The problem of truthmakers for negative propositions was introduced by Bertrand Russell in 1918. Since then the debate has mostly been concerned with whether to accept or reject their existence, and little has been said about what it is that makes a negative proposition negative. This is a problem as it is obvious that you cannot just read it off from the grammar of a sentence. The aim of this paper is to demonstrate that propositions may be negative or positive (...) in many ways: it offers a typology, and shows how the question of the existence of negative facts will receive a different answer depending on its relationship to that typology. (shrink)

”Hvad er musik?” lyder et gammelt og godt spørgsmål, og svaret udformes i reglen som en redegørelse for, hvordan musik lyder. Med modernismen (Ligeti, Stockhausen, etc.). har vi imidlertid gjort den erfaring, at musikken kan forblive musik, selv når den er uden melodi, uden metrisk puls etc. Men hvis der ingen grænser er for, hvordan musik- ken kan lyde, kan vi heller ikke afgrænse – definere – musikken ved at henvise til, hvordan den lyder. Vi må, mener jeg, snarere tage (...) udgangspunkt i den særlige måde, vi sanseligt indstiller os på lyden – ”omgås” den – når vi hører den som musik. (shrink)

When a philosophical or scientific project comes of age, it finds itself possessed of a tradition, and consequently of scope for a display of its classics. If Praxeology is such a project, then Jakob Meløe’s article The Agent and His World is just such a classic. It’s often no very long step from acquiring a tradition to becoming one. But a project that suffers this transformation stands in risk of losing its character as a project. It then remains only to (...) write the history of the tradition: this is how it all went. As Praxeology is not just a tale to be told, these notes will not be taking up The Agent and His World as the original and radical statement it so patently was within the analytic philosophy of action of the sixties. Nor will they deal with its significance for subsequent praxeological thinking. The aim is rather to enter into a dialogue with Meløe’s article — as one praxeologist to another, or as one piece of praxeology to another. (shrink)

Denne artikel hedder ”Musikalske Omgangsformer”. Men den fortæller ikke så meget om, hvorledes musikalske omgangsformer tager sig ud, som den fører til et punkt, hvor musikalske omgangsformer bliver sigtbare og påtrængende. Snarere end at præsentere en teori om musikalske omgangsformer anviser den et sted, hvor en teoridannelse er påkrævet. Udgangspunktet bliver en påvisning af, hvorledes den fænomenologiske tilgang til det musikalske fænomen svigter ved tematisk og dog stiltiende at hævde musikstykket, satsen, som sin genstand. Utilstrækkeligheden påpeges inden for den fænomenologiske (...) analyses eget univers. Som sådan vil den ved artiklens afslutning yderligere omfatte formuleringen af den påpegede utilstrækkelighed. Fra dette – negative – udgangspunkt tages skridtet ind i et rum, der skal indbefatte de påviste løse ender og samtidig give plads for, at vi med positivt udgangspunkt i en praxis-orienteret filosofi kan komme til at binde de nødvendige knuder. (shrink)

Counterfactual reasoning has always played a role in human life. We ask questions like, “Could it have been different?”, “Under which conditions might/would it have been different?”, “What would have happened if…?” If we don’t find an answer, i.e. what we accept as an answer, we may start reasoning. Reasoning means introducing still new information/assumptions, new questions, new answers to new questions etc. From a formal point of view, it may be compared with stepwise moving towards a destination in a (...) path-system, in which you never fully have an overview. In this way, reasoning is an activity, with its own rationale, which will be studied from the agent’s own perspective. Questions include: What are the conditions where asking that specific question, or introducing this information/assumption, etc. will count as a reasonable step or progress towards the answer of the initial question? What makes this step more reasonable than another? (shrink)

The subject of the article is conducting as typically known from the classical symphonic practice. The question to be discussed is: In what respect is the conductor’s beat properly to be understood as ”signing” within the frames of a sign language, and as such a proper object of semiotic analysis. My approach to the topic is primarily phenomenological. It makes analytical comments on the task of the conductor; to the very nature of the cooperative and communicative framework embedding the conductor (...) and the musicians; and hence to the constitutional conditions for conducting. The conclusion is that in many important respects conducting is not a matter of signing and there is no such thing as a conductor’s sign language. It will be outlined how the connection between music, musicians and conductor is based on analogies between music, corporeality and onto-temporality. (shrink)