-generative principle. In philosophy, he attempted to conciliate the immortality of the soul (i.e., the form (...) of the body) with the existence of a unique immaterial intellect, which is individuated and multiplied in the singular souls that participate to it. (shrink)

Importation in fictional discourse is the phenomenon by which audiences include information in the story over and above what is explicitly stated by the narrator. This paper argues that importation is distinct from generation, the phenomenon by which truth in fiction may outstrip what is made explicit, and draws a distinction between fictional truth and fictional records. The latter comprises the audience’s picture of what is true according to the narrator. The paper argues that importation into fictional records operates according (...) to principles that also govern ordinary conversation. An account of fictional records as a species of common ground information is proposed. Two sources of importation are described in detail, presupposition accommodation and conversational implicatures. It is shown that presuppositions are both mandatorily imported and mandatorily generated. By contrast, conversational implicatures are neither mandatorily imported nor mandatorily generated. The paper distinguishes conversational implicatures from contextual inferences. Both rely on background assumptions, yet conversational implicatures moreover depend on assumptions concerning Gricean cooperation. (shrink)

This paper explores an idea of Stoic descent that is largely neglected nowadays, the idea that an argument is valid when the conditional formed by the conjunction of its premises as antecedent and its conclusion as consequent is true. As it will be argued, once some basic features of our naıve understanding of validity are properly spelled out, and a suitable account of conditionals is adopted, the equivalence between valid arguments and true conditionals makes perfect sense. The account of validity (...) outlined here, which displays one coherent way to articulate the Stoic intuition, accords with standard formal treatments of deductive validity and encompasses an independently grounded characterization of inductive validity. (shrink)

Affirmative action is standardly pursued in relation to admissions to prestigious universities, in hiring for prestigious jobs, and when it comes to being elected to parliament. Central to these forms of affirmative action is that they have to do with competitive goods. A good is competitive when, if we improve A’s chances of getting the good, we reduce B’s chances of obtaining the good. I call this Competitive Affirmative Action. I distinguish this from Non-competitive Affirmative Action. The latter has to (...) do with non-competitive goods, e.g., being granted early parole or freedom from arbitrary arrest. I argue that some of the most prominent objections against affirmative action—in particular, the reverse discrimination objection and the merit objection—speak less against Non-competitive Affirmative Action. And that some of the most prominent arguments in favor of affirmative action, insofar as they justify Competitive Affirmative Action, also justify Non-competitive Affirmative Action. (shrink)

People often discriminate based on negative or positive stereotypes about others. Important examples of this are highlighted by the theory of ambivalent sexism. This theory distinguishes sexist stereotypes that are negative (hostile sexism) from those that are positive (benevolent sexism). While both forms of sexism are considered wrong towards women, hostile sexism seems intuitively worse than benevolent sexism. In this article, we ask whether the difference between discriminating based on positive vs. negative stereotypes in itself makes a morally relevant difference. (...) We suggest that it does not. By examining a number of prominent accounts of what makes discrimination wrong, we defend the Moral Irrelevance View according to which stereotype valence is irrelevant to the moral evaluation of discrimination, all else equal. (shrink)

It is often assumed that we are only blameworthy for that over which we have control. In recent years, however, several philosophers have argued that we can be blameworthy for occurrences that appear to be outside our control, such as attitudes, beliefs and omissions. This has prompted the question of why control should be a condition on blameworthiness. This paper aims at defending the control condition by developing a new conception of blameworthiness: To be blameworthy, I argue, is most fundamentally (...) to deserve to feel guilty. Being blamed by someone else is not necessarily harmful to the wrongdoer. The blame might not be expressed, or the wrongdoer might not care. But to blame oneself necessarily involves suffering. This conception of blameworthiness explains why the control condition should obtain: We are morally blameworthy for A only if A was under our control because to be blameworthy is to deserve to feel guilty, to feel guilty is to suffer, and one deserves to suffer for A only if A was under one’s control. (shrink)

.This paper discusses Aristotle’s thesis and Boethius’ thesis, the most distinctive theorems of connexive logic. Its aim is to show that, although there is something plausible in Aristotle’s thesis and Boethius’ thesis, the intuitions that may be invoked to motivate them are consistent with any account of indicative conditionals that validates a suitably restricted version of them. In particular, these intuitions are consistent with the view that indicative conditionals are adequately formalized as strict conditionals.

Several attempts have been made to apply the choice-sensitive theory of distributive justice, luck egalitarianism, in the context of health and healthcare. This article presents a framework for this discussion by highlighting different normative decisions to be made in such an application, some of the objections to which luck egalitarians must provide answers and some of the practical implications associated with applying such an approach in the real world. It is argued that luck egalitarians should address distributions of health rather (...) than healthcare, endorse an integrationist theory that combines health concerns with general distributive concerns and be pluralist in their approach. It further suggests that choice-sensitive policies need not be the result of applying luck egalitarianism in this context. (shrink)

Lovers typically entertain two sorts of thoughts about their beloveds. On the one hand, they think that some qualities of their beloveds provide reasons for loving them. Romeo would say that he loves Juliet in virtue of the way she is. On the other hand, they regard their beloveds as irreplaceable. Romeo would never be willing to exchange Juliet with another maiden. Yet it may be asked how these two sorts of thoughts can coherently coexist. If some qualities of Juliet (...) justify Romeo’s love for her, shouldn’t another maiden with the same qualities be equally lovable for him? This paper draws some distinctions that we take to be crucial to the understanding of reasons for love. Its aim is to show that, even though the claim that beloveds as irreplaceable is plausible to some extent, there is at least one interesting sense in which lovers are replaceable. (shrink)

The paper discusses in what sense Descartes' Meditations contain the foundation of his physics.

According to the Strawsonian tradition, a person is responsible for an action just in case it is appropriate to hold them responsible for that action. One important way of holding people responsible for wrongdoing is by experiencing and expressing blaming emotions. This raises the questions of what blaming emotions are and in what sense they can be appropriate. In this chapter I will provide an overview of different answers to both these questions. A common thread in the chapter will be (...) a challenge for the Strawsonian tradition. Given that this tradition understands moral responsibility in terms of the appropriateness of blaming emotions, it must provide a realistic picture of these emotions and the practices in which they take part. On the other hand, it also aims to develop a normatively plausible account of the conditions of responsibility. I will try to show that it is often difficult to strike a satisfactory balance between these two aspirations. (shrink)