In this chapter, I examine Lewis's ideas about ontological innocence, ontological commitment and double-counting, in his discussion of composition as identity in Parts of Classes. I attempt to understand these primarily as epistemic or methodological claims: how far can we get down this route without adopting radical metaphysical theses about composition as identity?

The best arguments for the 1/3 answer to the Sleeping Beauty problem all require that when Beauty awakes on Monday she should be uncertain what day it is. I argue that this claim should be rejected, thereby clearing the way to accept the 1/2 solution.

This is a short response to Aaron Cotnoir's 'Composition as General Identity', in which I suggest some further applications of his ideas, and try to press the question of why we should think of his 'general identity relation' as a genuine identity relation.

The main claim of this essay is that knowledge is no more
valuable than lasting true belief.
This claim is surprising. Doesn't knowledge have a unique
and special value? If the main claim is correct and if, as it seems,
knowledge is not lasting true belief, then knowledge does not have a unique value:
in whatever way knowledge is valuable, lasting true belief is just as valuable.
However, this result does not show that knowledge is worthless, nor does it undermine
our knowledge gathering practices. There (...) is, rather, a positive philosophical payoff:
skepticism about knowledge is defused. Assuming one can have lasting true belief,
then even if one cannot have knowledge, one can have something just as valuable.
. (shrink)

Of primary importance in formulating a response to the increasing prevalence and power of artificial intelligence (AI) applications in society are questions of ontology. Questions such as: What “are” these systems? How are they to be regarded? How does an algorithm come to be regarded as an agent? We discuss three factors which hinder discussion and obscure attempts to form a clear ontology of AI: (1) the various and evolving definitions of AI, (2) the tendency for pre-existing technologies to be (...) assimilated and regarded as “normal,” and (3) the tendency of human beings to anthropomorphize. This list is not intended as exhaustive, nor is it seen to preclude entirely a clear ontology, however, these challenges are a necessary set of topics for consideration. Each of these factors is seen to present a 'moving target' for discussion, which poses a challenge for both technical specialists and non-practitioners of AI systems development (e.g., philosophers and theologians) to speak meaningfully given that the corpus of AI structures and capabilities evolves at a rapid pace. Finally, we present avenues for moving forward, including opportunities for collaborative synthesis for scholars in philosophy and science. (shrink)

As noted by philosopher Robert Pasnau, “Our standard view of sound is incoherent” at best (Pasnau, 1999, p 309). A quick perusal of how we discuss and represent sound in our day-to-day language readily highlights several inconsistencies. Sound might be described roughly as emanating from the location of its material source (the ‘crack of the snare drum over there’ distal theory), as a disruption somewhere in the space in-between the sounding object and the listener (the ‘longitudinal compression waves in the (...) air’ medial theory), located with the hearer (the ‘inner sensations’ proximal theory), or perhaps entirely devoid of spatial characteristics (aspatial theory). Beyond these topographic ruminations on the location of sounds, more profound disagreements arise around what sorts of things sounds are. A broad array of theories treat sounds as events, as object-like particulars that travel through space, as properties of their sounding objects, etc., with many subtle ontological variations springing up along the way. -/- The philosophical plot further thickens as we expand from defining the ontology and spatial position of simple primary sounds to the phenomenon of echoes, with some theories arguably faring better than others. The focus here will be on Casey O’Callaghan’s formulation of sounds as disturbance events that bind primary sounds and their echoes together as one (O’Callaghan, 2007a, pp 126-127). In short, the claim is that echoes are identical to their associated primary sound and are not distinct sounds in their own right. Described as the ‘Primary Sound Account of Echoes’ (‘PSAE’) in Gregory Fowler’s ‘Against the Primary Sound Account of Echoes,’ the intricacies of this particular aspect of O’Callaghan’s theory of a primary sound’s connection to its echo bears considerably upon the workability of distal theories of sound in general (Fowler, 2013, p 466). -/- In this paper, I expand upon Fowler’s work by demonstrating additional instances where the PSAE fails to hold when subjected to increased scrutiny across a broader range of echo scenarios, presenting a significant issue for proponents of distal theories of sound. (shrink)

As the lyrics to the traditional nineteenth century gospel hymn state, one of the goals of many magical and religious practices is to experience ‘a closer walk with Thee,’ coming into the presence of the holy in both figurative and arguably literal terms. One of the many ways to improve this likelihood of achieving the deep and immersive presence of the holy—described by the scholar of comparative religion Rudolf Otto as the “gentle tide, [the] pervading [of] the mind with a (...) tranquil mood” numinous experience—is through the careful use of various sonic elements. To this point, an exploration of physical worship spaces themselves, a review of the means of creating sounds within worship, and a study of the related uses of sonic technology during worship rituals can help to elucidate just how these sonic elements compare in their utilization between ancient magic and more contemporary magical and religious applications. It is my contention that the overall goal of creating an immersive environment for worship and ritual practice has remained a constant from Ancient Greek and Roman times through to the present, while the technology available to achieve this goal (both in the creation of an immersive physical space and in the use of engaging and relatable musical instruments and instrumental styles) has continually progressed. Put another way, the methods in which we might best utilize various sonic elements to achieve the most numinous experience—the ‘how’— have certainly changed over time, but the underlying ‘why’ and the core goal of using sound to increase this sense of a presence with the holy has remained largely unchanged. (shrink)

Originally published in PhilosophyNews, July 19, 2022. -/- This new series, What’s Happening in Philosophy (WHiP)-The Philosophers aims to provide a monthly snapshot of various trends and discussions happening across the discipline. -/- In this inaugural post, we begin with a harrowing tale from David Edmonds involving the murder of the German philosopher Moritz Schlick. Schlick was a Vienna Circle guiding spirit and logical positivist thinker. Next up is Steven Nadler’s take on several biographies of the ‘father of modern philosophy’ (...) in his new paper, The Many Lives of René Descartes. Lastly, questions around AI in academia come up in an article from Scientific American. (shrink)

Experimental philosophy (x-phi) is all the rage. But shouldn't all philosophy be experimental? Jeff Hawley looks at the views of three philosophers on the role and value of x-phi. This month’s PhilosophyNews 'WHiP: The Philosophers' focuses on a chapter from The Compact Compendium of Experimental Philosophy edited by A. Bauer and S. Kornmesser (forthcoming). 'All in the Family: The History and Philosophy of Experimental Philosophy' by Justin Sytsma, Joseph Ulatowski, and Chad Gonnerman digs into the history of various philosophers who (...) have argued for the need to go beyond the tradition methods of the ‘armchair’ philosopher and include empirical research into the mix. (shrink)

Should we fear a future in which the already tricky world of academic publishing is increasingly crowded out by super-intelligent artificial general intelligence (AGI) systems writing papers on phenomenology and ethics? What are the chances that AGI advances to a stage where a human philosophy instructor is similarly removed from the equation? If Jobst Landgrebe and Barry Smith are correct, we have nothing to fear.

Visions of future applications of artificial intelligence tend to veer toward the naively optimistic or frighteningly dystopian, neglecting the numerous human factors necessarily involved in the design, deployment and oversight of such systems. The dream that AI systems may somehow replace the irregularities and struggles of human governance with unbiased efficiency is seen to be non-scientific and akin to a religious hope, whereas the current trajectory of AI development indicates that it will increasingly serve as a tool by which humans (...) exercise control over other humans. To facilitate the responsible development of AI systems for the public good, we discuss current conversations on the topics of transparency and accountability. (shrink)

Technology and Artificial Intelligence, both today and in the near future, are dominated by automated algorithms that combine optimization with models based on the human brain to learn, predict, and even influence the large-scale behavior of human users. Such applications can be understood to be outgrowths of historical trends in industry and academia, yet have far-reaching and even unintended consequences for social and political life around the world. Countries in different parts of the world take different regulatory views for the (...) role and protection of user data, and this will in turn determine the course of development for technology and AI in the near future. (shrink)

Presented at Philosophy Across Disciplines Conference 2021, Newcastle University. -/- As noted by philosopher Robert Pasnau, “our standard view of sound is incoherent” at best. A quick perusal of how we discuss and represent sound in our day-to-day language readily highlights a number of inconsistencies. Sound might be described roughly as emanating from the location of its material source (the ‘crack of the snare drum over there’ distal theory), as a disruption somewhere in the space in-between the sounding object and (...) the listener (the ‘longitudinal compression waves in the air’ medial theory), located with the hearer (the ‘inner sensations’ proximal theory), or perhaps as devoid of spatial characteristics at all (aspatial theory). Beyond these topographic ruminations on the location of sounds, even deeper disagreements arise around just what sorts of things sounds are. A broad array of theories treat sounds as events, as object-like particulars that travel through space, as properties of their sounding objects, etc.—with many subtle ontological variations springing up along the way. The philosophical plot further thickens as we expand from defining the ontology and spatial position of simple primary sounds through to the phenomenon of echoes, with certain theories arguably faring better than others. We’ll focus here on Casey O’Callaghan’s formulation of sounds as disturbance events which bind primary sounds and their echoes together as one. In short, the claim that echoes are identical to their associated primary sound and are not distinct sounds in their own right. Described as the ‘Primary Sound Account of Echoes’ (‘PSAE’) in Gregory Fowler’s “Against the Primary Sound Account of Echoes,” the intricacies of this particular aspect of O’Callaghan’s theory of a primary sound’s connection to its echo bears greatly upon the workability of distal theories of sound in general. What I seek to achieve in this presentation is to illustrate how O’Callaghan’s PSAE fails when subjected to increased scrutiny across a broader range of echo scenarios, which in turn presents a significant issue for proponents of distal theories of sound. (shrink)

A review of Marcus du Sautoy's 2019 book, THE CREATIVITY CODE: Art and Innovation in the Age of AI, Cambridge, MA: Belknap (Harvard) Press, 2019. ISBN: 9780674988132.