Across the humanities and social sciences it has become commonplace for scholars to argue that categories once assumed to be “natural” are in fact “social” or, in the familiar lingo, “socially constructed”. Two common examples of such categories are race and gender, but there many others. One interpretation of this claim is that although it is typically thought that what unifies the instances of such categories is some set of natural or physical properties, instead their unity rests on social features (...) of the items in question. Social constructionists pursuing this strategy—and it is these social constructionists I will be focusing on in this paper—aim to “debunk” the ordinary assumption that the categories are natural, by revealing the more accurate social basis of the classification.2 To avoid confusion, and to resist some of the associations with the term ‘social construction’, I will sometimes use the term ‘socially founded’ for the categories that this sort of constructionist reveals as social rather than natural. (shrink)

It is always awkward when someone asks me informally what I’m working on and I answer that I’m trying to figure out what gender is. For outside a rather narrow segment of the academic world, the term ‘gender’ has come to function as the polite way to talk about the sexes. And one thing people feel pretty confident about is their knowledge of the difference between males and females. Males are those human beings with a range of familiar primary and (...) secondary sex characteristics, most important being the penis; females are those with a different set, most important being the vagina or, perhaps, the uterus. Enough said. Against this background, it isn’t clear what could be the point of an inquiry, especially a philosophical inquiry, into “what gender is”. (shrink)

This paper is an extended critical discussion of Jerrold Levinson's historical definition of art. I try out various different avenues of attack; it is not clear whether any of them is ultimately successful.

Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for (...) cross-cultural studies of art both in anthropology and philosophy. (shrink)

It has been claimed that the prototype theory of concepts supports two controversial claims in the philosophy of art: that art cannot be defined, and that the possession of a certain sort of historical narrative is a sufficient but not necessary means of determining the art status of contested works. It is argued here that two sorts of considerations undermine the thesis that prototype theory offers significant support to anti-definitionism and historical narrativism. First, there is reason to think that prototype (...) theory is as a psychological theory not the sort of view that can support philosophical theories like anti-definitionism and historical narrativism. Second, well-known objections and theoretical alternatives to prototype theory theory raise serious questions about that theory’s own credentials. (shrink)

Theories of reference have been central to analytic philosophy, and two views, the descriptivist view of reference and the causal-historical view of reference, have dominated the field. In this research tradition, theories of reference are assessed by consulting one’s intuitions about the reference of terms in hypothetical situations. However, recent work in cultural psychology (e.g., Nisbett et al. 2001) has shown systematic cognitive differences between East Asians and Westerners, and some work indicates that this extends to intuitions about philosophical cases (...) (Weinberg et al. 2001). In light of these findings on cultural differences, two experiments were conducted which explored intuitions about reference in Westerners and East Asians. Both experiments indicate that, for certain central cases, Westerners are more likely than East Asians to report intuitions that are consistent with the causal-historical view. These results constitute prima facie evidence that semantic intuitions vary from culture to culture, and the paper argues that this fact raises questions about the nature of the philosophical enterprise of developing a theory of reference. (shrink)

In this paper, I explore the implications of recent empirical research on concept representation for the philosophical enterprise of conceptual analysis. I argue that conceptual analysis, as it is commonly practiced, is committed to certain assumptions about the nature of our intuitive categorization judgments. I then try to show how these assumptions clash with contemporary accounts of concept representation in cognitive psychology. After entertaining an objection to my argument, I close by considering ways in which conceptual analysis might be altered (...) to accord better with the empirical work. (shrink)

A great deal of work in analytic philosophy of art is related to defining what counts as art. So far, cognitive approaches to art have almost entirely ignored this literature. In this paper I discuss the role of intuition in analytic philosophy of art, to show how an empirical research program on art could take advantage of existing work in analytic philosophy. I suggest that the first step of this research program should be to understand how people intuitively categorize something (...) as art. Drawing on results from cognitive science and analytic philosophy, I show that the intuitive categorization of an artifact as art rests on the intentions attributed (frequently implicitly) to the creator of the artifact based both on its appearance and on background knowledge. I discuss how the issue of categorization is related to other empirical issues concerning our relationship to works of art, such as perception, appreciation, interpretation and evaluation. (shrink)

The standard view of philosophical methodology is that philosophers rely on intuitions as evidence. Herman Cappelen argues that this claim is false: it is not true that philosophers rely extensively on intuitions as evidence. At worst, analytic philosophers are guilty of engaging in somewhat irresponsible use of 'intuition'-vocabulary. While this irresponsibility has had little effect on first order philosophy, it has fundamentally misled meta-philosophers: it has encouraged meta-philosophical pseudo-problems and misleading pictures of what philosophy is.

This paper is about philosophical disputes where the literal content of what speakers communicate concerns such object-level issues as ground, supervenience, or real definition. It is tempting to think that such disputes straightforwardly express disagreements about these topics. In contrast to this, I suggest that, in many such cases, the disagreement that is expressed is actually one about which concepts should be employed. I make this case as follows. First, I look at non-philosophical, everyday disputes where a speaker employs a (...) metalinguistic usage of a term. This is where a speaker uses a term to express a view about the meaning of that term, or, relatedly, how to correctly use that term. A metalinguistic negotiation is a metalinguistic dispute that concerns a normative issue about what a word should mean, or, similarly, about how it should be used, rather than the descriptive issue about what it does mean. I argue that the same.. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Those working in experimental philosophy have raised a number of arguments against the use of conceptual analysis in philosophical inquiries. But they have typically focused on a model that pursues conceptual analysis by taking intuitions as a kind of (defeasible) evidence for philosophical hypotheses. Little attention has been given to the constitutivist alternative, which sees metaphysical modal facts as reflections of constitutive semantic rules. I begin with a brief overview of the constitutivist approach and argue that we can defend a (...) role for conceptual analysis, so understood, in ontological disputes against both the general skepticism about the relevance of intuitions, and against the specific worries raised by experimental results. Finally, I argue that even if the constitutivist view is adopted, experimental philosophy may still have quite a useful role to play, though purely empirical inquiries cannot in principle do the ontological work alone. (shrink)

This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...) the production and appreciation of somerecently discovered Palaeolithic artefacts. (shrink)

Many philosophers claim that intuitions are evidential. Yet it is hard to see how introspecting one's mental states could provide evidence for such synthetic truths as those concerning, for example, the abstract and the counterfactual. Such considerations have sometimes been taken to lead to mentalism---the view that philosophy must concern itself only with matters of concept application or other mind-dependent topics suited to a contemplative approach---but this provides us with a poor account of what it is that philosophers take themselves (...) to be doing, for many of them are concerned with the extra-mental facts about the universe. Evidentialism therefore gestates a disaster for philosophy, for it ultimately demands an epistemology for the investigation into such matter as the abstract and the modal that simply will not be forthcoming. We make a different suggestion: That intuitions are inclinations to believe. Hence, according to us, a philosophical argument does well, as a socio-rhetorical matter of fact, when it is founded on premises philosophers are generally inclined to believe, whether or not those inclinations to believe connect appropriately to the extra-mental facts. Accordingly, the role of intuitions (inclinations to believe) in philosophical methodology is non-evidential, and the question of how they could be used as evidence falls away. (shrink)

Over recent years, the psychology of concepts has been rejuvenated by new work on prototypes, inventive ideas on causal cognition, the development of neo-empiricist theories of concepts, and the inputs of the budding neuropsychology of concepts. But our empirical knowledge about concepts has yet to be organized in a coherent framework. -/- In Doing without Concepts, Edouard Machery argues that the dominant psychological theories of concepts fail to provide such a framework and that drastic conceptual changes are required to make (...) sense of the research on concepts in psychology and neuropsychology. Machery shows that the class of concepts divides into several distinct kinds that have little in common with one another and that for this very reason, it is a mistake to attempt to encompass all known phenomena within a single theory of concepts. In brief, concepts are not a natural kind. Machery concludes that the theoretical notion of concept should be eliminated from the theoretical apparatus of contemporary psychology and should be replaced with theoretical notions that are more appropriate for fulfilling psychologists' goals. The notion of concept has encouraged psychologists to believe that a single theory of concepts could be developed, leading to useless theoretical controversies between the dominant paradigms of concepts. Keeping this notion would slow down, and maybe prevent, the development of a more adequate classification and would overshadow the theoretical and empirical issues that are raised by this more adequate classification. Anyone interested in cognitive science's emerging view of the mind will find Machery's provocative ideas of interest. (shrink)

Original paintings and forgeries are not sufficiently the same sort of thing to have many comparable aesthetic qualities. 1) many aesthetic quality predicates have the form of attributives: they are two-place relations between an object and a class of objects and have a semantic account which requires that the object belongs to the class to which it is related; 2) there is no useful semantic class which contains an original and its forgery and 3) therefore these paintings are not to (...) be compared in at least many aesthetic qualities. attention is given to style predicates, which are defined. (shrink)

A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing thought experiments (...) against them. We will argue that philosophical intuitions are not available for the evaluation of the types of counterarguments that would need to be constructed. Instead, the evaluation of these theories, to the extent that it can succeed at all, will centrally rely on inferential, non-immediate access to our subjective musical experiences. Furthermore, attempted thought experiments lose their methodological function because no proper distinction can be drawn between the persons figuring in the thought-experimental scenario and the evaluator of the scenario. Consequently, some of the central contributions to what is generally understood to be analytic philosophy of art are shown to represent a form of aesthetic criticism, offering much less basis for rational argumentation than is often thought. (shrink)

Although experimental philosophers have been busy kindling fires under well-worn armchairs in areas of philosophy as varied as epistemology, normative ethics, theories of reference, and the free will controversy, the philosophy of art has remained largely untouched. As Denis Dutton observes: “There is precious little reference to empirical psychology in contemporary philosophical aesthetics, almost as if philosophers of art have wanted to protect their patch from incursions by psychologists.” I intend to show how techniques borrowed from experimental psychology can bring (...) light as well as warmth to the old debate over “What is art?”. (shrink)

This paper criticizes contemporary relativist scepticism concerning the universal validity of the concepts ‘art’ and the ‘aesthetic’. As an alternative, it offers a normative definition of art based on intrinsic aesthetic meaning contextualized by innovation and refinement in the diachronic history of art media. In section I, anti-foundationalist relativism, and softer versions (found in the Institutional definitions of art) are expounded in relation to art and the aesthetic. In section II, it is argued that antifoundationalism is conceptually flawed and tacitly (...) racist, and is, in effect, a cultural expression of global consumerism. Section III analyses the scope of the aesthetic in non-western contexts, and then offers a critique of the Institutional definitions as also being conceptually flawed, tacitly racist, and consumerist in orientation. In section IV the positive basis of a normative definition of art is outlined in detail and defended at length against possible relativist objections. It is finally argued that the normative approach taken in this paper shows how cultural conservatism can be a left-wing project. (shrink)

The philosophical method of conceptual analysis has been criticised on the grounds that empirical psychological research has cast severe doubt on whether concepts exist in the form traditionally assumed, and that conceptual analysis therefore is doomed. This objection may be termed the Charge from Psychology. After a brief characterisation of conceptual analysis, I discuss the Charge from Psychology and argue that it is misdirected.

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)

What are the groundrules in the philosophy of art? What criteria of adequacy should we use for assessing theories of art?