It is fundamental that, in philosophy, we make sure that we are not mistaking merely verbal disputes, or “conceptual” disputes, for substantive ones. This essay presents a tripartite framework that is useful for clarifying cases where it is difficult to tell whether we are engaged in substantive or non-substantive disputes. For this purpose, the essay offers some combinatorial possibilities between the following levels: verbal, conceptual, and objectual. We need to distinguish whether we are arguing about the world, concepts, or words (...) to avoid talking at cross-purposes and to recognize when our disputes are not worth the time. Distinguishing between these three levels can also throw light and guide research on conceptual engineering, metalinguistic negotiations, metaontology, and so on. (shrink)

What is the true worth of Wittgenstein's contribution to philosophy? Answers to this question are strongly divided. However, most assessments rest on certain popular misreadings of his purpose. This book challenges both "theoretical" and "therapeutic" interpretations. In their place, it seeks to establish that, from beginning to end, Wittgenstein regarded clarification as the true end of philosophy. It argues that, properly understood, his approach exemplifies rather than betrays critical philosophy and provides a viable alternative to other contemporary offerings.

Traditional philosophy has been under attack from several quarters in recent years. The traditional philosopher views philosophy as an armchair discipline relying, for the most part, on reason and reflection. Some philosophers doubt the legitimacy of this type of inquiry. Their arguments usually occur along two dimensions. Some argue that the primary data source for the armchair philosopher--intuition--does not provide evidence for philosophical theories. Others argue that conceptual analysis, which is the preferred method of inquiry for armchair philosophers, can't yield (...) the results the philosopher is looking for, since concepts like 'knowledge' or 'free-will' vary from culture to culture or even between persons within a culture. Finally, some philosophers argue that we should abandon the armchair program because philosophy should be an empirical enterprise continuous with the sciences. I argue that attempts to undermine intuition fail and that one can justify the evidential status of intuition in a non-question begging way. I then argue that attacks on the belief in shared concepts do not succeed because they often conflate the nature of scientific objects with those of interest to the philosopher. However, if concepts do vary from culture to culture, I show that the philosopher need not abandon the armchair. She can still do conceptual analysis but it will be only the entry point into the philosophical dialogue. I apply this approach to epistemology arguing that the central epistemic questions ought to be the existential and the normative. This approach helps to vindicate epistemic internalism. (shrink)

Abstract: By focusing on contributions to the literature on function ascription, this article seeks to illustrate two problems with philosophical accounts that are presented as having descriptive aims. There is a motivational problem in that there is frequently no good reason why descriptive aims should be important, and there is a methodological problem in that the methods employed frequently fail to match the task description. This suggests that the task description as such may be the result of “default descriptivism,” a (...) tendency to take considerations that make sense of a practice to be the very considerations that generate it. Although such hypotheses are frequently quite plausible, the fact of the matter may not be very important for the pursuits of philosophers. (shrink)

This article argues that the so-called Charge from Psychology does not refute the project of defining art. The charge entails that the project is misguided because it falsely presupposes that the concept of art is classically structured. The charge is challenged by distinguishing philosophers’ normative from psychologists’ descriptive aims. Unlike what many philosophers of art themselves believe, defining art is a normative project, since proposed definitions formulate conditions under which the concept of art should be applied, rather than is applied. (...) Therefore, it is not inherently problematic that definitions do not fit empirical data: a normative definition need not reflect how people categorize items as art. In the end, this article shows the significance of empirical data for definitions of art. (shrink)