Deduction is important to scientific inquiry because it can extend knowledge efficiently, bypassing the need to investigate everything directly. The existence of closure failure—where one knows the premises and that the premises imply the conclusion but nevertheless does not know the conclusion—is a problem because it threatens this usage. It means that we cannot trust deduction for gaining new knowledge unless we can identify such cases ahead of time so as to avoid them. For philosophically engineered examples we have “inner (...) alarm bells” to detect closure failure, but in scientific investigation we would want to use deduction for extension of our knowledge to matters we don’t already know that we couldn’t know. Through a quantitative treatment of how fast probabilistic sensitivity is lost over steps of deduction, I identify a condition that guarantees that the growth of potential error will be gradual; thus, dramatic closure failure is avoided. Whether the condition is fulfilled is often obvious, but sometimes it requires substantive investigation. I illustrate that not only safe deduction but the discovery of dramatic closure failures can lead to scientific advances. (shrink)

Many who think that naked statistical evidence alone is inadequate for a trial verdict think that use of probability is the problem, and something other than probability – knowledge, full belief, causal relations – is the solution. I argue that the issue of whether naked statistical evidence is weak can be formulated within the probabilistic idiom, as the question whether likelihoods or only posterior probabilities should be taken into account in our judgment of a case. This question also identifies a (...) major difference between the Process Reliabilist and Probabilistic Tracking views of knowledge and other concepts. Though both are externalist, and probabilistic, epistemic theories, Tracking does and Process Reliabilism does not put conditions on likelihoods. So Tracking implies that a naked statistic is not adequate evidence about an individual, and does not yield knowledge, whereas the Reliabilist thinks it gives justified belief and knowledge. Not only does the Tracking view imply that naked statistical evidence is insufficient for a verdict, but it gives us resources to explain why, in terms of risk and the special conditions of a trial. (shrink)

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

As schools publicly modernize in response to societal changes, additional teaching and learning methods are developed, observed, and used since learners have different learning styles that make it easier for them to grasp and retain the material. During the COVID-19 pandemic, teachers require different media to keep the classroom involved while presenting the lesson materials online, one of which is video tutorials. The purpose of this study was to analyze the extent of contextual effects of video tutorials used in general (...) chemistry, determine the relationship between video tutorial effectiveness and the respondents' academic performance, and analyze the significant difference between the four indicators of contextual effects of video tutorials and the respondents' profile. A descriptive-correlational quantitative research design was used in this study. The participants in this study were 144 Grade 12 STEM students from a private school in Sultan Kudarat, Philippines, who took their general chemistry course during the pandemic. The respondents were given a survey questionnaire created with Google Forms. The students agreed with all the assertions and rated them as effective in terms of their perceptions of general chemistry, implying that video tutorials are useful in teaching the subject. With p-values of .023, .046, and .010, respectively, the findings revealed a significant relationship between the overall mean of students' perceptions of the subject of General Chemistry, the concept and application of chemical knowledge and understanding, and their influence on students' academic performance. In terms of their perception, ideas, and application of chemical knowledge and comprehension, the results demonstrated that there is no statistically significant difference between the general mean of male and female students' responses. This basically means that by using video lectures, STEM students of all genders appreciate and understand General Chemistry as a subject. -/- . (shrink)

How confident does the history of science allow us to be about our current well-tested scientific theories, and why? The scientific realist thinks we are well within our rights to believe our best-tested theories, or some aspects of them, are approximately true.2 Ambitious arguments have been made to this effect, such as that over historical time our scientific theories are converging to the truth, that the retention of concepts and claims is evidence for this, and that there can be no (...) other serious explanation of the success of science than that its theories are approximately true. There is appeal in each of these ideas, but making such strong claims has tended to be hazardous, leaving us open to charges that many typical episodes in the history of science just do not fit the model. (See, e.g., Laudan 1981.) Arguing for a realist attitude via general claims – properties ascribed to sets of theories, trends we see in progressions of theories, and claimed links between general properties like success and truth that apply or fail to apply to any theory regardless of its content – is like arguing for or via a theory of science, which brings with it the obligation to defend that theory. I think a realist attitude toward particular scientific theories for which we have evidence can be maintained rationally without such a theory, even in the face of the pessimistic induction over the history of science. The starting point at which questions arise as to what we have a right to believe about our theories is one where we have theories and evidence for them, and we are involved in the activity of apportioning our belief in each particular theory or hypothesis in accord with the strength of the particular evidence.3 The devil’s advocate sees our innocence and tries his best to sow seeds of doubt. If our starting point is as I say, though, the innocent believer in particular theories does not have to play offense and propose sweeping views about science in general, but only to respond to the skeptic’s challenges; the burden of initial argument is on the skeptic.. (shrink)

This paper presents data on the representation of women at 98 philosophy departments in the United States, which were ranked by the Philosophical Gourmet Report (PGR) in 2015 as well as all of those schools on which data from 2004 exist. The paper makes four points in providing an overview of the state of the field. First, all programs reveal a statistically significant increase in the percentage of women tenured/tenure-track faculty, since 2004. Second, out of the 98 US philosophy departments (...) selected for evaluation by Julie Van Camp in 2004, none in 2015 has 50% women philosophy faculty overall, while one has 50% women who are tenured/tenure track. Third, as of 2015, there is a clear pyramidal shape to the discipline: Women are better represented as Assistant than Associate and as Associate than Full professors. Fourth, women philosophy faculty, especially those who are tenured/tenure track, are better represented at Non-PGR ranked programs than at PGR ranked and PGR Top-20 programs in 2015. (shrink)

This paper defends the naïve thesis that the method of experiment has per se an epistemic superiority over the method of computer simulation, a view that has been rejected by some philosophers writing about simulation, and whose grounds have been hard to pin down by its defenders. I further argue that this superiority does not come from the experiment’s object being materially similar to the target in the world that the investigator is trying to learn about, as both sides of (...) dispute over the epistemic superiority thesis have assumed. The superiority depends on features of the question and on a property of natural kinds that has been mistaken for material similarity. Seeing this requires holding other things equal in the comparison of the two methods, thereby exposing that, under the conditions that will be specified, the simulation is necessarily epistemically one step behind the corresponding experiment. Practical constraints like feasibility and morality mean that scientists do not often face an other-things- equal comparison when they choose between experiment and simulation. Nevertheless, I argue, awareness of this superiority and of the general distinction between experiment and simulation is important for maintaining motivation to seek answers to new questions. (shrink)

When we get evidence that tells us our belief-forming mechanisms may not be reliable this presents a thorny set of questions about whether and how to revise our original belief. This article analyzes aspects of the problem and a variety of approaches to its solution.

I develop a general framework with a rationality constraint that shows how coherently to represent and deal with second-order information about one's own judgmental reliability. It is a rejection of and generalization away from the typical Bayesian requirements of unconditional judgmental self-respect and perfect knowledge of one's own beliefs, and is defended by appeal to the Principal Principle. This yields consequences about maintaining unity of the self, about symmetries and asymmetries between the first- and third-person, and a principled way of (...) knowing when to stop second-guessing oneself. Peer disagreement is treated as a special case where one doubts oneself because of news that an intellectual equal disagrees. This framework, and variants of it, imply that the typically stated belief that an equally reliably peer disagrees is incoherent, and thus that pure rationality constraints without further substantive information cannot give an answer as to what to do. The framework also shows that treating both ourselves and others as thermometers in the disagreement situation does not imply the Equal Weight view. (shrink)

This paper defends the naïve thesis that the method of experiment has per se an epistemic superiority over the method of computer simulation, a view that has been rejected by some philosophers writing about simulation, and whose grounds have been hard to pin down by its defenders. I further argue that this superiority does not come from the experiment’s object being materially similar to the target in the world that the investigator is trying to learn about, as both sides of (...) dispute over the epistemic superiority thesis have assumed. The superiority depends on features of the question and on a property of natural kinds that has been mistaken for material similarity. Seeing this requires holding other things equal in the comparison of the two methods, thereby exposing that, under the conditions that will be specified, the simulation is necessarily epistemically one step behind the corresponding experiment. Practical constraints like feasibility and morality mean that scientists do not often face an other-things- equal comparison when they choose between experiment and simulation. Nevertheless, I argue, awareness of this superiority and of the general distinction between experiment and simulation is important for maintaining motivation to seek answers to new questions. (shrink)

I argue against a prevailing view that the essence of Godis identical with the attributes. I show that given what Spinoza says in 2d2 – Spinoza'spurported definition of the essence of a thing – the attributes cannot be identical withthe essence of God (whether the essence of God is understood as the distinct attributesor as a totality of indistinct attributes). I argue that while the attributes do notsatisfy the stipulations of 2d2 relative to God, absolutely infinite and eternal power does (...) satisfythose stipulations. Hence, I conclude that absolutely infinite and eternal power is God'sessence and that the attributes are expressions of that power. (shrink)

There is a widespread view that in order to be rational we must mostly know what we believe. In the probabilistic tradition this is defended by arguments that a person who failed to have this knowledge would be vulnerable to sure loss, or probabilistically incoherent. I argue that even gross failure to know one's own beliefs need not expose one to sure loss, and does not if we follow a generalization of the standard bridge principle between first-order and second-order beliefs. (...) This makes it possible for a subject to use probabilistic decision theory to manage in a rational way cases of potential failure of this self-knowledge, as we find in implicit bias. Through such cases I argue that it is possible for uncertainty about what our beliefs are to be not only rationally permissible but advantageous. (shrink)

This paper argues that if knowledge is defined in terms of probabilistic tracking then the benefits of epistemic closure follow without the addition of a closure clause. (This updates my definition of knowledge in Tracking Truth 2005.) An important condition on this result is found in "Closure Failure and Scientific Inquiry" (2017).

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...) stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...) experience of itches and scratches can be appropriate. I argue that attention to the domain of somatic experience is worthwhile, in that it offers the prospects of significant aesthetic satisfaction, and I suggest that even attention to unpleasant experiences like itches and pains may be aesthetically rewarding. (shrink)

It is received wisdom that the skeptic has a devastating line of argument in the following. You probably think, he says, that you know that you have hands. But if you knew that you had hands, then you would also know that you were not a brain in a vat, a brain suspended in fluid with electrodes feeding you perfectly coordinated impressions that are generated by a supercomputer, of a world that looks and moves just like this one. You would (...) know you weren’t in this state if you knew you had hands, since having hands implies you are no brain in a vat. You obviously don’t know you’re not a brain in a vat, though—you have no evidence that would distinguish that state from the normal one you think you’re in. Therefore, by modus tollens, you don’t know you have hands. At least, the skeptic has a devastating argument, it is thought, if we grant him closure of knowledge under known implication, which many of us are inclined to do: roughly, if you know p, and you know that p implies q, then you know q. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their (...) work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it. (shrink)

As aesthetic beings, we are receptive to and engaged with the sensuous phenomena of life while also knowing that we are targets of others’ awareness: we are both aesthetic agents and aesthetic objects. Our psychological health, our standing within our communities, and our overall wellbeing can be profoundly affected by our aesthetic surroundings and by whether and how we receive aesthetic recognition from others. When our embodied selves and our cultural products are valued, and when we have rich opportunities for (...) aesthetic experience and for the exercise of aesthetic agency, the aesthetic can foster and sustain wellbeing and help to make our lives worthwhile. But when we are subjected to aesthetic blight, restriction of our aesthetic agency, and aesthetic devaluing of our embodied selves and our communities’ cultural products, the aesthetic can do great harm: such aesthetic maneuvers play a significant role in oppression and social hierarchy related to race, gender, fatness, and disability. This essay explores the notions of aesthetic objects and aesthetic agents, their relations with each other, and the unique affordances of persons’ status as simultaneously aesthetic objects and aesthetic agents. It examines the prospects for bodily aesthetic experience to promote wellbeing and, at the end, considers how the aesthetic might play a role in establishing forms of mutual vulnerability and recognition to combat oppressive social hierarchies. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

In the aftermath of Gettier’s examples, knowledge came to be thought of as what you would have if in addition to a true belief and your favorite epistemic goody, such as justifiedness, you also were ungettiered, and the theory of knowledge was frequently equated, especially by its detractors, with the project of pinning down that extra bit. It would follow that knowledge contributes something distinctive that makes it indispensable in our pantheon of epistemic concepts only if avoiding gettierization has a (...) value that can be explained without presupposing the value of knowledge. Tracking-type knowledge has a value that no other logically possible conditions on true belief does. As an Evolutionarily Stable Strategy it preserves appropriate belief states through time and changing circumstances. If we characterize gettierization through the concept of relevance matching, then we see that avoiding gettierization has a value independent of that of knowledge, namely, understanding, and that it is unnecessary to add a clause to the tracking conditions to make them suppress gettierization directly, though fallibly. The bright line of value is between gettierization avoidance and understanding on the one hand and knowledge on the other, and so should be the bright line defining concepts. The concept of relevance matching is key to a definition of what it is to understand why p is true, as opposed merely to knowing that p is true. Perfect tracking implies perfect relevance matching, so knowledge and understanding are intimately connected but understanding also requires that one own states that accomplish the relevance matching rather than achieving it vicariously. The theory of understanding based on relevance matching implies that understanding requires appreciation of not only p but its connections to other matters, and explains how it is possible to know that p is true without understanding why. The view implies that understanding is literally simulation, and is suggestive about understanding other minds. (shrink)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...) what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

Abstract: Knowledge requires more than mere true belief, and we also tend to think it is more valuable. I explain the added value that knowledge contributes if its extra ingredient beyond true belief is tracking . I show that the tracking conditions are the unique conditions on knowledge that achieve for those who fulfill them a strict Nash Equilibrium and an Evolutionarily Stable Strategy in what I call the True Belief Game. The added value of these properties, intuitively, includes preparedness (...) and an expectation of survival advantage. On this view knowledge is valuable not because knowledge persists but because it makes the bearer more likely to maintain an appropriate belief state—possibly nonbelief—through time and changing circumstances. When Socrates concluded that knowledge of the road to Larissa was no more valuable than true belief for the purpose of getting to Larissa, he did not take into account that one might want to be prepared for a possible meeting with a misleading sophist along the way, or for the possibility of road work. (shrink)

In the last three decades several cosmological principles and styles of reasoning termed 'anthropic' have been introduced into physics research and popular accounts of the universe and human beings' place in it. I discuss the circumstances of 'fine tuning' that have motivated this development, and what is common among the principles. I examine the two primary principles, and find a sharp difference between these 'Weak' and 'Strong' varieties: contrary to the view of the progenitors that all anthropic principles represent a (...) departure from Copernicanism in cosmology, the Weak Anthropic Principle is an instance of Copernicanism. It has close affinities with the step of Copernicus that Immanuel Kant took himself to be imitating in the 'critical' turn that gave rise to the Critique of Pure Reason. I conclude that the fact that a way of going about natural science mentions human beings is not sufficient reason to think that it is a subjective approach; in fact, it may need to mention human beings in order to be objective. (shrink)

We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...) occurrences are physical particulars. And nontraditional techniques and materials employed in contemporary art violate the boundaries of conventional media, prompting a rethinking of what artistic medium might be. (shrink)

This paper addresses two examples due to Peter Achinstein purporting to show that the positive relevance view of evidence is too strong, that is, that evidence need not raise the probability of what it is evidence for. The first example can work only if it makes a false assumption. The second example fails because what Achinstein claims is evidence is redundant with information we already have. Without these examples Achinstein is left without motivation for his account of evidence, which uses (...) the concept of explanation in addition to that of probability. (shrink)

Several years ago, the poet & critic Joan Houlihan offered a scathing and hilarious indictment of a lot of postmodern poetry for using words in a way that treats them as meaningless (or, perhaps, renders them meaningless). She suggested that word choice in such poems doesn’t really matter, and that the poet could just as well have substituted in other words without any change in meaning or aesthetic qualities. I argue that she’s wrong about this. I offer an account of (...) how interpretation and meaning function in poems that use words in highly non-standard ways. In such poems, there are associations and implicatures that one can reasonably expect a suitably backgrounded reader to grasp, rescuing interpretation from being a purely subjective and arbitrary activity. (shrink)

The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...) the projects and interests of the person whose body it is. Aesthetically relevant functions, on this account, are determined neither by the body’s status as organism nor by cultural assumptions about how bodies should function or be used. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...) significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

Though feminists are correct to note that conventional standards of sexiness are oppressive, we argue that feminism should reclaim sexiness rather than reject it. We argue for an aesthetic and ethical practice of working to shift from conventional attributions of sexiness to respectful attributions, in which embodied sexual subjects are appreciated in their full individual magnificence. We argue that undertaking this practice is an ethical obligation, since it contributes to the full recognition of others’ humanity. We discuss the relationship of (...) ethical to aesthetic considerations and argue that the respectful notion of sexiness is a genuinely aesthetic one, even though it does not involve assessment in relation to standards. (shrink)

This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...) sufficient to avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon. (shrink)

This reference essay surveys recent work in the emerging sub-discipline of everyday aesthetics, which builds on the work of John Dewey to resist sharp distinctions between art and non-art domains and argue that aesthetic concepts are properly applied to ordinary domains of experience.

I clarify the arguments of my paper “Scratching an Itch” in response to a discussion piece by Brian Soucek. I also offer a new argument that objectivity is possible for aesthetic judgments about private phenomena such as somatic experiences.

Repeatable artworks, such as novels and musical works, have often been construed as universals whose instances are particular printings or performances. In Art and Art-Attempts, Christy Mag Uidhir offers a nominalist account of repeatable artworks, eschewing talk of universals. Mag Uidhir argues that all artworks are concrete, and artworks that we regard as repeatable are simply unified by a relevant similarity relation: we use the name Beloved to refer to two concrete printed novels because they are relevantly similar to each (...) other and to certain other printings that are the product of Toni Morrison’s art-attempt. I discuss two potential difficulties for Mag Uidhir’s notion of relevant similarity: a difficulty related to appropriation, and a difficulty related to the fact that musical performances are often the product of distinct art-attempts by the composer and by the performer. I suggest that both difficulties could be addressed by enriching the notion of relevant similarity by appeal to the artist’s specification of which similarities are essential for two works to count as relevantly similar. (shrink)

I discuss two interrelated ways in which disgust functions in motherhood. First, relaxation of the mother’s sense of disgust allows her to nurture her child more effectively. Second, others’ responses of disgust are used to enforce social norms regarding the “good” mother. If the mother acquiesces, she must continually monitor and tidy her child, which may interfere with the child’s exploration of the world. If she does not, she is subject to ongoing signs that she is flawed or failing as (...) a mother. (shrink)

The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.

The transferability problem—whether the results of an experiment will transfer to a treatment population—affects not only Randomized Controlled Trials but any type of study. The problem for any given type of study can also, potentially, be addressed to some degree through many different types of study. The transferability problem for a given RCT can be investigated further through another RCT, but the variables to use in the further experiment must be discovered. This suggests we could do better on the epistemological (...) problem of transferability by promoting, in the repeated process of formulating public health guidelines, feedback loops of information from the implementation setting back to researchers who are defining new studies. (shrink)

There is much disagreement about how extensive a role theoretical mind-reading, behavior-reading, and simulation each have and need to have in our knowing and understanding other minds, and how each method is implemented in the brain, but less discussion of the epistemological question what it is about the products of these methods that makes them count as knowledge or understanding. This question has become especially salient recently as some have the intuition that mirror neurons can bring understanding of another's action (...) despite involving no higher-order processing, whereas most epistemologists writing about understanding think that it requires reflective access to one's grounds, which is closer to the intuitions of other commenters on mirror neurons. I offer a definition of what it is that makes something understanding that is compelling independently of the context of cognition of other minds, and use it to show two things: 1) that theoretical mind-reading and simulation bring understanding in virtue of the same epistemic feature, and 2) why the kind of motor representation without propositional attitudes that is done by mirror neurons is sufficient for action understanding. I further suggest that more attention should be paid to the potential disadvantages of a simulative method of knowing. Though it can be more efficient in some cases, it can also bring vulnerability, wear and tear on one's personal equipment, and unintended mimicry. (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...) when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)

This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.

Epistemic injustice is injustice to a person qua knower. In one form of this phenomenon a speaker’s testimony is denied credence in a way that wrongs them. I argue that the received definition of this testimonial injustice relies too heavily on epistemic criteria that cannot explain why the moral concept of injustice should be invoked. I give an account of the nature of the wrong of epistemic injustice that has it depend not on the accuracy of judgments that are used (...) or made in the process of deciding whether to listen to or trust a speaker, but on whether the basis of the decision about a speaker is their reliability or their identity, and the account explains why the latter is a moral wrong. A key difference between the two accounts is how they classify the use of true statistical generalizations connecting identity and reliability. The received view implies that this cannot be an injustice, while the view proposed here implies that it can. As such the new view appears to imply a conflict between moral and epistemic obligations: it is morally wrong to use true statistical generalizations in certain contexts, yet they are part of our evidence, and we are epistemically obligated to take all of our evidence into account. I reconcile these two thoughts without adopting the currently popular view that a belief’s being morally wrong makes it epistemically unjustified, and I argue that following the principle of total evidence encourages epistemic justice rather than thwarting it. (shrink)

The body is relevant for aesthetics from two perspectives. We experience and assess bodies aesthetically from the outside; and we have aesthetic experiences of and through our bodies from the inside. In experiences of one’s own body, these perspectives often intersect in interesting ways. From both perspectives, the body is a site where aesthetic and ethical considerations are deeply intertwined. This article includes discussion of Beauty and the Body, Aesthetic Body Practices, Body Aesthetics and Gender Construction, Somatic Dimensions of Aesthetic (...) Experience, and The Body in Contemporary Art. (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...) fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

This essay examines the difficulties faced by the claim that artworks are simple physical objects (or, in the case of non-visual art forms, simple structures of another sort) and examines alternative proposals regarding their ontological nature.

The ontology of visual artworks might be thought comparable to the ontology of other sorts of artifacts: a work of painting seems to be materially constituted by a particular canvas with paint on it, just as a spoon is constituted by a particular piece of metal. But recent developments have complicated the situation, requiring a new account of the ontology of contemporary art. These developments also shed light on the ontology of works from earlier historical eras. This article discusses Artworks (...) as Events, Artworks as Abstract Entities, and Artworks and Norms. (shrink)

This paper argues for several claims about the moral relevance of the aesthetic: that attention to aesthetic values may promote moral motivation; that aesthetic values should be regarded as constraining moral demands; and that the pursuit of aesthetic satisfactions may itself have positive moral value. These arguments suggest that moral thinking should be aesthetically informed to a much greater degree than has been typical. The aesthetic is a central dimension of a good life, and a life’s being good for the (...) person living it has considerable moral weight, both in itself and because of the positive consequences for others that stem from it. Moral thinking that neglects aesthetic considerations, then, is likely to result in theories that are deficient not only from an aesthetic but from a moral point of view. (shrink)