Especially over the past twenty years, a number of analytic philosophers have embraced the idea that the world itself is vague or indeterminate in one or more respects. The issue then arises as to whether it can be the case that the world itself is indeterminate in all respects. Using as a basis Chinese Madhyamaka Buddhist thought, I offer two reasons for the coherence and intelligibility of the thesis that all concrete things are themselves indeterminate with respect to the ways (...) they are. The first reason draws on a notion reminiscent of the picture of reality as an amorphous lump, while the second reason makes use of the relativity of conceptual perspectives and determinations. Assuming that the world is the mere totality of all concrete things, I show that there is a genuine metaphysical possibility of the world’s being indeterminate in all respects. (shrink)

Chinese Chan or Zen Buddhism is renowned for its improvisational, atypical, and perplexing use of words. In particular, the tradition’s encounter dialogues, which took place between Chan masters and their interlocutors, abound in puzzling, astonishing, and paradoxical ways of speaking. In this chapter, we are concerned with Chan’s use of paradoxical language. In philosophical parlance, a linguistic paradox comprises the confluence of opposite or incongruent concepts in a way that runs counter to our common sense and ordinary rational thinking. One (...) naturally wonders about Chan masters’ rationales for their use of paradox. There are also concerns about whether the use violates the logical principle of noncontradiction to the effect that nothing can be both P and not-P all over in the same way at the same time. Chan became a viable Chinese Buddhist tradition during the Tang dynasty (618−907) and continued to develop for several centuries. The tradition had produced a huge literature; consequently, our investigation of its use of paradox cannot but be limited and selective. In the second section, I first sketch key ideas of Chan that are pertinent to our investigation and then examine the use of paradox in the sermons associated with certain Tang masters of the southern Chan. In the third section, I analyze the presence of paradoxical language in post-Tang encounter dialogues. The fourth section concludes. (shrink)

A number of analytical philosophers have recently endorsed the view that the world itself is indeterminate in some respect. Intriguingly, ideas similar to the view are expressed by thinkers from Chinese Madhyamaka Buddhism, which may shed light on the current discussion of worldly indeterminacy. Using as a basis Chinese Madhyamaka thought, together with Jessica Wilson’s account of indeterminacy, I develop an ontological conception of indeterminacy, termed ontic indeterminacy, which centres on two complementary ideas—conclusive indeterminability and provisional determinability. I show that (...) OI is well-equipped to tackle several issues of worldly indeterminacy. My overarching aim is to present a viable and sustainable perspective on the subject of indeterminacy to enrich analytical philosophers’ insights into the intricate nature of reality. (shrink)

Theorists who advocate worldly (metaphysical or ontological) indeterminacy—the idea that the world itself is indeterminate in one or more respects—should address how we understand the signifying nature and function of language in light of worldly indeterminacy. I first attend to Sengzhao and Jizang, two leading thinkers in Chinese Sanlun Buddhism, to reconstruct a Chinese Madhyamaka notion of ontic indeterminacy. Then, I draw on the thinkers’ views to propose a provisional (non-definitive) understanding of the nature and use of language. Under this (...) understanding, an expression signifying a thing is provisional in that the expression connotes no determinate feature of the thing. (shrink)

Alfred Tarski was a nominalist. But he published almost nothing on his nominalist views, and until recently the only sources scholars had for studying Tarski’s nominalism were conversational reports from his friends and colleagues. However, a recently-discovered archival resource provides the most detailed information yet about Tarski’s nominalism. Tarski spent the academic year 1940-41 at Harvard, along with many of the leading lights of scientific philosophy: Carnap, Quine, Hempel, Goodman, and (for the fall semester) Russell. This group met frequently to (...) discuss logical and philosophical topics of shared interest. At these meetings, Carnap took dictation notes, which are now stored in the Archives of Scientific Philosophy. Interestingly, and somewhat surprisingly, the plurality of notes covers a proposal Tarski presents for a nominalist language of unified science. This chapter addresses the following questions about this project. What, precisely, is Tarski’s nominalist position? What rationales are given for Tarski’s nominalist stance—and are these rationales defensible? Finally, how is Tarskian nominalism of 1941 related to current nominalist projects? (shrink)

In his essay “Things Do Not Move,” Sengzhao (374?−414 CE), a prominent Chinese Buddhist philosopher, argues for the thesis that the myriad things do not move in time. This view is counter-intuitive and seems to run counter to the Mahayana Buddhist doctrine of emptiness. In this book chapter, I assess Sengzhao’s arguments for his thesis, elucidate his stance on the change/nonchange of things, and discuss related problems. I argue that although Sengzhao is keen on showing the plausibility of the thesis, (...) he actually views the myriad things as both changing and unchanging and upholds the nonduality of motion and rest. In fact, the nonmoving thesis follows from the discernment that things change from moment to moment without there being any enduring stuff in the process. Among philosophical works that confer a higher ontological status on nonchange over change, Sengzhao’s essay is unique and well worth pondering. (shrink)

A number of traditional philosophers and religious thinkers advocated an ineffability thesis to the effect that the ultimate reality cannot be expressed as it truly is by human concepts and words. However, if X is ineffable, the question arises as to how words can be used to gesture toward it. We can't even say that X is unsayable, because in doing so, we would have made it sayable. In this article, I examine the solution offered by the fifth-century Indian grammarian-philosopher (...) Bhartrhari and develop it into a linguistic strategy based on the imposition-cum-negation method. The purpose is to show how we can non-contradictorily say, or rather indicate, the unsayable. (shrink)

A number of contemporary philosophers think that the unqualified statement “X is unspeakable” faces the danger of self-referential absurdity: if this statement is true, it must simultaneously be false, given that X is speakable by the predicate word “unspeakable.” This predicament is in this chapter formulated as an argument that I term the “ineffability paradox.” After examining the Buddhist semantic theory of apoha (exclusion) and an apoha solution to the issue, I resort to a few Chinese Buddhist and Hindu philosophical (...) materials to rationally reconstruct a strategy for resolving the paradox. By introducing the mode of expression termed “indication,” together with the relevant notions of superimposition and of gesturing beyond the horizon, I show that expressing the ineffable does not necessarily involve irresoluble contradiction. It is also suggested that philosophers may need to acknowledge the relevance of the notion of ineffability for contemporary philosophizing. (shrink)

An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...) that something is beautiful and the path to an epistemology of art is effectively blocked. The article places the existence aesthetic properties in the proper context; presents a logically correct argument for the existence of such properties; identifies strategies for responding to this argument; explains why objections by Hume, Kant, and several other philosophers fail; and sketches a realization account of beauty influenced by Hogarth. (shrink)

Imagine that you and a duplicate of yourself are lying unconscious, next to each other, about to undergo a complete step-by-step exchange of bits of your bodies. It certainly seems that at no stage in this exchange of bits will you have thereby switched places with your duplicate. Yet it also seems that the end-result, with all the bits exchanged, will be essentially that of the two of you having switched places. Where will you awaken? I claim that one and (...) the same person possesses both bodies, occupies both places and will experience both awakenings, just as a person whose brain has been bisected must at once experience both of the unconnected fields of awareness, even though each of these will falsely appear to him as the entirety of his experience. I also claim that the more usual apparent boundaries of persons are as illusory as those in brain bisection; personal identity remains unchanged through any variation or multiplication of body or mind. In all conscious life there is only one person - I - whose existence depends merely on the presence of a quality that is inherent in all experience - its quality of being mine, the simple immediacy of it for whatever is having experience. One powerful argument for this is statistical: on the ordinary view of personhood it is an incredible coincidence for you (though not for others) that out of 200,000,000 sperm cells the very one required on each occasion for your future existence was first to the egg in each of the begettings of yourself and all your ancestors. The only view that does not make your existence incredible, and that is not therefore (from your perspective) an incredible view, is that any conscious being would necessarily have been you anyway. It is a consequence that self-interest should extend to all conscious organisms. (shrink)

For Jizang (549−623), a prominent philosophical exponent of Chinese Madhyamaka, all things are empty of determinate form or nature. Given anything X, no linguistic item can truly and conclusively be applied to X in the sense of positing a determinate form or nature therein. This philosophy of ontic indeterminacy is connected closely with his notion of the Way (dao), which seems to indicate a kind of ineffable principle of reality. However, Jizang also equates the Way with nonacquisition as a conscious (...) state of freedom from any attachment and definite understanding whatsoever. The issue then becomes pressing as to how we are to understand Jizang's notion of the Way. Does it indicate some metaphysical principle or reality? Is it actually a skilful expedient to lead one to the consummate state of complete spiritual freedom? How is this issue related to Jizang's conception of ontic indeterminacy? In this book chapter, I examine Jizang's key writings in an attempt to clarify his ontological position. (shrink)

For Bhartrhari, a fifth-century Indian grammarian-philosopher, all conscious beings—beasts, birds and humans—are capable of what he called pratibha, a flash of indescribable intuitive understanding such that one knows what the present object “means” and what to do with it. Such an understanding, if correct, amounts to a mode of knowing that may best be termed knowing-what, to distinguish it from both knowing-that and knowing-how. This paper attempts to expound Bhartrhari’s conception of pratibha in relation to the notions of meaning, understanding, (...) and knowing. First, I touch briefly on Bhartrhari’s views of consciousness and language, and examine at some length his indescribability thesis concerning the intuitive meaning of a sentence. Then, I delineate the general features of pratibha as intuitive understanding and discuss its probable range in relation to expert intuition and sense perception. Thereafter, I relate pratibha to the notion of knowing-what and show why these two notions are to be differentiated from knowing-that and knowing-how. The paper concludes with some remarks on the contemporary relevance of Bhartrhari’s conception of pratibha. (shrink)

In this article, I first introduce an Indian Madhyamaka Buddhist critique of causality and discuss critically a contemporary Humean interpretation of the critique. After presenting a Chinese Madhyamaka interpretation, I resort to an ontological conception of indeterminacy, termed ontic indeterminacy, which draws on Chinese Madhyamaka thought together with Jessica Wilson’s account of metaphysical indeterminacy, to show that the conception is well equipped to unravel two puzzling issues that arise from the critique. I suggest that a world that consists of things (...) that are indeterminate with respect to certain ways they are is sufficient for it to embody causal phenomena. (shrink)

Trong 30 năm qua, đặc biệt là những năm gần đây, Việt Nam đã tận dụng thời cơ, thuận lợi, vượt qua nhiều khó khăn; thách thức, thực hiện phát triển bền vững đất nước và đã đạt được những thành tựu to lớn, có ý nghĩa lịch sử. Đất nước đã ra khỏi tình trạng kém phát triển, kinh tế tăng trưởng khá nhanh, đời sống vật chất và tinh thần của người dân được cải thiện. Vị thế của (...) Việt Nam trên trường quốc tế được nâng cao, tạo ra những tiền đề quan trọng để phát triển nhanh, bền vững, nâng cao chất lượng cuộc sống của nhân dân. Tuy nhiên, trong giai đoạn hiện nay, phát triển bền vững Việt Nam đang đứng trước nhiều khó khăn, thách thức lớn có tính chất toàn cầu (khủng hoảng tài chính, năng lượng, vấn đề an ninh lương thực, biến đổi khí hậu,...) cũng như những khó khăn, thách thức chủ quan khác của đất nước (thành tựu đạt được chưa tương xứng với tiềm năng; chất lượng, năng suất, hiệu quả, sức cạnh tranh của nền kinh tế còn thấp; tăng trưởng kinh tế còn dựa nhiều vào các yếu tố phát triển theo chiều rộng, chậm chuyển sang phát triển theo chiều sâu; việc khai thác và sử dụng tài nguyên chưa thật hợp lý và tiết kiệm; các cân đối kinh tế vĩ mô chưa thật vững chắc, bội chi ngân sách, thâm hụt cán cân thương mại còn lớn, lạm phát còn cao; môi trường sinh thái ở nhiều nơi bị ô nhiễm nặng,...). Nhằm cung cấp thêm tài liệu nghiên cứu về vấn đề nêu trên, Nhà xuất bản Chính trị quốc gia - Sự thật xuất bản cuốn sách Bằng chứng cuộc sống - Suy ngẫm về phát triển bền vững Việt Nam của đồng tác giả Bạch Ngọc Chiến và Vương Quân Hoàng. -/- Ngoài phần mở đầu, phụ lục kỹ thuật, tài liệu tham khảo, cuốn sách gồm 5 chương chính: -/- Chương 1. Mạch nguồn; Chương 2. Con người, xã hội và nhà nước; Chương 3. Sức vóc kinh tế; Chương 4. Trí lực quốc dân; Chương 5. Tiến hóa. -/- Với tư duy và phương pháp tiếp cận khoa học, các tác giả dẫn dắt bạn đọc đi từ các quan sát về lịch sử hình thành dân tộc, sự phát triển và hoàn thiện của con người, xã hội, nhà nước trong tiến trình lịch sử đến sự phát triển kinh tế của đất nước ta. Mục tiêu cuối cùng mà các tác giả muốn đề cập là phương pháp và năng lực tổ chức, thiết kế và thực thi những kế hoạch phát triển phù hợp trong điều kiện hạn chế về nguồn lực và đối mặt với những thay đổi của cục diện trong nước và quốc tế. Nội dung cuốn sách cũng giúp làm sáng tỏ nhiều câu hỏi, gợi mở cách nhìn nhận về tương lai phát triển của đất nước. Cuốn sách thể hiện quá trình nghiên cứu công phu, nghiêm túc, nhiều nhận xét có giá trị tham khảo tốt; tuy nhiên có những ý kiến, nhận xét cần tiếp tục được thảo luận. Xin giới thiệu cuốn sách với bạn đọc và mong nhận được ý kiến đóng góp để nội dung cuốn sách được hoàn thiện hơn trong những lần xuất bản sau. -/- Tháng 11 năm 2015 NHÀ XUẤT BẢN CHÍNH TRỊ QUỐC GIA - SỰ THẬT. (shrink)

Although Chan, or Zen, Buddhism traditionally claimed itself as a special transmission outside doctrinal teachings that eschews the written word, it has long been praised for its improvisational, atypical, intriguing, and intricate use of words. Prominent Chan masters are characteristically skillful in employing paradoxical and aporetic phrases, figurative and poetic expressions, negations, questions, repetitions, and so forth, to express their thoughts, indicate their awakened states of mind, cut off the interlocutor’s habitual dualistic thinking, or evoke in him or her an (...) experience of awakening. This fact, among others, has led some contemporary scholars to claim that the Chan experience of awakening does not... (shrink)

The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered apart from them. (...) Thus aesthetic appreciation, for example, has creative, objective, and performative aspects. This situation of four factors, together with social, cultural, technological, and historical influences on them, is called the aesthetic field. Although the factors are theoretically distinguishable, they are experienced as a unity. It is important, therefore, not to confound the theoretical explanation of aesthetic experience with the experience, itself. The aesthetic field has important implications for understanding the various individual arts, new developments in the arts, and the critical appraisal of the arts. Moreover, the concept transforms traditional issues in aesthetics. (shrink)

Most people will agree that if my brain were made to have within it precisely the same pattern of activity that is in it now but through artificial means, as in its being fed all its stimulation through electrodes as it sits in a vat, an experience would result for me that would be subjectively indistinguishable from that I am now having. In ‘The Story of a Brain’ I ask whether the same subjective experience would be maintained in variations like (...) these: The hemispheres are in different vats but interacting with each other through radio transmission. Smaller chunks - and eventually the individual neurons - are interacting in this way. The hemispheres or the smaller chunks undergo internally the same pattern of activity but without interacting with each other. (shrink)

Degas, Manet, Picasso, Dali and Lipchitz produced works of art exemplifying a seeming impossibility: Not only combining incompatible attributes but doing so consistently with aesthetic strictures Horace formulated in Ars Poetica. The article explains how these artists were able to do this, achieving what some critics have called ‘a new art,’ ‘a miracle,’ and ‘a new metaphor.’ The article also argues that the author achieved the same result in sculpture by means of philosophical analysis – probably a first in the (...) history of art. (shrink)

Definitions I presented in a previous article as part of a semantic approach in epistemology assumed that the concept of derivability from standard logic held across all mathematical and scientific disciplines. The present article argues that this assumption is not true for quantum mechanics (QM) by showing that concepts of validity applicable to proofs in mathematics and in classical mechanics are inapplicable to proofs in QM. Because semantic epistemology must include this important theory, revision is necessary. The one I propose (...) also extends semantic epistemology beyond the ‘hard’ sciences. The article ends by presenting and then refuting some responses QM theorists might make to my arguments. (shrink)

Mahayana Buddhist philosophers’ attitude toward language is notoriously negative. The transcendental reality is often said to be ineffable. One’s obsession to apprehend the truth through words is an intellectual disease to be cured Attachment to verbal and conceptual proliferation enslaves oneself in the afflictive circle of life and death. Nevertheless, no Buddhist can afford to overlook the significance of language in preaching Buddhist dharmas as well as in day-to-day transactions. The point is not that of keeping silence. Rather, one should (...) understand and use language in such a way that one alludes to the unsayable reality and somehow escapes the bewitchment of language. Perhaps with this realization in mind, Mahayana Buddhist metaphysicians had fostered the penchant for using, at the sentential level, denials, negations and paradoxes to couch their views. In a similar vein but mainly at the word level, Dignaga (ca. 480-540 CE) the Yogacara epistemologist’ offered us a theory of language known as apoha doctrine in his landmark work Pramiinasamuccaya (henceforth PS). It is the purpose of this article to construe the doctrine. (shrink)

I critically examine Nietzsche’s argument in The Will to Power that all the detailed events of the world are repeating infinite times (on account of the merely finite possible arrangements of forces that constitute the world and the inevitability with which any arrangement of force must bring about its successors). Nietzsche celebrated this recurrence because of the power of belief in it to bring about a revaluation of values focused wholly on the value of one’s endlessly repeating life. Belief in (...) recurrence would bring joy to those who had achieved excellence in this life and crush those who had not. I point out, however, that this significance of recurrence must be spoiled by the consideration that within each of the long cycles of recurrence there would have to be, as well, countless variations of this life. And I consider the issue of personal identity within such recurrences. Is it the same person or merely resembling but distinct persons in the recurrences or the variations? If it is the same person in precise recurrences, should the subjectively identical experience be thought of as really additional for that person? (shrink)

Strawson's view on punishment has been either neglected or recoiled from in contemporary scholarship on ‘Freedom and Resentment’ (FR). Strawson's alleged retributivism has made his view suspect and troublesome. In this article, we first argue, against the mainstream, that the punishment passage is an indispensable part of the main argument in FR (section 1) and elucidate in what sense Strawson can be called ‘a retributivist’ (section 2). We then elaborate our own hypothesis of symbolic retribution to explain the continuum between (...) moral reactive attitudes and punishment that Strawson only adumbrates (section 3). After this justification of the punitive response to wrongdoing, we compare and contrast our specific kind of retributivist hypothesis with other positions in the so-called ‘new retributivism’ (section 4). Our hypothesis differs from other subvarieties of expressive retributivism in putting centre stage the idea of punishment as taking up a reverential stance towards the victim. (shrink)

This paper proposes a radical re-examination of the foundations of modern aesthetics. It urges that we replace the tradition of eighteenth century aesthetics, with its insistence on disinterestedness and the separateness of the aesthetic, and its problematic oppositions, such as the separation of sense from cognition. In their place it appeals to a more process-oriented, pluralistic account, one that takes note of varying cultural traditions in aesthetics, that recognizes the aesthetic as a complex of many forces and factors, and that (...) considers the aesthetic as part of a complexity of values, including moral, practical, social, and political ones. It urges, further, an aesthetic-based criticism, not only of the arts, but of culture and knowledge. Central to this account is the idea of aesthetic engagement, which not only recognizes and extends the many connections of and in aesthetic experience, but invites our total involvement as active participants. (shrink)

I argue that a certain type of naturalist should not accept a prominent version of the no-miracles argument (NMA). First, scientists (usually) do not accept explanations whose explanans-statements neither generate novel predictions nor unify apparently disparate established claims. Second, scientific realism (as it appears in the NMA) is an explanans that makes no new predictions and fails to unify disparate established claims. Third, many proponents of the NMA explicitly adopt a naturalism that forbids philosophy of science from using any methods (...) not employed by science itself. Therefore, such naturalistic philosophers of science should not accept the version of scientific realism that appears in the NMA. (shrink)

Following up on its predecessor in this Journal, the article defends philosophy as a guide to making and analyzing art; identifies Cubist solutions to the Prometheus Challenge, including a novel analysis of Picasso’s Les Demoiselles d’Avignon; defines a new concept of aesthetic attitude; proves the compatibility of Prometheus Challenge artworks with logic; and explains why Plato would have welcomed such artworks in his ideal state.

Ecology has become a popular conceptual model in numerous fields of inquiry and it seems especially appropriate for environmental philosophy. Apart from its literal employment in biology, ecology has served as a useful metaphor that captures the interdependence of factors in a field of research. At the same time as ecology is suggestive, it cannot be followed literally or blindly. This paper considers the appropriateness of the uses to which ecology has been put in some recent discussions of architectural and (...) environmental aesthetics, and develops a critique of the differing ecological aesthetics of Jusuck Koh and Xiangzhan Cheng. (shrink)

Since anonymous agents can spread misinformation with impunity, many people advocate for greater accountability for internet speech. This paper provides a veritistic argument that accountability mechanisms can cause significant epistemic problems for internet encyclopedias and social media communities. I show that accountability mechanisms can undermine both the dissemination of true beliefs and the detection of error. Drawing on social psychology and behavioral economics, I suggest alternative mechanisms for increasing the trustworthiness of internet communication.

Aesthetics is fundamentally a theory of sensible experience. Its scope has expanded greatly from an initial centering on the arts and scenic nature to the full range of appreciative experience. Expanding the range of aesthetics raises challenging questions about the experience of appreciation. Traditional accounts are inadequate in their attempt to identify and illuminate the perceptual experiences that these new applications evoke. Considering the range of environmental and everyday occasions aesthetically changes aesthetics into a descriptive and not necessarily celebratory study (...) of sensible experience, for it must now accommodate a complete range of negative as well as positive values. Th is paper develops an analysis of the multiple dimensions of environmental sensibility. (shrink)

The idea of aesthetic disinterestedness has been a central concept in aesthetics since the late eighteenth century. This exchange offers a contemporary reconsideration of disinterestedness from different sides of the question.

W.V.O. Quine has famously objected that (1) properties are philosophically suspect because (2) there is no entity without identity and (3) the synonymy criterion for property identity won't do because there's no such concept as synonymy. (2) and (3) may or may not be right but do not prove (1). I reply that Leiniz's Law handles property identity, as it does for everything else, then respond to a variety of objections and confusions.

The Pessimistic Induction over the history of science argues that because most past theories considered empirically successful in their time turn out to be not even approximately true, most present ones probably aren’t approximately true either. But why did past scientists accept those incorrect theories? Kyle Stanford’s ‘Problem of Unconceived Alternatives’ is one answer to that question: scientists are bad at exhausting the space of plausible hypotheses to explain the evidence available to them. Here, I offer another answer, which I (...) call the ‘Problem of Misleading Evidence.’ I argue that this proposal is, in important respects, superior to Stanford’s. (shrink)

Mathematics textbooks teach logical reasoning by example, a practice started by Euclid; while logic textbooks treat logic as a subject in its own right without practical application to mathematics. Stuck in the middle are students seeking mathematical proficiency and educators seeking to provide it. To assist them, the article explains in practical detail how to teach logic-based skills such as: making mathematical reasoning fully explicit; moving from step to step in a mathematical proof in logically correct ways; and checking to (...) make sure inferences are logically correct. The methodology can easily be extended beyond the four examples analyzed. (shrink)

From the earliest times art has been integral to human culture. Both fascinated and perplexed by the arts, people have tried, since the age of classical Greece, to understand how they work and what they mean. Philosophers wondered at first about the nature of art: what it is and how it relates to the cosmos. They puzzled over how art objects are created, and extolled human skills that seem at times godlike in their powers. But perhaps the central question for (...) such philosophers as Plato and Aristotle concerned our involvement with art: the response we have to beautiful things, the moral and salubrious powers of art, and perhaps most of all, the power of art to transform and transcend, leading us into a condition of enhanced perception that may be wondrous, dangerous, and at times overwhelming. The classical age displayed a richness of discussion that centered on art as an activity: an activity that is at once cosmic, social, and individual; an activity that brings understanding of a sort; an activity that may be salutary and even exalting, as in Aristotle's celebrated discussion of tragedy and its cathartic effects. Since the eighteenth century, however, this has changed. Questions about art have shifted to the idea of experience, paralleling the great change in the focus of philosophy from matters of ontology to those of epistemology. In place of starting from an examination of the nature of the universe and moving to the human position in the order of things, we have come to realize, since Descartes and Kant, that all inquiry has its inception in a human locus. Now, at the end of the twentieth century, we have finally recognized that the human factor in every kind of awareness and knowledge is structurally unavoidable. Art has become both a symptom of this change and a standard for grasping it. (shrink)

This paper could be thought of as divided into two parts. In the first I show through a series of thought experiments that it is a mistake to think of one’s individual experience as necessarily belonging to only one particular place, time and organism. In repetitions across a universe large enough to host them, the particular experience that one finds oneself in, which can be individuated only by the detailed type that is the entirety of its momentary subjective content, would (...) exist equally in every occurrence of that type, much as a moment in the plot of a novel would exist equally in every copy of that novel. Each distinguishable subjective moment of experience is thus a ‘moment universal’. In the second part of the paper I draw from this the conclusion that there could not be any proper possessors of lines of experience - that there are no proper persons - no continuing subjects of consciousness and self-interest. About five years after writing this paper I came to see that the particular identity of an experience could not be confined by types of momentary subjective detail any more than it could be confined by particular places, times or organisms. All experience is equally here, now and mine and all conscious organisms are equally I. My argument for this crucial further development is presented in ‘One Self – The Logic of Experience’, Inquiry 33 (1991): pp. 39-68. (shrink)

Attempts to justify the objectivity and universality of aesthetic judgment have traditionally rested on unsupported assumptions or mere assertion. This paper offers a fresh consideration of the problem of judgments of taste. It suggests that the problem of securing universal agreement is false and therefore insoluble since it imposes an inappropriate logical criterion on the extent of agreement, which is irrevocably empirical. The variability of judgments of taste actually forms a subject ripe for inquiry by sociologists, psychologists, historians and anthropologists, (...) as well as by aestheticians. Scenic beauty provides a vivid test for the variability of these judgments. (shrink)

In this time of increasing international involvement, one cannot but be struck by the fact of sharply different traditions concerning art and its practice.3 Recognizing that the arts are a salient part of every culture may lead us to wonder about their features and may make us curious about how and why the arts of other cultures differ from what we find more familiar. Perhaps we hope that the arts will offer us some insight into different cultures and their distinctive (...) worlds. This, then, is in part an essay in comparative aesthetics. Numerous examples of diverse artistic practices evoke our curiosity. Many of those I shall cite here are environmental and this is deliberate, for environments are a pervasive and powerful material embodiment of cultural practice and sensibility. They provide salient and inescapable evidence of this influence, and they bridge the distance sometimes assumed to lie, quite wrongly, in my opinion, between material culture and its artistic manifestations. (shrink)

Suppose one believes that the historical record of discarded scientific theories provides good evidence against scientific realism. Should one adopt Kyle Stanford’s specific version of this view, based on the Problem of Unconceived Alternatives? I present reasons for answering this question in the negative. In particular, Stanford’s challenge cannot use many of the prima facie strongest pieces of historical evidence against realism, namely: superseded theories whose successors were explicitly conceived, and superseded theories that were not the result of elimination-of-alternatives inferences. (...) Attempts to accommodate and within Stanford’s framework are incompatible with other commitments Stanford holds, such as anti-realism being piecemeal instead of global. As separate lines of criticism, I argue that there are problems with Stanford’s claim that the PUA is the most important challenge to realism, and with his view of instrumentalist theory endorsement. (shrink)

In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain (...) common characteristics that all musics share in the ordering of successive sounds and silences in movement, pattern, and studied length. And, of course, these sounds and silences must be devised and generated, usually by a person but increasingly by other means, especially electronic. Finally, music has its contexts, the particular occasions when it is produced and heard. Perhaps there is indeed a generic musical art, a common ground where all these disparities come together. (shrink)

Stone represents the firmness and intransigence of the world within which we live and act. But beyond the perception and appropriations of stone, diverse meanings lie hidden between the hardness of stone and its uses. At the same time meaning must be grounded in the stabilizing presence of a common world. Yet if all that can be said is not about stone simpliciter but only an aesthetics of its perception, uses, and meanings, have we not gained the whole world but (...) lost its reality? The underlying issue is therefore not aesthetic but ontological. (shrink)

Recent scholarship indicates that Quine’s “Truth by Convention” does not present the radical critiques of analytic truth found fifteen years later in “Two Dogmas of Empiricism.” This prompts a historical question: what caused Quine’s radicalization? I argue that two crucial components of Quine’s development can be traced to the academic year 1940–1941, when he, Russell, Carnap, Tarski, Hempel, and Goodman were all at Harvard together. First, during those meetings, Quine recognizes that Carnap has abandoned the extensional, syntactic approach to philosophical (...) analysis, an approach espoused in Carnap’s 1934 Logical Syntax of Language, and which Quine endorsed his entire career. Second, Tarski presents Quine with a philosophically well-motivated reason to think that an apparently analytic discipline, arithmetic, could be synthetic; this reflects one of the central assertions found in “Two Dogmas” but not in “Truth by Convention.” I use this account of Quine’s development to resolve a dispute between Creath and Mancosu concerning the timeline for Quine’s evolving critiques of analyticity. (shrink)

Scientific anti-realists who appeal to the pessimistic induction (PI) claim that the theoretical terms of past scientific theories often fail to refer to anything. But on standard views in philosophy of language, such reference failures prima facie lead to certain sentences being neither true nor false. Thus, if these standard views are correct, then the conclusion of the PI should be that significant chunks of current theories are truth-valueless. But that is semantic anti-realism about scientific discourse—a position most philosophers of (...) science, anti-realists included, consider anathema today. Therefore, proponents of the PI confront a dilemma: either accept semantic anti-realism or reject common semantic views. I examine strategies (with particular emphasis on supervaluations) for the PI proponent to either lessen the sting of this argument, or learn to live with it. 1 Introduction2 Designation Failure 2.1 Designation failure leads to truth-valueless sentences2.1.1 Direct reference theory2.1.2 Fregeanism2.1.3 Accounts of reference-fixing: why ‘phlogiston’ fails to designate 2.2 Objection: sentences exhibiting designation failure are false not truth-valueless 2.3 Avoiding truth-valuelessness via controversial semantic positions3 What to do? Closing the Gaps4 Conclusion. (shrink)

In my recent book, Art and Engagement (1991), I develop the idea of aesthetic engagement as central to the appreciation of art. The human contribution to the constitution of the "work" of art, I claim, is a critical part of appreciative experience. This contribution, however, is easily misread into the history of the idea of experience that has dominated Western philosophy since the seventeenth century, a history that sees experience as an inner, personal, subjective affair. From this vantage point, the (...) metaphysical implications of an aesthetics of experience seem to lead resolutely to idealism.1 'Experience', however, is a troublesome term precisely because its meaning is equivocal. Despite its association with philosophical idealism, experience allows a range of interpretations in various contexts. Even though aesthetic experience is often understood subjectively, it is mistaken to think that it allows of no other alternative. These comments raise a complex of issues, two of which I want to consider here: first, the metaphysical significance of experience and, second, the bearing of art on metaphysics. (shrink)

This challenging paper presents an ingenious argument for a functionalist theory of mind. Part of the argument: My visual cortex at the back of my brain processes the stimulation to my eyes and then causes other parts of the brain - like the speech centre and the areas involved in thought and movement - to be properly responsive to vision. According to functionalism the whole mental character of vision - the whole of how things look - is fixed purely in (...) the pattern of responses to vision and not in any of the initial processing of vision in the visual cortex. That this functionalist theory of vision is true can be proved with alarming ease. Imagine that just the left side of my visual cortex is replaced by a gadget that has precisely the same input/output relationship to the rest of the brain as the left visual cortex had. According to any view but functionalism, the character of my vision on the right side of my visual field (normally processed by the left visual cortex) would change radically with this change in all the intrinsic properties involved in the visual cortex, with this preservation of nothing but its functional role in bringing about my responses to vision. But, say I, we have enough here to be sure that in such a case there could be no change in the character of my vision. For we know by the stipulation of sameness of output that my responses in speech, thought and movement to the right side of my visual field will be precisely the same as they would have been with the natural left visual cortex and will harmonise just as they would have done with my responses to the other side of my vision. But if half my vision had disappeared or changed I’d be speaking, thinking and acting like someone with problems on the right side of his vision. It is impossible to separate my responses to vision from the character of my vision. The character of my vision is logically determined by the pattern of responses - by nothing but the functional role of my vision. (shrink)

Imagine two urns, each with a thousand beads - in one all the beads are blue while in the other only one of the thousand is blue. If one of these urns is pushed forward (based on the toss of a fair coin) and the single bead then randomly drawn from it is blue, we must infer that it is a thousand times more probable that the urn pushed forward is the purely blue one. The hypothesis that this was instead (...) the urn with only one blue bead would require that the occurrence of the evidence, the blue bead being drawn, was something improbable - and it is improbable that something improbable is what has occurred. Next consider an example of only one urn with no prior description. By the same reasoning as above, if all the first beads randomly drawn are blue, it is becoming more and more probable that the beads in the urn are generally blue. (Otherwise something improbable would be happening in another colour not appearing; and what’s improbable is improbable.) It is therefore probable also that the next bead drawn will be blue. This is induction. As Hume would have said, we could not know a priori, given this evidence, that the next bead will be blue. But, as he overlooked, we can know a priori, given this evidence, that it is probable that the next bead will be blue. In neither urn example has the belief regarding the beads been formed as a Humean habit of expectation after many observations of beads. (In the first case there is only one observation. The second could be modified to have all the beads drawn out at once.) Rather the belief is a product of a priori reasoning about probability. Next imagine that a coin has been tossed a thousand times and landed heads every time. There was a fair and a loaded coin. According to the same reasoning, it is overwhelmingly more probable that the coin used was the loaded one. For that the fair coin had so landed is most improbable. The hypothesis that there is no external world makes the orderliness in my current experience improbable - much like getting all heads with a fair coin. (Uncaused sensation would most probably be chaotic.) The most probable hypothesis is that of things like those we believe in causing this orderliness - as the coin’s being loaded would have caused all heads. The hypothesis that my experience has been made to take this pattern by a Cartesian malicious demon or by scientists controlling my brain in a vat can only falsely seem to make the character of the experience probable by sneaking in an inherently improbable ad hoc specification that this sort of pattern of experience was that which they were aiming at producing - like an ad hoc specification that the fair coin was one that by chance landed heads all thousand times. We may thus reject such hypotheses as improbable. So this is the problem of induction solved and scepticism answered through a priori reasoning. (shrink)

Many philosophical positions wholly undermine themselves because to possess the truth that they claim for themselves they would have to be false. These are the theories that in one way or another reject the meaningfulness or attainability of objective truth.

The broad scope and coherence of Natural Beauty are among its major strengths. Moore's syncretic theory tries to integrate diverse and sometimes conflicting theoretical strands. Of special importance is his recognition that the natural world is a social institution embodying perceptions that are conditioned, experiences communicated through language, and social beliefs and conventions. These lead him to consider the natural world as actually artifactual, and he terms it the 'natureworld'. Among the consequences of this is the reciprocity of natural and (...) artistic beauty, one indication of the inclusiveness that runs through his theory. My central concern is whether Moore's syncretic theory can successfully combine disparate features of conflicting theories, such as cognitivism and non-cognitivism, and subjectivism and objectivism. Another concern is whether his syncretism can resolve problems such as the apparent inconsistencies raised by his discussion of framing. Here, alternatives that Moore had presumably settled reappear, as when objects, which had presumably been replaced by experiences, re-emerge in his discussion of framing. These comments identify such difficulties and ask whether the way out may be to reframe not natural beauty but the terms of the question. (shrink)

My visual cortex at the back of my brain processes the stimulation to my eyes and then causes other parts of the brain - like the speech centre and the areas involved in thought and movement - to be properly responsive to vision. According to functionalism the whole mental character of vision - the whole of how things look - is fixed purely in the pattern of responses to vision and not in any of the initial processing of vision in (...) the visual cortex. That this functionalist theory of vision is true can be proved with alarming ease. Imagine that just the left side of my visual cortex is replaced by a gadget that has precisely the same input/output relationship to the rest of the brain as the left visual cortex had. According to any view but functionalism, the character of my vision on the right side of my visual field (normally processed by the left visual cortex) would change radically with this change in all the intrinsic properties involved in the visual cortex, with this preservation of nothing but its functional role in bringing about my responses to vision. But, say I, we have enough here to be sure that in such a case there could be no change in the character of my vision. For we know by the stipulation of sameness of output that my responses in speech, thought and movement to the right side of my visual field will be precisely the same as they would have been with the natural left visual cortex and will harmonise just as they would have done with my responses to the other side of my vision. But if half my vision had disappeared or changed I’d be speaking, thinking and acting like someone with problems on the right side of his vision. It is impossible to separate my responses to vision from the character of my vision. The character of my vision is logically determined by the pattern of responses - by nothing but the functional role of my vision. (shrink)