Science Without Numbers caused a stir in 1980, with its bold nominalist approach to the philosophy of mathematics and science. It has been unavailable for twenty years and is now reissued in a revised edition with a substantial new preface presenting the author's current views and responses to the issues raised in subsequent debate.

Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single type, (...) Davies recognizes a great variety of kinds, and a complementary range of possibilities for their rendition. (shrink)

Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.

Numbers and other mathematical objects are exceptional in having no locations in space or time or relations of cause and effect. This makes it difficult to account for the possibility of the knowledge of such objects, leading many philosophers to embrace nominalism, the doctrine that there are no such objects, and to embark on ambitious projects for interpreting mathematics so as to preserve the subject while eliminating its objects. This book cuts through a host of technicalities that have obscured previous (...) discussions of these projects, and presents clear, concise accounts of a dozen strategies for nominalistic interpretation of mathematics, thus equipping the reader to evaluate each and to compare different ones. The authors also offer critical discussion, rare in the literature, of the aims and claims of nominalistic interpretation, suggesting that it is significant in a very different way from that usually assumed. (shrink)

Peter Grönert, Verstehen und BewußtseinMartin Hartmann, Ethical FormationChristoph Lütge, Pathways to Knowledge: Private and PublicLydia Mechtenberg, Das logische Ich: Kant ü ber den Gehalt des Begriffes von sich selbst.

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

In this essay I first outline contemporary Platonism about musical works – the theory that musical works are abstract objects. I then consider reasons to be suspicious of such a view, motivating a consideration of nominalist theories of musical works. I argue for two conclusions: first, that there are no compelling reasons to be a nominalist about musical works in particular, i.e. that nominalism about musical works rests on arguments for thoroughgoing nominalism, and, second, that if Platonism fails, fictionalism about (...) musical works is to be preferred to other nominalist ontologies of musical works. (shrink)

本书探讨朱熹的思维世界,它不但是思想史的研究,并注意的社会背景,因此也可以说是思想史与社会史交互为用的研究。.

This chapter contains section titled: Elaborating the Performance Theory Structure and Focus Heuristics and the Individuation of Artworks Work‐Constitution and Modality on the Performance Theory Performances, Actions, and Doings.

The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, for example, (...) in free improvisations. Where we have performances of performed works, a number of distinctive philosophical questions arise: What kind of thing is a performed work? How is it appreciated through its performances? Is 'authenticity' an artistically relevant quality of performances of performed works, and, if so, why? How much of what goes on in the performing arts is rightly viewed as the performance of performed works? Artistic performances, whether or not they are of performed works, raise philosophical questions of their own. Can a performance itself be rightly viewed as a work of art? How do improvisation and rehearsal enter into the performing arts, and how do they bear on the appreciation of artistic performances? What role does the audience play in such performances? Does the performer's use of her own body as an artistic medium, as for example in dance performance, generate special constraints on appreciation? How, finally, does what is usually classified as 'performance art' relate to activities in the performing arts more generally construed? I critically survey the ways in which these questions have been addressed by principal theorists in the field. (shrink)

What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications (...) of the dominance of recorded over live music. (shrink)

Is ontologizing about art rightly held accountable to artistic practice, and, if so, how? Julian Dodd argues against such accountability. His target is “local descriptivism,” a meta-ontological principle that he contrasts with meta-ontological realism. The local descriptivist thinks that folk-theoretic beliefs implicit in our practices somehow determine the ontological characters of artworks. I argue, however, that according a grounding role to artistic practice in the ontology of art does not conflict with meta-ontological realism. Practice must ground our ontological inquiries because (...) our task is to make sense of the practices into which artworks enter. Terms like ‘musical work,’ as employed by the ontologist, play an essentially explanatory role in this endeavor, and it is only in terms of this role that we can specify the object of our ontological inquiries. But neither our practices nor our folk beliefs are sacrosanct. In taking ontology of art to be reflectively accountable to artistic practice, I also reject Amie Thomasson's claim that it involves conceptual analysis and therefore cannot rightly claim to be directly revisionary of folk understandings. Ontology of art involves not conceptual analysis but the codification of a practice in a way that clarifies that practice. (shrink)

A review of David Davies, _Art as Performance_ (Blackwell, 2004).

Antiques are undoubtedly objects worthy of aesthetic appreciation, but do they have a distinctive aesthetic value in virtue of being antiques? In this article we give an account of what it is to be an antique that gives the thesis that they do have a distinctive aesthetic value a chance of being true and suggests what that distinctive value consists in. After introducing our topic in Section I, in Section II we develop and defend the Adjectival Thesis: the thesis that (...) the concept of being an antique is an adjectival concept. This provides us with the means to formulate our definition, which we do in Section III. In Section IV we further explicate and defend our definition. In Section V we conclude by briefly saying where we think our definition could be improved, by making a few comments about the aesthetics of antiques and by stating an interesting consequence of our definition: that it is not analytic that antiques are old. (shrink)

In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.

If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which musical works are concrete objects. In (...) particular, the theory that we defend takes musical works to be fusions of performances. We defend this view from a series of objections, the first two of which are raised by Julian Dodd in a recent paper and the last of which is suggested by some comments of his in an earlier paper. (shrink)

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

The form of nominalism known as 'mathematical fictionalism' is examined and found wanting, mainly on grounds that go back to an early antinominalist work of Rudolf Carnap that has unfortunately not been paid sufficient attention by more recent writers.

Despite protestations to the contrary, philosophers have always been renowned for espousing theories that do violence to common-sense opinion. In the last twenty years or so there has been a growing number of philosophers keen to follow in this tradition. According to these philosophers, if a story of pure fic-tion tells us that an individual exists, then there really is such an individual. According to these realists about fictional characters, ‘Scarlett O’Hara,’ ‘Char-lie Brown,’ ‘Batman,’ ‘Superman,’ ‘Tweedledum’ and ‘Tweedledee’ are not (...) denotationless terms, but names that really refer. What is truly surprising about this situation is that almost no one has inveighed against this unfortunate real-ist tendency. My aim here will be to challenge this new orthodoxy, and to defend an anti-realist position against the arguments proffered by the realist. (shrink)

Fictionalism about fictional characters is a view according to which all claims ostensibly about fictional characters are in fact claims about the content of a story. Claims that appear to refer to or quantify over fictional objects contain an implicit prefix of the form “according to such-and-such story. In.

This paper develops a novel version of mathematical fictionalism and defends it against three objections or worries, viz., (i) an objection based on the fact that there are obvious disanalogies between mathematics and fiction; (ii) a worry about whether fictionalism is consistent with the fact that certain mathematical sentences are objectively correct whereas others are incorrect; and (iii) a recent objection due to John Burgess concerning “hermeneuticism” and “revolutionism”.

Philosophy Compass, Volume 1. Oxford: Blackwell, 2006.

I have been dissatisfied with Walton’s make-believe model of appreciator engagement with fiction ever since my first encounter with it as a graduate student.1 What I have always objected to is not the suggestion that such engagement is broadly speaking imaginative; rather, it is the suggestion that it specifically involves de se imaginative activity on the part of appreciators. That is, while I concede that appreciators imagine (de re) of the fictional works they experience that they are thus and so, (...) I deny that they imagine (de se) experiencing an object that is thus and so.2 The main source of my dissatisfaction with the make-believe model is that it is phenomenologically unfamiliar; I have never been aware of de se imaginings of the requisite sort while appreciatively engaged with fiction.3 Of course, one could argue that it nevertheless occurs, albeit sub-consciously. But in order for this manoeuvre to be plausible, it would have to be established that there are appreciative phenomena that can only (or best) be explained by the supposition that appreciators engage in de se imagining, and which cannot be adequately explained by the supposition that they merely engage in de re imagining. Currie, for example, has argued that we need to make the former supposition in order to find a solution to the “problem of personality,” the problem of explaining why our emotional reactions to the plights of fictional characters often differ from our reactions to the similar plights of actual people.4 What I want to argue in this paper is that Currie’s defense of de se imaginative engagement is.. (shrink)

This book is a defense of modal realism; the thesis that our world is but one of a plurality of worlds, and that the individuals that inhabit our world are only a few out of all the inhabitants of all the worlds. Lewis argues that the philosophical utility of modal realism is a good reason for believing that it is true.

This paper responds to John Burgess's ‘Mathematics and _Bleak House_’. While Burgess's rejection of hermeneutic fictionalism is accepted, it is argued that his two main attacks on revolutionary fictionalism fail to meet their target. Firstly, ‘philosophical modesty’ should not prevent philosophers from questioning the truth of claims made within successful practices, provided that the utility of those practices as they stand can be explained. Secondly, Carnapian scepticism concerning the meaningfulness of _metaphysical_ existence claims has no force against a _naturalized_ version (...) of fictionalism, according to which our ordinary standards of scientific evidence may show that we have no reason to believe the mathematical existence claims made within the context of our mathematical and scientific theories. (shrink)

Fictionalist approaches to ontology have been an accepted part of philosophical methodology for some time now. On a fictionalist view, engaging in discourse that involves apparent reference to a realm of problematic entities is best viewed as engaging in a pretense. Although in reality, the problematic entities do not exist, according to the pretense we engage in when using the discourse, they do exist. In the vocabulary of Burgess and Rosen (1997, p. 6), a nominalist construal of a given discourse (...) is revolutionary just in case it involves a “reconstruction or revision” of the original discourse. Revolutionary approaches are therefore prescriptive. In contrast, a nominalist construal of a given discourse is hermeneutic just in case it is a nominalist construal of a discourse that is put forth as a hypothesis about how the discourse is in fact used; that is, hermeneutic approaches are descriptive. I will adopt Burgess and Rosen’s terminology to describe the two different spirits in which a fictionalist hypothesis in ontology might be advanced. Revolutionary fictionalism would involve admitting that while the problematic discourse does in fact involve literal reference to nonexistent entities, we ought to use the discourse in such a way that the reference is simply within the pretense. The hermeneutic fictionalist, in contrast, reads fictionalism into our actual use of the problematic discourse. According to her, normal use of the problematic discourse involves a pretense. According to the pretense, and only according to the pretense, there exist the objects to which the discourse would commit its users, were no pretense involved. My purpose in this paper is to argue that hermeneutic fictionalism is not a viable strategy in ontology. My argument proceeds in two steps. First, I discuss in detail several problematic consequences of any interesting application of hermeneutic fictionalism. Of course, if there is good evidence that hermeneutic fictionalism is correct in some cases, then some of these drastic consequences would have to be accepted.. (shrink)

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

Since its publication in 1959, Individuals has become a modern philosophical classic. Bold in scope and ambition, it continues to influence debates in metaphysics, philosophy of logic and language, and epistemology. Peter Strawson's most famous work, it sets out to describe nothing less than the basic subject matter of our thought. It contains Strawson's now famous argument for descriptive metaphysics and his repudiation of revisionary metaphysics, in which reality is something beyond the world of appearances. Throughout, Individuals advances some highly (...) influential and controversial ideas, such as 'non-solipsistic consciousness' and the concept of a person a 'primitive concept'. (shrink)

This treatise on aesthetics begins by showing that the word "art" is used as a name not only for "art proper" but also for certain things which are "art falsely so called." These are craft or skill, magic, and amusement, each of which, by confusion with art proper, generates a false aesthetic theory. In the course of attacking these theories the author criticizes various psychological theories of art, offers a new theory of magic, and reinterprets Plato's so-called "attack on art," (...) showing that it has been entirely misunderstood. Finally, he draws important inferences concerning the position of art in human society. (shrink)

The classic, influential essay in 'descriptive metaphysics' by the distinguished English philosopher.

In the course of the discussion, Professor Quine pinpoints the difficulties involved in translation, brings to light the anomalies and conflicts implicit in our ...

According to Peter van Inwagen, visible inanimate objects do not, strictly speaking, exist. In defending this controversial thesis, he offers fresh insights on such topics as personal identity, commonsense belief, existence over time, the phenomenon of vagueness, and the relation between metaphysics and ordinary language.

What the Body Told is the second book of poetry from Rafael Campo, a practicing physician, a gay Cuban American, and winner of the National Poetry Series 1993 Open Competition. Exploring the themes began in his first book, The Other Man Was Me, Campo extends the search for identity into new realms of fantasy and physicality. He travels inwardly to the most intimate spaces of the imagination where sexuality and gender collide and where life crosses into death. Whether facing a (...) frenetic hospital emergency room to assess a patient critically ill with AIDS or breathing in the quiet of his mother's closet, Campo proposes with these poems an alternative means of healing and exposes the extent to which words themselves may be the most vital working parts of our bodies. The secret truths in What the Body Told, as the title implies, are already within each of us. In these vivid and provocative poems, Rafael Campo gives them a voice. (shrink)

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth (...) of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)

In this book the author treats art as an action performed by the artist as agent, rather than examining it from the point of view of its audience as ...