The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning. This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words.... My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

We argue that work on norms provides a way to move beyond debates between proponents of individualist and structuralist approaches to bias, oppression, and injustice. We briefly map out the geography of that debate before presenting Charlotte Witt’s view, showing how her position, and the normative ascriptivism at its heart, seamlessly connects individuals to the social reality they inhabit. We then describe recent empirical work on the psychology of norms and locate the notions of informal institutions and soft structures with (...) respect to it. Finally, we argue that the empirical resources enrich Witt’s ascriptivism, and that the resulting picture shows theorists need not, indeed should not, choose between either the individualist or structuralist camp. (shrink)

Perhaps no one has done more in the last 30 years to advance thinking in the metaphysics of modality than has Alvin Plantinga. Collected here are some of his most important essays on this influential subject. Dating back from the late 1960's to the present, they chronicle the development of Plantinga's thoughts about some of the most fundamental issues in metaphysics: what is the nature of abstract objects like possible worlds, properties, propositions, and such phenomena? Are there possible but non-actual (...) objects? Can objects that do not exist exemplify properties? Plantinga gives thorough and penetrating to all of these questions and many others. This volume contains some of the best work in metaphysics from the past 30 years, and will remain a source of critical contention and keen interest among philosophers of metaphysics and philosophical logic for years to come. (shrink)

In this paper I argue that presentism has a problem accounting forthe truth of statements whose truth conditions seem to require therebe relations that hold between present and non-present objects. Imotivate the problem and then examine several strategies for dealingwith the problem. I argue that no solution is forthcoming, and thispresents a prima facie problem for presentism.

Most direct reference theorists about indexicals and proper names have adopted the thesis that singular propositions about physical objects are composed of physical objects and properties.1 There have been a number of recent proponents of such a view, including Scott Soames, Nathan Salmon, John Perry, Howard Wettstein, and David Kaplan.2 Since Kaplan is the individual who is best known for holding such a view, let's call a proposition that is composed of objects and properties a K-proposition. In this paper, I (...) will attempt to show that a direct reference view about the content of proper names and indexicals leads very naturally to the position that all singular propositions about physical objects are K-propositions.3 Then, I will attempt to show that this view of propositions is false. I will spend the bulk of the paper on this latter task. My goal in the paper, then, is to show that adopting the direct reference thesis comes at a cost problems the view has with problems such as opacity and the significance of some identity statements; it comes at even more of a cost). (shrink)

A topic of special importance when it comes to responsibility and implicit bias is responsibility for knowledge. Are there strategies for becoming more responsible and respectful knowers? How might we work together, not just as individuals but members of collectives, to reduce the negative effects of bias on what we see and believe, as well as the wrongs associated with epistemic injustice? To explore these questions, Chapter 9 introduces the concept of epistemic responsibility, a set of practices developed through the (...) cultivation of basic epistemic virtues, such as open-mindedness, epistemic humility, and diligence that help knowers seek information about themselves, others, and the world. (shrink)

I try to lay bare some of the conceptual space in which one may be a Social Trinitarian. I organize the paper around answers to five questions. These are: (1) How do the three Persons of the Trinity relate to the Godhead? (2) How many divine beings or gods are there? (3) How many distinct centers of consciousness are there in the Godhead? (4) How many omnicompetent beings are there? (5) How are the Persons of the Trinity individuated? I try (...) to make clear costs and benefits of various answers to these questions. (shrink)

I argue that abstract objects cannot depend on God for their existence and nature.

This is a critical notice of Theodore Sider's book, _Four-Dimensionalism_.

This is a paper in which I argue that problems of transworld identity and the truth in-truth at distinction are motivated by unhelpful pictures we have in mind while doing metaphysics.

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)

This response focuses on Balibar’s method of thinking transindividuality through multiple figures, in their similarities as well as their productive differences. His essay ‘Philosophies of the Transindividual: Spinoza, Marx, Freud’ combines the three titular figures in order to better think the multifaceted idea of ‘classical’ transindividuality. Balibar’s method combines the three but nonetheless maintains their dissimilarities as real differences. This response attempts to test or apply that method in two ways. The first application links Balibar’s analysis of Freud’s hypnotic leader (...) with a theme Balibar does not here discuss: wonder’s connection to superstition in Spinoza. At the level of their effects, superstitious wonder and hypnosis are nearly identical transindividual processes which lead to affective mass formation. However, their causes are quite distinct. This response details the similar effects and different causes, then asks the question: does their difference render them irreconcilable or complementary? Given the prominent role Spinoza plays in Balibar’s work, and the strong overall equivalence of wonder and hypnosis, this first application of Balibar’s method of multiple combination likely presents a complementarity rather than a conflict. This response’s second application, attempting to integrate another figure into the transindividual multiple, presents greater difficulties: what role, if any, could Foucault play in Balibar’s transindividuality? With Foucault, the tensions or differences perhaps amount to fundamental and thoroughgoing incompatibilities. However, combining Foucault with ‘classical’ transindividuality potentially extends and deepens each. This response concludes with examples of these problematic tensions as well as possibly fruitful combinations. (shrink)

Perhaps the question “What is philosophy?” can only be posed late in life, when old age has come, and with it the time to speak in concrete terms. It is a question one poses when one no longer has anything to ask for, but its consequences can be considerable. One was asking the question before, one never ceased asking it, but it was too artificial, too abstract; one expounded and dominated the question, more than being grabbed by it. There are (...) cases in which old age bestows not an eternal youth, but on the contrary a sovereign freedom, a pure necessity where one enjoys a moment of grace between life and death, and where all the parts of the machine combine to dispatch into the future a trait that traverses the ages: Turner, Monet, Matisse. The elderly Turner acquired or conquered the right to lead painting down a deserted path from which there was no return, and that was no longer distinguishable from a final question. In the same way, in philosophy, Kant’s Critique of Judgment is a work of old age, a wild work from which descendants will never cease to flow.We cannot lay claim to such a status. The time has simply come for us to ask what philosophy is. And we have never ceased to do this in the past, and we already had the response, which has not varied: philosophy is the art of forming, inventing, and fabricating concepts. But it was not only necessary for the response to take note of the question; it also had to determine a time, an occasion, the circumstances, the landscapes and personae, the conditions and unknowns of the question. One had to be able to pose the question “between friends” as a confidence or a trust, or else, faced with an enemy, as a challenge, and at the same time one had to reach that moment, between dog and wolf, when one mistrusts even the friend. Gilles Deleuze was professor of philosophy at the University of Paris VIII, Vincennes-St.-Denis, until his retirement in 1987. Among his books translated into English are the two-volume Capitalism and Schizophrenia , the two-volume Cinema , The Logic of Sense , and Expressionism in Philosophy: Spinoza . Daniel W. Smith is a doctoral candidate in philosophy at the University of Chicago. He is at work on a study of the philosophy of Deleuze, and is translating Deleuze’s Francis Bacon: Logique de la sensation. Arnold I. Davidson, executive editor of Critical Inquiry, teaches philosophy at the University of Chicago and is currently Marta Sutton Weeks Fellow at the Stanford Humanities Center. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and wellbeing, (...) with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

This is an article on the metaphysics of Alvin Plantinga. It is from the Blackwell Companion to Metaphysics (2009).

Desde Descartes a epistemologia tem se baseado no conhecimento de primeira pessoa. Devemos começar, de acordo com a história usual, com o que é mais certo: o conhecimento de nossas próprias sensações e pensamentos. De uma maneira ou outra, progredimos então, se pudermos, para o conhecimento de um mundo externo objetivo. Há por fim uma passagem tênue ao conhecimento das outras mentes. Defendo uma total revisão desse quadro. Todo pensamento proposicional, quer positivo ou cético, sobre o interior ou sobre o (...) exterior, exige a posse do conceito de verdade objetiva, e esse conceito está acessível apenas a criaturas que estão em comunicação com outras. O conhecimento de outras mentes é, assim, básico para todo o pensamento. Mas esse conhecimento exige e supõe o conhecimento de um mundo compartilhado de objetos em um espaço e tempo comuns. Assim, a aquisição do conhecimento não é baseada em uma progressão do subjetivo para o objetivo; ele emerge holisticamente e é interpessoal desde o começo. (shrink)

In this paper, I explore various views on which mind-body dualism is true, but the soul is located in the body. I argue that this sort of dualism (which I call 'somatic dualism') once was a not-uncommon view in the philosophy of mind. I also argue that it has the resources to reply to some of the problems thought to affect Cartesian dualism.

The text "A Unified Theory of Thought, Meaning, and Action" is translated here from Donald Davidson's book: Problems of Rationality.Oxford University Press, 2004. pp.151-166.

The text "Truth and Meaning" is translated here from Donald Davidson's book: Donald Davidson - Inquiries into Truth and Interpretation (Philosophical Essays of Donald Davidson) (1984), pp. 17-37.

The essay "Rational Animals" is translated from the book: Donald Davidson: Subjective, Intersubjective, Objective. Oxford: Clarendon Press 2001, pp. 95-105.

Spinoza’s concepts of wonder, the imitation of affects, cheerfulness, and devotion provide the basis for a Spinozist aesthetics. Those concepts from his Ethics, when combined with his account of rituals and festivals in the Theological-Political Treatise and his Political Treatise, reveal an aesthetics of social affects. The repetition of ritualised participatory aesthetic practices over time generates a unique ingenium or way of life for a social group, a singular style which distinguishes them from the general political body. Ritual and the (...) imitation of affects explain why specific styles of art are associated with consistent styles of bodily modifications, clothing, and affects. This paper claims, not that already similar people flock to the same art, but rather, that immersion in the same art is what produces their similarity. Art (especially in the immersive, festival-like experience of live performance) can generate the affect of devotion, which intensifies in-group love, temporarily blocks affects of sadness, and focusses one intently on the aesthetic experience due to devotion’s connection to wonder. Cheerfulness shows that, through variation of aesthetic objects, art can cause pleasure without risking excess. In addition, while politics’ central affect is sad fear, aesthetically-united groups are bound by joyful affects. (shrink)

The essay "Semantics for Natural Languages" is here translated from a collection of Davidson's essays published under the title "Inquiries into Truth and Interpretation", Claredon Press, Oxford 1984.

The text is translated from the book by D. Davidson: Truth, Language, and History. Oxford University press, 2005.pp. 127-141.

Qual é a relação entre uma razão e uma ação quando a razão explica a ação, dando a razão do agente para fazer o que fez? Podemos chamar tais explicações de racionalizações, e dizer que a razão racionaliza a ação. Neste artigo quero defender a posição antiga — e de senso comum — de que a racionalização é uma espécie de explicação causal b. A defesa sem dúvida exige alguma reelaboração, mas não parece necessário abandonar a posição, como muitos autores (...) recentes insistem. (shrink)

Roderick M. Chisholm (1916-1999) was one of the most important philosophical thinkers of the 20th century. His influence on epistemology (the theory of knowledge) and metaphysics cannot be understated; indeed, it is difficult to conceive of what these fields would be like today without the impact of Chisholm. Were there a Nobel Prize in philosophy, Chisholm surely would have won it.

In this paper we set out a view on which internalist proper basicality is secured by sensory experience.

For the past 30 years, Alvin Plantinga's work in the metaphysics of modality has been both insightful and innovative; it is high time that his papers in this area be collected together in a single volume. This book contains 11 pieces of Plantinga's work in modal metaphysics, arranged in chronological order so one can trace the development of his thought on matters modal. In what follows I will lay out the principal concepts and arguments in these papers.

This work examines Michel Foucault’s critique of the present, through his analysis of our hidden but still active historical legacies. His works from the Eighties are the beginning of what he called a “genealogy of the desiring subject,” in which he shows that practices such as confession—in its juridical, psychological, and religious forms—have largely dictated how we think about our ethical selves. This constrains our notions of ethics to legalistic forbidden/required dichotomies, and requires that we engage in a hermeneutics of (...) the self which consistently fails to discover its imagined authentic self, or to find the happiness and freedom promised by contemporary ethics. In order to think the modern self in different terms, Foucault’s later works analyzed Classical and Hellenistic ethical sources, emphasizing their distance from today. He hoped doing so would allow us to rethink our current assumptions about ethical matters, the truth of oneself, and the relation to others. While Foucault’s genealogical descriptions critically diagnosed contemporary ills such as these, he did not prescribe a cure, preferring to let his readers experiment with new practices of their own design. This work attempts such an experiment, supplying concrete solutions to our ethical ills, in order to help us improve, as well as understand, our ethical selves. To that end, this work demonstrates that a form of subjectivity based on Benedict Spinoza’s ethical and political works avoids the pitfalls of modern ethics as diagnosed by Foucault. Additionally, the practices of the self found in Spinoza can be used to directly counter and displace each central element of “desiring subjectivity,” and thus supplies the kind of effective positive move which should follow after genealogical critique. (shrink)

This is a review of Robert McKim's Religious Ambiguity and Religious Diversity.