Philosophical perplexity about intention begins with its appearance in three guises: intention for the future, as when I intend to complete this entry by the end of the month; the intention with which someone acts, as I am typing with the further intention of writing an introductory sentence; and intentional action, as in the fact that I am typing these words intentionally. As Elizabeth Anscombe wrote in a similar context, ‘it is implausible to say that the word is equivocal as (...) it occurs in these different cases’ and from the fact that ‘we are tempted to speak of “different senses” of a word which is clearly not equivocal, we may infer that we are pretty much in the dark about the character of the concept which it represents’ (Anscombe 1963, p. 1). (shrink)

This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not of (...) failed-art; and art’s intention-dependence is perfectly compatible with the role that luck plays in artistic creation. (shrink)

If a person's head moves, she may or may not have moved her head, and, if she did move it, she may have actively performed the movement of her head or merely, by doing something else, caused a passive movement. And, if she performed the movement, she might have done so intentionally or not. This short array of contrasts (and others like them) has motivated questions about the nature, variety, and identity of action. Beyond the matter of her moving, when (...) the person moves her head, she may be indicating agreement or shaking an insect off her ear. Should we think of the consequences, conventional or causal, of physical behavior as constituents of an action distinct from but ‘generated by’ the movement? Or should we think that there is a single action describable in a host of ways? Also, actions, in even the most minimal sense, seem to be essentially ‘active’. But, how can we explain what this property amounts to and defend our wavering intuitions about which events fall in the category of the ‘active’ and which do not? (shrink)

This paper constructs a theory according to which an intention is not a mental state but an action at a certain developmental stage. I model intention on organic life, and thus intention stands to action as tadpole stands to frog. I then argue for this theory by showing how it overcomes three problems: intending while merely preparing, not taking any steps, and the action is impossible. The problems vanish when we see that not all actions are mature. Just as some (...) frogs are immature frogs, some actions are immature actions. (shrink)

Subjectivism about meaning in life remains a viable option, despite its relative unpopularity. Two arguments against it in the literature, the first by Susan Wolf and the second by Aaron Smuts and Antti Kauppinen, fail. Pace Wolf, lives devoted to activities of no objective value need not be pointless, unproductive, and futile, and so not prima facie meaningless; and, pace Smuts and Kauppinen, subjectivism is compatible with people being mistaken about how meaningful their own lives are. This paper elaborates a (...) novel subjectivist view according to which becoming more fulfilled makes a life meaningful for a person. Becoming more fulfilled is a process that has being more fulfilled as its endpoint, and, as with any process, it can come to a halt before it is complete. More substantively, becoming more fulfilled by some x is a matter of aiming to do various activities well, where doing them well at least partly constitutes benefiting x, and requires that one be more fulfilled by x than one presently is. Finally, this paper shows why the becoming more fulfilled view is to be preferred to the standard subjectivist theory, the fulfillment view, and how it produces intuitive results. (shrink)

I argue that intending and acting belong to the same genus: intending is a kind of doing continuous in structure with intentional acting. Future-directed intending is not a truly separate phenomenon from either the intending in action or the acting itself. Ultimately, all intentions are in action, or better still, in extended courses of action. I show how the intuitive distinction between intending and acting is based on modeling the two phenomena on the extreme and limiting cases of an otherwise (...) continuous spectrum of the ways in which agents exercise rational active intelligent guidance in the pursuit of goals. I argue that diachronic intentional agency is better understood in terms of continuity and unity of courses of active and intelligent guidance, and that the distinction between intending to do something and doing it is only a derivative and context-dependent segmentation of these continuous courses of rational active intelligent guidance. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)