This paper disputes a common definition of token identity theory. It also observes that within the philosophical literature there are two significantly different definitions of token identity theory that are commonly used.

Concerns about ‘mental causation’ are concerns about how it is possible for mental states to cause anything to happen. How does what we believe, want, see, feel, hope, or dread manage to cause us to act? Certain positions on the mind-body problem—including some forms of physicalism—make such causation look highly problematic. This entry sketches several of the main reasons to worry, and raises some questions for further investigation.

It is generally supposed by psychical researchers that evidence suggestive of consciousness surviving bodily death would always be compatible with the so-called 'super-psi hypothesis', according to which living-agent psi is wholly responsible for the evidence. In this paper, I argue that, granted how super-psi is supposed to work, a case can be made for certain near-death experience cases to be incompatible with the super-psi hypothesis. From such a base, the explanatory impasse between the super-psi hypothesis and the survival hypothesis can (...) be broken. Keywords: near-death experiences, NDEs, super-psi, mind-body dualism, survival, consciousness. (shrink)

Composer and musicologist Nicolas Slonimsky published a fascinating and delightful book entitled Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven’s Time (Slonimsky 1965). The book is a collection of what Slonimsky called “biased, unfair, ill-tempered, and singularly unprophetic judgments” (p. 3) about famous composers and their works. We find, for example, the Gazette Musicale de Paris on August 1, 1847, saying of Verdi, “there has not yet been an Italian composer more incapable of producing what is commonly called (...) a melody.” And this publication stuck to its guns. On May 22, 1853, it said of Rigoletto that it “lacks melody. This opera has hardly any chance to be kept in the repertoire.” The May 1804 issue of Zeitung für die Elegente Welt proclaimed Beethoven’s Second Symphony is a crass monster, a hideously writhing wounded dragon, that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect................ (shrink)