Which rules should guide our reasoning? Human reasoners often use reasoning shortcuts, called heuristics, which function well in some contexts but lack the universality of reasoning rules like deductive implication or inference to the best explanation. Does it follow that human reasoning is hopelessly irrational? I argue: no. Heuristic reasoning often represents human reasoners reaching a local rational maximum, reasoning more accurately than if they try to implement more “ideal” rules of reasoning. I argue this is a genuine rational achievement. (...) Our ideal rational advisors would advise us to reason with heuristic rules, not more complicated ideal rules. I argue we do not need a radical new account of epistemic norms to make sense of the success of heuristic reasoning. (shrink)

Sensitivity has sometimes been thought to be a highly epistemologically significant property, serving as a proxy for a kind of responsiveness to the facts that ensure that the truth of our beliefs isn’t just a lucky coincidence. But it's an imperfect proxy: there are various well-known cases in which sensitivity-based anti-luck conditions return the wrong verdicts. And as a result of these failures, contemporary theorists often dismiss such conditions out of hand. I show here, though, that a sensitivity-based understanding of (...) epistemic luck can be developed that respects what was attractive about sensitivity-based approaches in the first place but that's immune to these failures. (shrink)

A Benacerraf–Field challenge is an argument intended to show that common realist theories of a given domain are untenable: such theories make it impossible to explain how we’ve arrived at the truth in that domain, and insofar as a theory makes our reliability in a domain inexplicable, we must either reject that theory or give up the relevant beliefs. But there’s no consensus about what would count here as a satisfactory explanation of our reliability. It’s sometimes suggested that giving such (...) an explanation would involve showing that our beliefs meet some modal condition, but realists have claimed that this sort of modal interpretation of the challenge deprives it of any force: since the facts in question are metaphysically necessary and so obtain in all possible worlds, it’s trivially easy, even given realism, to show that our beliefs have the relevant modal features. Here I show that this claim is mistaken—what motivates a modal interpretation of the challenge in the first place also motivates an understanding of the relevant features in terms of epistemic possibilities rather than metaphysical possibilities, and there are indeed epistemically possible worlds where the facts in question don’t obtain. (shrink)

Truth by convention, once thought to be the foundation of a uniquely promising approach to explaining our access to the truth in nonempirical domains, is nowadays widely considered an absurdity. Its fall from grace has been due largely to the influence of an argument that can be sketched as follows: our linguistic conventions have the power to make it the case that a sentence expresses a particular proposition, but they can’t by themselves generate truth; whether a given proposition is true—and (...) so whether the sentence that expresses it is true—is a matter of what the world is like, which means it isn’t a matter of convention alone. The consensus is that this argument is decisive against truth by convention. Strikingly, though, it has rarely been formulated with much precision. Here I provide a new rendering of the argument, one that reveals its structure and makes transparent just what assumptions it requires, and then I assess conventionalists’ prospects for resisting each of those assumptions. I conclude that the consensus is mistaken: contrary to what is almost universally thought, there remains a promising way forward for the conventionalist project. Along the way, I clarify conventionalists’ commitments by thinking about what truth by convention would need to be like in order for conventionalism to do the epistemological work it’s intended to do. (shrink)

Implicit attitudes are mental states posited by psychologists to explain behaviors including implicit racial and gender bias. In this paper I investigate the belief view of the implicit attitudes, on which implicit attitudes are a kind of implicit belief. In particular, I focus on why implicit attitudes, if they are beliefs, are often resistant to updating in light of new evidence. I argue that extant versions of the belief view do not give a satisfactory account of this phenomenon. This is (...) because proponents of the belief view have focused on overly narrow explanations of recalcitrance in terms of belief storage. Expanding the focus of the belief view to the kinds of irrational and arational transitions between beliefs and other mental states provides compelling (if preliminary) explanations of recalcitrance. (shrink)

One recent topic of debate in Bayesian epistemology has been the question of whether imprecise credences can be rational. I argue that one account of imprecise credences, the orthodox treatment as defended by James M. Joyce, is untenable. Despite Joyce’s claims to the contrary, a puzzle introduced by Roger White shows that the orthodox account, when paired with Bas C. van Fraassen’s Reflection Principle, can lead to inconsistent beliefs. Proponents of imprecise credences, then, must either provide a compelling reason to (...) reject Reflection or admit that the rational credences in White’s case are precise. (shrink)

In domains as disparate as playing Go and predicting the structure of proteins, artificial intelligence (AI) technologies have begun to perform at levels beyond which any humans can achieve. Does this fact represent something lamentable? Does superhuman AI performance somehow undermine the value of human achievements in these areas? Go grandmaster Lee Sedol suggested as much when he announced his retirement from professional Go, blaming the advances of Go-playing programs like AlphaGo for sapping his will to play the game at (...) a high level. In this paper, I attempt to make sense of Sedol’s lament. I consider a number of ways that the existence of superhuman-performing AI technologies could undermine the value of human achievements. I argue there is very little in the nature of the technology itself that warrants such despair. (Compare: does the existence of a fighter jet undermine the value of being the fastest human sprinter?) But I also argue there are several more localized domains where these technologies threaten to displace human beings from being able to achieve valuable things at all. This is a particular worry for those in unequal societies, I argue, given the difficulty of many achievements and the corresponding amount of resources needed to achieve great things. (shrink)

We argue that the concept of practical wisdom is particularly useful for organizing, understanding, and improving human-machine interactions. We consider the relationship between philosophical analysis of wisdom and psychological research into the development of wisdom. We adopt a practical orientation that suggests a conceptual engineering approach is needed, where philosophical work involves refinement of the concept in response to contributions by engineers and behavioral scientists. The former are tasked with encoding as much wise design as possible into machines themselves, as (...) well as providing sandboxes or workspaces to help various stakeholders build practical wisdom in systems that are sufficiently realistic to aid transferring skills learned to real-world use. The latter are needed for the design of exercises and methods of evaluation within these workspaces, as well as ways of empirically assessing the transfer of wisdom from workspace to world. Systematic interaction between these three disciplines (and others) is the best approach to engineering wisdom for the machine age. (shrink)

The thesis that agents should calibrate their beliefs in the face of higher-order evidence—i.e., should adjust their first-order beliefs in response to evidence suggesting that the reasoning underlying those beliefs is faulty—is sometimes thought to be in tension with Bayesian approaches to belief update: in order to obey Bayesian norms, it’s claimed, agents must remain steadfast in the face of higher-order evidence. But I argue that this claim is incorrect. In particular, I motivate a minimal constraint on a reasonable treatment (...) of the evolution of self-locating beliefs over time and show that calibrationism is compatible with any generalized Bayesian approach that respects this constraint. I then use this result to argue that remaining steadfast isn’t the response to higher-order evidence that maximizes expected accuracy. (shrink)

Hilary Greaves and David Wallace argue that conditionalization maximizes expected accuracy and so is a rational requirement, but their argument presupposes a particular picture of the bridge between rationality and accuracy: the Best-Plan-to-Follow picture. And theorists such as Miriam Schoenfield and Robert Steel argue that it's possible to motivate an alternative picture—the Best-Plan-to-Make picture—that does not vindicate conditionalization. I show that these theorists are mistaken: it turns out that, if an update procedure maximizes expected accuracy on the Best-Plan-to-Follow picture, it's (...) guaranteed to maximize expected accuracy on the Best-Plan-to-Make picture as well, in which case moving from the former to the latter can't help us avoid the conclusion that conditionalization is a rational requirement. If there's a problem with Greaves and Wallace’s argument, it must lie elsewhere. (shrink)

I identify an undertheorized problem with decisions we make with the aid of algorithms: the problem of inauthenticity. When we make decisions with the aid of algorithms, we can make ones that go against our commitments and values in a normatively important way. In this paper, I present a framework for algorithm-aided decision-making that can lead to inauthenticity. I then construct a taxonomy of the features of the decision environment that make such outcomes likely, and I discuss three possible solutions (...) to the problem. (shrink)

One common attitude toward abstract objects is a kind of platonism: a view on which those objects are mind-independent and causally inert. But there's an epistemological problem here: given any naturalistically respectable understanding of how our minds work, we can't be in any sort of contact with mind-independent, causally inert objects. So platonists, in order to avoid skepticism, tend to endorse epistemological theories on which knowledge is easy, in the sense that it requires no such contact—appeals to Boghossian’s notion of (...) epistemic analyticity are particularly common here, as are appeals to some broadly pragmatic account of the good standing of basic beliefs. I argue, though, that these appeals are hopeless: an argument adapted from the Benacerraf–Field challenge shows that, even if some such theory can deliver the verdict that our beliefs about abstract objects have some prima facie good standing, this good standing will inevitably be defeated. (shrink)

Robin McKenna’s excellent Non-Ideal Epistemology is, among other things, a testament to restraint. McKenna does not want to unnecessarily inflame tensions between ideal and non-ideal theorists in epistemology. Often ideal and non-ideal projects are aimed at different target domains and not in tension with one another (though not always; e.g. McKenna 2023, ch. 6, especially pp. 112-21). In this commentary, I will have much less tact. I sketch a route by which the non-ideal epistemologist might become more belligerent towards their (...) ideal counterparts. I do this by focusing on an area that McKenna mostly sets aside: non-ideal individual epistemology. (shrink)

The purpose of this project is to argue that we possess a minimal self. It will demonstrate that minimal selfhood arrives early in our development and continues to remain and influence us throughout our entire life. There are two areas of research which shape my understanding of the minimal self: phenomenology and enactivism. Phenomenology emphasizes the sense of givenness, ownership, or mineness that accompanies all of our experiences. Enactivism says there is a sensorimotor coupling that occurs between us and the (...) environment in a way which modulates the dynamic patterns of our self development; the laying down of these basic patterns helps make us who we are and gives rise to the phenomenological, experiential mineness. Drawing on these two core ideas, I will be arguing for a Phenomenological-Enactive Minimal Self. I will be emphasizing the role of the body and the role of affects as the most important components relevant to understanding minimal selfhood. Put more concretely, the set of conditions which constitute the PEMS view are: The minimal self is the experiential subject; the minimal sense of self is present whenever there is awareness. It is the subjectivity of experience, the sense of mineness, or givenness which our experiences contain. The phenomenological part of the PEMS view turns on the idea of a bodily and dynamic integration of sensorimotor coupling and affective experience. It is, ontologically speaking, the lived body in enactive engagement with the environment. It is this embodied subject which anchors and forms the foundation for the later ‘narrative’ self, which emerges from it and which is continually influenced by it. It is the subject enactively engaged with others, dependent on sensorimotor processes and affects. We have an identity, but it emerges from relational and dynamic processes. (shrink)

I argue that Quinean naturalists’ holism-based arguments against analyticity and apriority are more difficult to resist than is generally supposed, for two reasons. First, although opponents of naturalism sometimes dismiss these arguments on the grounds that the holistic premises on which they depend are unacceptably radical, it turns out that the sort of holism required by these arguments is actually quite minimal. And second, although it’s true, as Grice and Strawson pointed out long ago, that these arguments can succeed only (...) if there isn’t any principled criterion for meaning change, such a criterion turns out to be hard to come by. David Chalmers has recently argued that such a criterion must exist, since the norms governing belief revision are subject to obvious exceptions that can be explained only by appeal to meaning change. But this, I argue, is incorrect: if choices about how to use language are themselves rationally assessable, then there are no such exceptions to be explained. To show that this is so, I formulate a new kind of coherence norm that may be useful for reasoning formally about the relationship between meaning and evidence. (shrink)

Recent work by Brian Skyrms offers a very general way to think about how information flows and evolves in biological networks — from the way monkeys in a troop communicate, to the way cells in a body coordinate their actions. A central feature of his account is a way to formally measure the quantity of information contained in the signals in these networks. In this paper, we argue there is a tension between how Skyrms talks of signalling networks and his (...) formal measure of information. Although Skyrms refers to both how information flows through networks and that signals carry information, we show that his formal measure only captures the latter. We then suggest that to capture the notion of flow in signalling networks, we need to treat them as causal networks. This provides the formal tools to define a measure that does capture flow, and we do so by drawing on recent work defining causal specificity. Finally, we suggest that this new measure is crucial if we wish to explain how evolution creates information. For signals to play a role in explaining their own origins and stability, they can’t just carry information about acts: they must be difference-makers for acts. (shrink)

Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art and (...) philosophy and in the claim that aesthetics is a central area of philosophy. First of all, it is worth noting that, even if the philosophy of art has not played a role in the systems of all the indisputably great philosophers, or even of most of them, it has occupied an important place in the thought of quite a few, among them Plato, Aristotle, Hume, Kant, Schopenhauer, Nietzsche, Hegel and Sartre. And a good number of philosophers of lesser rank—including Croce, Collingwood, Dewey, Bergson, Santayana, Gadamer and, evidently, Schelling, also had a philosophy of art; one finds them perhaps more interested in it than in, say, ethics. Why this natural, even if not inevitable, link between philosophy and art? (shrink)

We offer a sceptical examination of a thesis recently advanced in a monograph published by Princeton University Press, entitled Greek Buddha: Pyrrho’s Encounter with Early Buddhism in Central Asia. In this dense and probing work, Christopher I. Beckwith, a professor of Central Eurasian studies at Indiana University, Bloomington, argues that Pyrrho of Elis adopted a form of early Buddhism during his years in Bactria and Gandhāra, and that early Pyrrhonism must be understood as a sect of early Buddhism. In making (...) his case Beckwith claims that virtually all scholars of Greek, Indian, and Chinese philosophy have been operating under flawed assumptions and with flawed methodologies, and so have failed to notice obvious and undeniable correspondences between the philosophical views of the Buddha and of Pyrrho. In this study we take Beckwith’s proposal and challenge seriously, and we examine his textual basis and techniques of translation, his methods of examining passages, his construal of problems and his reconstruction of arguments. We find that his presuppositions are contentious and doubtful, his own methods are extremely flawed, and that he draws unreasonable conclusions. Although the result of our study is almost entirely negative, we think it illustrates some important general points about the methodology of comparative philosophy. (shrink)

The notion of a genetic program has been widely criticized by both biologists and philosophers. But the debate has revolved around a narrow conception of what programs are and how they work, and many criticisms are linked to this same conception. To remedy this, I outline a modern and more apt idea of a program that possesses many of the features critics thought missing from programs. Moving away from over-simplistic conceptions of programs opens the way to a more fruitful interplay (...) of ideas between the complexity of biology and our most complex engineering discipline. (shrink)

On a widespread naturalist view, the meanings of mathematical terms are determined, and can only be determined, by the way we use mathematical language—in particular, by the basic mathematical principles we’re disposed to accept. But it’s mysterious how this can be so, since, as is well known, minimally strong first-order theories are non-categorical and so are compatible with countless non-isomorphic interpretations. As for second-order theories: though they typically enjoy categoricity results—for instance, Dedekind’s categoricity theorem for second-order PA and Zermelo’s quasi-categoricity (...) theorem for second-order ZFC—these results require full second-order logic. So appealing to these results seems only to push the problem back, since the principles of second-order logic are themselves non-categorical: those principles are compatible with restricted interpretations of the second-order quantifiers on which Dedekind’s and Zermelo’s results are no longer available. In this paper, we provide a naturalist-friendly, non-revisionary solution to an analogous but seemingly more basic problem—Carnap’s Categoricity Problem for propositional and first-order logic—and show that our solution generalizes, giving us full second-order logic and thereby securing the categoricity or quasi-categoricity of second-order mathematical theories. Briefly, the first-order quantifiers have their intended interpretation, we claim, because we’re disposed to follow the quantifier rules in an open-ended way. As we show, given this open-endedness, the interpretation of the quantifiers must be permutation-invariant and so, by a theorem recently proved by Bonnay and Westerståhl, must be the standard interpretation. Analogously for the second-order case: we prove, by generalizing Bonnay and Westerståhl’s theorem, that the permutation invariance of the interpretation of the second-order quantifiers, guaranteed once again by the open-endedness of our inferential dispositions, suffices to yield full second-order logic. (shrink)

La créativité est une valeur aujourd’hui abondamment conférée à des objets fort divers. Ainsi, bien qu’elle soit principalement discutée dans le domaine de l’art, on en parle souvent à propos des sciences, du sport, de l’entrepreneuriat, de la politique, de la pédagogie ou encore de situations plus ordinaires, telles que la créativité culinaire ou humoristique. En quoi ces diverses formes de créativité se ressemblent-elles ? Qu’est-ce qui fait leur valeur et en quoi se distinguent-elles de proches parentes comme l’originalité, l’inventivité (...) ou l’intelligence ? (shrink)

Practical quantum computing devices and their applications to AI in particular are presently mostly speculative. Nevertheless, questions about whether this future technology, if achieved, presents any special ethical issues are beginning to take shape. As with any novel technology, one can be reasonably confident that the challenges presented by "quantum AI" will be a mixture of something new and something old. Other commentators (Sevilla & Moreno 2019), have emphasized continuity, arguing that quantum computing does not substantially affect approaches to value (...) alignment methods for AI, although they allow that further questions arise concerning governance and verification of quantum AI applications. In this brief paper, we turn our attention to the problem of identifying as-yet-unknown discontinuities that might result from quantum AI applications. Wise development, introduction, and use of any new technology depends on successfully anticipating new modes of failure for that technology. This requires rigorous efforts to break systems in protected sandboxes, and it must be conducted at all stages of technology design, development, and deployment. Such testing must also be informed by technical expertise but cannot be left solely to experts in the technology because of the history of failures to predict how non-experts will use or adapt to new technologies. This interplay between experts and non-experts may be particularly acute for quantum AI because quantum mechanics is notoriously difficult to understand. (As Richard Feynman quipped, "Anyone who claims to understand quantum mechanics is either lying or crazy.") We will discuss the extent to which the difficulties in understanding the physics underlying quantum computing challenges attempts to anticipate new failure modes that might be introduced in AI applications intended for unsupervised operation in the public sphere. (shrink)

In “Artistic Worth and Personal Taste,” Jerrold Levinson develops a problem for those who think we should strive to be “ideal critics” in our aesthetic lives. He then offers several solutions to this problem. I argue that his solutions miss the mark and that the problem he characterizes may not be genuine after all.

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.

In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful (...) in expression this message should be comprehensible and certainly not incoherent. The author of this paper draws on Levinson's “Messages in Art” as well as his “Music as Narrative and Music as Drama” to explore further the issues mentioned above. In particular the author argues that seeing musical works through the message it may generate is somewhat reductive and that musical work as well as other artworks are prone to abiding by an aesthetic code and therefore even when they allow for interpretation in terms of messages or morals these messages are incoherent or vague at best. (shrink)

Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic (...) art and pornography; or at the least, nothing can be coherently projected as both erotic art and pornography.1I have argued elsewhere .. (shrink)

To assess Brette's proposal to expunge “coding” from the neuroscientist's lexicon, we must consider its origins. The coding metaphor is due largely to British nerve physiologist Edgar Adrian. I suggest two ways that the coding metaphor fueled his research. I conclude that the debate today should not be about the “truth” of the metaphor but about its continuing utility.

The words we call slurs are just plain vanilla descriptions like ‘cowboy’ and ‘coat hanger’. They don't semantically convey any disparagement of their referents, whether as content, conventional implicature, presupposition, “coloring” or mode of presentation. What distinguishes 'kraut' and 'German' is metadata rather than meaning: the former is the conventional description for Germans among Germanophobes when they are speaking in that capacity, in the same way 'mad' is the conventional expression that some teenagers use as an intensifier when they’re emphasizing (...) that social identity. That is, racists don’t use slurs because they’re derogatory; slurs are derogatory because they’re the words that racists use. To use a slur is to exploit the Maxim of Manner (or Levinson’s M-Principle) to signal one’s affiliation with a group that has a disparaging attitude towards the slur’s referent. This account is sufficient to explain all the familiar properties of slurs, such as their speaker orientation and “nondetachability,” with no need of additional linguistic mechanisms. It also explains some features of slurs that are rarely if ever explored; for example the variation in tone and strength among the different slurs for a particular group, the existence of words we count as slurs, such as 'redskin', which almost all of their users consider to be respectful, and the curious absence in Standard English of any commonly used slurs—by which I mean words used to express a negative attitude toward an entire group—for Muslims and women. (shrink)

Disagreeing with Jerrold Levinson's claim that being conscious of broad-span musical form is not essential to understanding music, I will argue that our awareness of musical architecture is significant to achieve comprehension. I will show that the experiential model is not incompatible with the analytic model. My main goal is to show that these two models can be reconciled through the identification of a broader notion of understanding. After accomplishing this reconciliation by means of my new conception, I will (...) close the paper by discussing some reasons to accept an enhancing notion of musical understanding that includes levels and degrees of understanding. /// En desacuerdo con la afirmación de Jerrold Levinson: que ser consciente de la forma musical a gran escala no es esencial para comprender la música, sostendré que nuestra conciencia de la estructura musical es significante para alcanzar comprensión. Mostraré que el modelo experiencial no es incompatible con el modelo analítico y que ambos pueden ser reconciliados mediante una noción de comprensión más amplia. Después de llevar a cabo está reconciliación mediante la nueva concepción que propongo, concluiré discutiendo algunas razones para aceptar una noción de comprensión musical enriquecida que incluye niveles y grados de comprensión. (shrink)

I present unexplored and unaccounted for uses of 'wants'. I call them advisory uses, on which information inaccessible to the desirer herself helps determine what she wants. I show that extant theories by Stalnaker, Heim, and Levinson fail to predict these uses. They also fail to predict true indicative conditionals with 'wants' in the consequent. These problems are related: intuitively valid reasoning with modus ponens on the basis of the conditionals in question results in unembedded advisory uses. I consider (...) two fixes, and end up endorsing a relativist semantics, according to which desire attributions express information-neutral propositions. On this view, 'wants' functions as a precisification of 'ought', which exhibits similar unembedded and compositional behavior. I conclude by sketching a pragmatic account of the purpose of desire attributions that explains why it made sense for them to evolve in this way. (shrink)

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage (...) of the term “pornographic art.”. (shrink)

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an (...) instance of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (shrink)

Richard Wollheim claimed that twofoldness is a necessary condition for the perception of pictorial representations and it is also a necessary condition for the aesthetic appreciation of pictures. Jerrold Levinson pointed out that these two questions are different and argued that though twofoldness may be a necessary condition for the aesthetic appreciation of pictures, it cannot be a necessary condition for the perception of pictorial representations. I argue that Wollheim's use of the term ‘twofoldness’ alternates between two concepts: the (...) simultaneous visual awareness of the surface and of the represented object on the one hand and the simultaneous visual awareness of the represented object and the way it is represented on the other. Finally, I argue that twofoldness in the first sense is a necessary condition for the perception of pictorial representations, whereas twofoldness in the second sense is a necessary condition for the aesthetic appreciation of pictures. (shrink)

What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...) On the other hand, Jerrold Levinson’s intentional-historical definition and Dominic Lopes’s approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation. (shrink)

The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word “expressiveness” (...) is used for the audience-centered aspect, and I shall keep to this usage. In this paper I shall argue that although expression is closely related to expressiveness, the two concepts are distinct and, in particular, expressiveness cannot be analyzed in terms of expression, as has been recently suggested by Stephen Davies and Jerrold Levinson. Nonetheless, the richest examples of expression in the arts involve both expression and expressiveness. (shrink)

Davies argues that the ontology of artworks as performances offers a principled way of explaining work-relativity of modality. Object oriented contextualist ontologies of art (Levinson) cannot adequately address the problem of work-relativity of modal properties because they understand looseness in what counts as the same context as a view that slight differences in the work-constitutive features of provenance are work-relative. I argue that it is more in the spirit of contextualism to understand looseness as context-dependent. This points to the (...) general problem—the context of appreciation is not robust enough to ground modal intuitions about objective entities. In general, when epistemology dictates ontology there is always a threat of anti-realism, scepticism and relativism. Davies also appeals to the modality principle—an entity’s essential properties are all and only its constitutive properties. Davies understands essentiality in a traditional way: a property P is an essential property of an object o iff o could not exist and lack P. Kit Fine has recently made a convincing case for the view that the notion of essence is not to be understood in modal terms. I explore some of the implications of this view for Davies’ modal argument for the performance theory. (shrink)

Nelson Goodman notoriously distinguished between autographic works, whose instances should be identified by taking history of production into account, and allographic works, whose instances can be identified independently of history of production. Scholars such as Jerrold Levinson, Flint Schier, and Gregory Currie have criticized Goodman’s autographic/allographic distinction arguing that all works are such that their instances should be identified by taking history of production into account. I will address this objection by exploiting David Davies’ distinction between e-instances and p-instances (...) of a work, thereby restating the autographic/allographic distinction. Then, I will show that this way of restating this distinction leads us to effective accounts of relevant related phenomena such as forgery, plagiarism, and digital technologies. Finally, I will show the theoretical advantages of my account of the autographic/allographic distinction in comparison with an alternative account recently proposed by Jason D’Cruz and P.D. Magnus. (shrink)

Cross-linguistic strategies for mapping lexical and spatial relations from body partonym systems to external object meronymies (as in English ‘table leg’, ‘mountain face’) have attracted substantial research and debate over the past three decades. Due to the systematic mappings, lexical productivity and geometric complexities of body-based meronymies found in many Mesoamerican languages, the region has become focal for these discussions, prominently including contrastive accounts of the phenomenon in Zapotec and Tzeltal, leading researchers to question whether such systems should be explained (...) as global metaphorical mappings from bodily source to target holonym or as vector mappings of shape and axis generated “algorithmically”. I propose a synthesis of these accounts in this paper by drawing on the species-specific cognitive affordances of human upright posture grounded in the reorganization of the anatomical planes, with a special emphasis on antisymmetrical relations that emerge between arm-leg and face-groin antinomies cross-culturally. Whereas Levinson argues that the internal geometry of objects “stripped of their bodily associations” (1994: 821) is sufficient to account for Tzeltal meronymy, making metaphorical explanations entirely unnecessary, I propose a more powerful, elegant explanation of Tzeltal meronymic mapping that affirms both the geometric-analytic and the global-metaphorical nature of Tzeltal meaning construal. I do this by demonstrating that the “algorithm” in question arises from the phenomenology of movement and correlative body memories—an experiential ground which generates a culturally selected pair of inverse contrastive paradigm sets with marked and unmarked membership emerging antithetically relative to the transverse anatomical plane. These relations are then selected diagrammatically for the classification of object orientations according to systematic geometric iconicities. Results not only serve to clarify the case in question but also point to the relatively untapped potential that upright posture holds for theorizing the emergence of human cognition, highlighting in the process the nature, origins and theoretical validity of markedness and double scope conceptual integration. (shrink)

“Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...) and different ways of para-textual activation, entitle and unable us to such an operation and to live an aesthetic relation? This issue of “Aisthesis” explores the conditions under which it could be useful to distinguish between aesthetic objects and artworks–visual, musical, literary, performing arts– and to admit that the existence of the latter depends on a marginal and basic component of them: tags. The issue contains articles by Jerrold Levinson, Bernard Sève, Filippo Focosi, Alberto Voltolini, Giulia Alberti, Pietro Kobau, Jean-Pierre Cometti, Isabelle Thomas-Fogiel, Filippo Fimiani, Bertrand Rougé, Leardo Botti, Michel Déguy, Jean-Marie Klinkenberg, Micla Petrelli, Andrea Olivieri, Alessandro Ottaviani. (shrink)

Music presents itself as a process, a continuation, following through. Musical works and music experience is perceived as development, succession, dialogical reaching out and harmonizing. Not one process but many. Among those various processes that make music the author focuses on a specific process of human development, which occurs during listening as much as during performing music. This is a process of growing and self-realization. In the course of the paper following the processual character of music, author turns to Maurice (...) Merleau-Ponty and Mikel Dufrenne in the phenomenological tradition, to Jerrold Levinson and his understanding of music through a listening moment to moment process and also to Theodor Adorno and his way of explaining music as a process of dialectical development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

Worte verletzen und kränken. Woher aber kommt diese Verletzungsmacht? Während in der deutschsprachigen Philosophie Sprache meist als Gegenmittel zur Gewalt begriffen wird, hat die US-amerikanische Debatte um "hate speech" gezeigt, dass das Sprechen Gewalt nicht nur androhen oder verhindern, sondern selbst eine Form von Gewaltausübung sein kann. Wie nun sind sprachliche Verletzung, Ausgrenzung und Missachtung zu erklären und zu verstehen? Aus der Sicht verschiedener Disziplinen untersuchen die Beiträge dieses Bandes, welcher Logik, Grammatik und Rhetorik unser verletzendes Sprechen gehorcht. Mit Beiträgen (...) von u.a. Pierre Bourdieu, Penelope Brown/Stephen Levinson, Harold Garfinkel und Rae Langton. Steffen Kitty Herrmann und Hannes Kuch sind wissenschaftliche Mitarbeiter am Institut für Philosophie der Freien Universität Berlin und arbeiten im Forschungsprojekt”Zur Performanz sprachlicher Gewalt“am Sonderforschungsbereich 447”Kulturen des Performativen“. Sybille Krämer ist Professorin für Philosophie an der FU Berlin und Permanent Fellow am Wissenschaftskolleg Berlin. (shrink)

This article examines the fourteen conditions constituting Levinson and Alperson’s taxonomy of conditions for temporal arts. It claims that some of the conditions and several of the lists of arts exemplifying them need revision. It recommends adding a new condition concerned with the effects of the passage of time on gardens, environmental sculpture, and outdoor installations. The article concludes that gardens may be a model for understanding and appreciating other arts sharing the same bi-(multi-) modality.

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are (...) ignorant of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

Some philosophers of fiction – most famously Jerold Levinson1 - have tried to argue that fictional narrators can never be identified with real authors. This argument relies on the claim that narration involves genuine assertion (not just the pretense of assertion that lacks truthfulness) and that real authors are not in a position to assert anything about beings on the fictional plain - given that they don’t rationally believe in their existence. This debate on the status of narrators depends on (...) the idea that fictional beings and beings in the real worlds reside, as it were, at different levels. The assumption that there is a gap separating the levels of fiction and reality serves as a rationale for the claim that real authors could not possibly be en rapport with the fictional characters that they create (e.g. entertain beliefs about them, etc.). (shrink)

One of the controversial issues in the development of Heidegger’s thought is the problem of the will. Th e communis opinio is that Heidegger embraced the concept of the will in a non-critical manner at the beginning of the thirties and , in particular, he employed it in his political speeches of 1933–1934. Jacques Derrida for instance speaks about a “massive voluntarism” in relation to Heidegger’s thought in this period. Also Brett Davis discerns a period of “existential voluntarism” in (...) 1930–1934, in which Heidegger takes over a notion of the will in a non-critical manner. In this article, this interpretation is challenged and a stronger interpretation of Heidegger’s concern with the will is developed. Our hypothesis is that Heidegger’s concern with the will at the onset of the thirties is brought about by his confrontation (Auseinandersetzung) with the concept of the will. Based on his lecture courses from 1930 and 1936/37 and his Rectoral Address from 1933, enables us to discern three main characteristics of Heidegger’s destructed concept of the will in the early thirties. (shrink)

Recently, the debate on the ubiquity of fictional narrators – whether every fictional narrative has a fictional narrator – has spread from film to literature. George Wilson reacted to Noël Carroll’s and Andrew Kania’s claims that no fictional narrators but 1 explicit ones such as Ishmael from Herman Melville’s Moby-Dick exist. a near-ubiquity position claiming that almost every fictional novel, except those consisting exclusively of dialogue, has at least a minimal narrating agency or a fictional narrator. Yet, he disassociated himself (...) from the usual ontological-gap argument made to support such claims. In other words, he denied the main tenet of an argument made by Jerrold Levinson; the claim that only fictional entities are able of presenting fictional events to the reader or viewer. (shrink)

Review of Cooperation and its Evolution, edited by Kim Sterelny, Richard Joyce, Brett Calcott, and Ben Fraser.

This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.