A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

I identify two versions of the scientific anti-realist’s selectionist explanation for the success of science: Bas van Fraassen’s original and K. Brad Wray’s newer interpretation. In Wray’s version, psycho-social factors internal to the scientific community – viz. scientists’ interests, goals, and preferences – explain the theory-selection practices that explain theory-success. I argue that, if Wray’s version were correct, then science should resemble art. In art, the artwork-selection practices that explain artwork-success appear faddish. They are prone to radical change over time. (...) Theory-selection practices that explain theory-success in science are however not faddish. They are mostly stable; that is, long-lived and consistent over time. This is because scientists (explicitly or implicitly) subscribe to what I will call the testability norm: scientific theories must make falsifiable claims about the external physical world. The testability norm and not psycho-sociology explains the theory-selection practices that explain theory-success in science. Contra Wray, scientific anti-realists can then maintain that the external physical world (as expressed in the testability norm) explains theory-success. (shrink)

Pluralist and eliminativist positions have proliferated within both science and philosophy of science in recent decades. This paper asks the question why this shift of thinking has occurred, and where it is leading us. We provide an explanation which, if correct, entails that we should expect pluralism and eliminativism to transform other debates currently unaffected, and for good reasons. We then consider the question under what circumstances eliminativism will be appropriate, arguing that it depends not only on the term in (...) question, but also on the context of discussion and details of the debate at hand. The resultant selective eliminativism is an appealing compromise for various ‘pluralists’ and ‘eliminativists’ who are currently locking horns. (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)

An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging theories. (...) A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

This discussion note addresses Caleb Hazelwood’s ‘Practice-Centered Pluralism and a Disjunctive Theory of Art’. Hazelwood advances a disjunctive definition of art on the basis of an analogy with species concept pluralism in the philosophy of biology. We recognize the analogy between species and art, we applaud attention to practice, and we are bullish on pluralism—but it is a mistake to take these as the basis for a disjunctive definition.

According to pluralism about some concept, there are multiple non-equivalent, legitimate concepts pertaining to the ontological category in question. It is an open question whether conceptual pluralism implies anti-realism about that category. In this article, I argue that at least for the case of music, it does not. To undermine the application of an influential move from pluralism to anti-realism, then, I provide an argument in support of indifference realism about music, by appeal to music archaeological research, via an analogy (...) with Adrian Currie’s indifference realism about species licensed by paleobiological research. (shrink)

In this paper I defend the metaphysics of race as a valuable philosophical project against deflationism about race. The deflationists argue that metaphysical debate about the reality of race amounts to a non-substantive verbal dispute that diverts attention from ethical and practical issues to do with ‘race.’ In response, I show that the deflationists mischaracterize the field and fail to capture what most metaphysicians of race actually do in their work, which is almost always pluralist and very often normative and (...) explicitly political. Even if debates about the reality of race turn out to be verbal disputes, they are substantive, and worth having. (shrink)

In this paper, I argue that ‘art’, though an open concept, is not undefinable. I propose a particular kind of definition, a disjunctive definition, which comprises extant theories of art. I co-opt arguments from the philosophy of science, likening the concept ‘art’ to the concept ‘species’, to argue that we ought to be theoretical pluralists about art. That is, there are a number of legitimate, perhaps incompatible, criteria for a theory of art. In this paper, I consider three: functionalist definitions, (...) procedural definitions, and an intentional-historical definition. The motivation for this pluralism comes from an analysis of practice, because the term is of apparent value to practitioners. However, a closer analysis of the concept reveals that, while disjunctive definitions help us to understand how we use certain terms, they lack ontological import. In sum, I attempt to glean lessons from the philosophy of science about the philosophy of art. If my analysis is correct, we ought to be eliminative pluralists about art as a concept. (shrink)

I argue for sensory pluralism. This is the view that there are many forms of sensory interaction and unity, and no single category that classifies them all. In other words, sensory interactions do not form a single natural kind. This view suggests that how we classify sensory systems (and the experiences they generate) partly depends on our explanatory purposes. I begin with a detailed discussion of the issue as it arises for our understanding of thermal perception, followed by a general (...) account and defense of sensory pluralism. (shrink)

Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...

We have a rough idea of what artifacts are: artifacts are objects made to serve a certain purpose. However, there is no consensus on how to specify this definition. Essentialists argue that objects are grouped into artifact kinds by sharing non-trivial artifact essences, while anti-essentialists argue that there is no such essence to be found. However, the prominent essentialist and anti-essentialist accounts suffer from extensional and definitional problems. I argue that the problems current essentialist and anti-essentialist accounts face mainly stem (...) from the assumption of artifact concept monism. According to artifact concept monism, there is only a single way to group objects into artifact kinds. To remedy the problems that stem from artifact concept monism, this paper offers an alternative framework by drawing parallels from the debates on species concept pluralism and art concept pluralism. (shrink)

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties (...) of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither. (shrink)

In this paper, I explore and defend the idea that musical works are historical individuals. Guy Rohrbaugh (2003) proposes this for works of art in general. Julian Dodd (2007) objects that the whole idea is outré metaphysics, that it is too far beyond the pale to be taken seriously. Their disagreement could be seen as a skirmish in the broader war between revisionists and reactionaries, a conflict about which of metaphysics and art should trump the other when there is a (...) conflict. That dispute is a matter of philosophical methodology as much as it is a dispute about art. I argue that the ontology of works as individuals need not be dunked in that morass. My primary strategy is to show, contra Dodd's accusation, that historical individuals are familiar parts of the world. Although the ontological details are open to debate, it is the standard opinion of biologists is that biological species are historical individuals. So there is no conflict here between fidelity to art and respectable metaphysics. What suits species will fit musical work as well. (shrink)

The aim of this dissertation is to create a naturalistic philosophical picture of creative capacities that are specific to our species, focusing on artistic ability, religious reflection, and scientific study. By integrating data from diverse domains within a philosophical anthropological framework, I have presented a cognitive and evolutionary approach to the question of why humans, but not other animals engage in such activities. Through an application of cognitive and evolutionary perspectives to the study of these behaviors, I have sought to (...) provide a more solid footing for philosophical anthropological discussions of uniquely human behavior. In particular, I have argued that art, religion and science, which are usually seen as achievements that are quite remote from ordinary modes of reasoning, are subserved by evolved cognitive processes that serve functions in everyday cognitive tasks, that arise early and spontaneously in cognitive development, that are shared cross-culturally, and that have evolved in response to selective pressures in our ancestral past. These mundane cognitive processes provide a measuring rod with which we can assess a diversity of cultural phenomena; they form a unified explanatory framework to approach human culture. I have argued that we can explain uncommon thoughts in terms of interactions between common minds. This dissertation is subdivided into four parts. Part I outlines the problem of human uniqueness, examining theories on how humans conceptualize the world, and what their mental tool box looks like. Part II discusses the evolutionary and cognitive origins of human artistic behavior. Part III focuses on the cognitive science of religion, especially on how it can be applied to the reasoning of theologians and philosophers of religion. Part IV considers the cognitive basis of scientific practice. (shrink)