Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.

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)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...) aesthetic. That is, we claim Aesthetic Theory so re-framed suggests that the aesthetic might have a central and substantial explanatory role to play within both traditional philosophical enquiries as well as recent and more empirical enquiries into the psychological and cognitive aspects of art and its practice. Finally, we discuss the directions this new work might take—by tying art theory to investigations of the distinctive sensorimotor capacities of expert artists, their specialized aesthetic conceptual schemata, and the ways these distinctive capacities and schemata contribute to the production of artworks. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...) Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...) our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...) certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

Bill Seeley suggests that what follows from research into crossmodal perception for expression and emotion in the arts is that there is an emotional contour (i.e., a contour constitutive of the content of an emotion and potentially realizable across a range of media). As a response of sorts, I speculate as to what this might hold for philosophical and empirical enquiry into expression and emotion across the arts as well as into the nature of the emotions themselves.

This discussion note addresses Caleb Hazelwood’s ‘Practice-Centered Pluralism and a Disjunctive Theory of Art’. Hazelwood advances a disjunctive definition of art on the basis of an analogy with species concept pluralism in the philosophy of biology. We recognize the analogy between species and art, we applaud attention to practice, and we are bullish on pluralism—but it is a mistake to take these as the basis for a disjunctive definition.

In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...) are those that invite us to believe something false. We further develop this account and restate it in terms of the notion of “import-export inconsistency.” That is, unrealistic fictions invite us to import certain propositions true in the actual world then invite us to export propositions entailing the negation of those imported. Finally, we consider whether for fiction being unrealistic is always an aesthetic flaw. (shrink)

Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...) but for which the new song is in part about the original song. In order to allow for the very possibility of transformative and referential covers, we argue that a cover is characterized by relation to a canonical track rather than merely by being a new instance of a song that had been recorded previously. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

Christy Mag Uidhir has recently argued (a) that there is no in principle aesthetic difference between a live performance and a recording of that performance, and (b) that the proper aesthetic object is a type which is instantiated by the performance and potentially repeatable when recordings are played back. This paper considers several objections to (a) and finds them lacking. I then consider improvised music, a subject that Mag Uidhir explicitly brackets in his discussion. Improvisation reveals problems with (...) (b), because the performance-event and the performance-type are distinct but equally proper aesthetic objects. (shrink)

A review of Christy Mag Uidhir's Art & Art-Attempts (OUP 2013).

A recording or performance of a song is a cover if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of hearing in, whereby one hears elements of the original version in the cover. (...) We argue that it can nevertheless be just as legitimate to consider a cover version on its own as it is to consider it in relation to the earlier recording that it is covering. In some cases, these two modes of appreciation will offer distinct rewards. In other cases, one mode will be substantially more rewarding than the other. The details matter, especially in complicated cases like covers of covers, but neither mode is privileged in principle. (shrink)

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product (...) of art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

Repeatable artworks, such as novels and musical works, have often been construed as universals whose instances are particular printings or performances. In Art and Art-Attempts, Christy Mag Uidhir offers a nominalist account of repeatable artworks, eschewing talk of universals. Mag Uidhir argues that all artworks are concrete, and artworks that we regard as repeatable are simply unified by a relevant similarity relation: we use the name Beloved to refer to two concrete printed novels because they are relevantly similar (...) to each other and to certain other printings that are the product of Toni Morrison’s art-attempt. I discuss two potential difficulties for Mag Uidhir’s notion of relevant similarity: a difficulty related to appropriation, and a difficulty related to the fact that musical performances are often the product of distinct art-attempts by the composer and by the performer. I suggest that both difficulties could be addressed by enriching the notion of relevant similarity by appeal to the artist’s specification of which similarities are essential for two works to count as relevantly similar. (shrink)

Frustration has been growing with mainstay epistemological methods of logical deduction and experimental falsification for assessing theories of consciousness. This paper explores one among several alternatives being proposed: the listed requirements epistemology. A literature search identifies five papers that explicitly list requirements for assessing consciousness theories. These five lists are analysed as a promising starting point, but as yet insufficiently comprehensive to do the method justice. The longest list has 11 items, but 19 unique items are identified across the five (...) lists and a taxonomic analysis by category further surfaces at least 30 potential candidates. Four limitations of the method are discussed, arguing that it is best treated as one practical tool as part of a broader strategy for rigorously assessing consciousness theories and identifying avenues for future research. The conclusion describes a workplan for a sufficiently complete working taxonomy to support the field’s collective endeavours. (shrink)

According to the thesis of doxastic wronging, we can wrong people in virtue of having certain beliefs about them. In this chapter, I motivate and defend a similar view, the thesis of suspensive wronging, that we can wrong people in virtue of bearing an indecision attitude towards certain questions that bear on certain people. I explore the extent to which the thesis of suspensive wronging fits with certain prominent conceptions of suspension of judgment, including the sui generis attitude, higher-order, and (...) credence views, and argue that it aligns with each of them. I then argue that reflection on cases of suspensive wronging reveals that the common characterization of suspension of judgment as a kind of ‘neutrality’ is nevertheless problematic, arguing that we should distinguish between attitudinal neutrality and property neutrality—i.e., neutrality on the truth of an answer to a question vs. the neutrality of the properties of the attitude that responds to a question, which accommodates the sense in which 'being neutral' in a debate can sometimes be unjust but also still a genuine sort of neutrality. Finally, I consider whether widespread views about the involuntariness of belief and the right-kind of reasons for belief refutes the suspensive wronging thesis, arguing that this is not the case, concluding with some reflections on the relationship between the suspensive wronging thesis and moral encroachment on suspension of judgment. (shrink)

Recent clinical trials show that psychedelics such as LSD and psilocybin can be given safely in controlled conditions, and can cause lasting psychological benefits with one or two administrations. Supervised psychedelic sessions can reduce symptoms of anxiety, depression, and addiction, and improve well-being in healthy volunteers, for months or even years. But these benefits seem to be mediated by "mystical" experiences of cosmic consciousness, which prompts a philosophical concern: do psychedelics cause psychological benefits by inducing false or implausible beliefs about (...) the metaphysical nature of reality? This book is the first scholarly monograph in English devoted to the philosophical analysis of psychedelic drugs. Its central focus is the apparent conflict between the growing use of psychedelics in psychiatry and the philosophical worldview of naturalism. Within the book, Letheby integrates empirical evidence and philosophical considerations in the service of a simple conclusion: this "Comforting Delusion Objection" to psychedelic therapy fails. While exotic metaphysical ideas do sometimes come up, they are not, on closer inspection, the central driver of change in psychedelic therapy. Psychedelics lead to lasting benefits by altering the sense of self, and changing how people relate to their own minds and lives-not by changing their beliefs about the ultimate nature of reality. The upshot is that a traditional conception of psychedelics as agents of insight and spirituality can be reconciled with naturalism (the philosophical position that the natural world is all there is). Controlled psychedelic use can lead to genuine forms of knowledge gain and spiritual growth-even if no Cosmic Consciousness or transcendent divine Reality exists. Philosophy of Psychedelics is an indispensable guide to the literature for researchers already engaged in the field of psychedelic psychiatry, and for researchers-especially philosophers-who want to become acquainted with this increasingly topical field. (shrink)

Users of psychedelic drugs often report that their sense of being a self or ‘I’ distinct from the rest of the world has diminished or altogether dissolved. Neuroscientific study of such ‘ego dissolution’ experiences offers a window onto the nature of self-awareness. We argue that ego dissolution is best explained by an account that explains self-awareness as resulting from the integrated functioning of hierarchical predictive models which posit the existence of a stable and unchanging entity to which representations are bound. (...) Combining recent work on the ‘integrative self' and the phenomenon of self-binding with predictive processing principles yields an explanation of ego dissolution according to which self-representation is a useful Cartesian fiction: an ultimately false representation of a simple and enduring substance to which attributes are bound which serves to integrate and unify cognitive processing across levels and domains. The self-model is not a mere narrative posit, as some have suggested; it has a more robust and ubiquitous cognitive function than that. But this does not mean, as others have claimed, that the self-model has the right attributes to qualify as a self. It performs some of the right kinds of functions, but it is not the right kind of entity. Ego dissolution experiences reveal that the self-model plays an important binding function in cognitive processing, but the self does not exist. (shrink)

One of the main challenges confronting Humean accounts of natural law is that Humean laws appear to be unable to play the explanatory role of laws in scientific practice. The worry is roughly that if the laws are just regularities in the particular matters of fact (as the Humean would have it), then they cannot also explain the particular matters of fact, on pain of circularity. Loewer (2012) has defended Humeanism, arguing that this worry only arises if we fail to (...) distinguish between scientific and metaphysical explanations. However, Lange (2013, 2018) has argued that scientific and metaphysical explanations are linked by a transitivity principle, which would undercut Loewer's defense and re-ignite the circularity worry for the Humean. I argue here that the Humean has antecedent reasons to doubt that there are any systematic connections between scientific and metaphysical explanations. The reason is that the Humean should think that scientific and metaphysical explanation have disparate aims, and therefore that neither form of explanation is beholden to the other in its pronouncements about what explains what. Consequently, the Humean has every reason to doubt that Lange's transitivity principle obtains. (shrink)

It may seem that epistemic and practical rationality weigh reasons differently, because ties in practical rationality tend to generate permissions and ties in epistemic rationality tend to generate a requirement to withhold judgment. I argue that epistemic and practical rationality weigh reasons in the same way, but they have different "default biases". Practical rationality is biased toward every option being permissible whereas epistemic rationality is biased toward withholding judgment's being required.

The chapter introduces and characterizes the notion of fittingness. It charts the history of the relation and its relevance to contemporary debates in normative and metanormative philosophy and proceeds to survey issues to do with fittingness covered in the volume’s chapters, including the nature and epistemology of fittingness, the relations between fittingness and reasons, the normativity of fittingness, fittingness and value theory, and the role of fittingness in theorizing about responsibility. The chapter concludes with a brief discussion of issues to (...) do with fittingness that aren’t covered extensively by the volume’s chapters in order to indicate avenues for further research. (shrink)

The Higgs mechanism is an essential but elusive component of the Standard Model of particle physics. Without it Yang‐Mills gauge theories would have been little more than a warm‐up exercise in the attempt to quantize gravity rather than serving as the basis for the Standard Model. This article focuses on two problems related to the Higgs mechanism clearly posed in Earman’s recent papers (Earman 2003, 2004a, 2004b): what is the gauge‐invariant content of the Higgs mechanism, and what does it mean (...) to break a local gauge symmetry? (shrink)

This paper is an enquiry into the logical, metaphysical, and physical possibility of time travel understood in the sense of the existence of closed worldlines that can be traced out by physical objects. We argue that none of the purported paradoxes rule out time travel either on grounds of logic or metaphysics. More relevantly, modern spacetime theories such as general relativity seem to permit models that feature closed worldlines. We discuss, in the context of Gödel's infamous argument for the ideality (...) of time based on his eponymous spacetime, what this apparent physical possibility of time travel means. Furthermore, we review the recent literature on so-called time machines, i.e., of devices that produce closed worldlines where none would have existed otherwise. Finally, we investigate what the implications of the quantum behaviour of matter for the possibility of time travel might be and explicate in what sense time travel might be possible according to leading contenders for full quantum theories of gravity such as string theory and loop quantum gravity. (shrink)

The Neo-Moorean Deduction (I have a hand, so I am not a brain-in-a-vat) and the Zebra Deduction (the creature is a zebra, so isn’t a cleverly disguised mule) are notorious. Crispin Wright, Martin Davies, Fred Dretske, and Brian McLaughlin, among others, argue that these deductions are instances of transmission failure. That is, they argue that these deductions cannot transmit justification to their conclusions. I contend, however, that the notoriety of these deductions is undeserved. My strategy is to clarify, attack, defend, (...) and apply. I clarify what transmission and transmission failure really are, thereby exposing two questionable but quotidian assumptions. I attack existing views of transmission failure, especially those of Crispin Wright. I defend a permissive view of transmission failure, one which holds that deductions of a certain kind fail to transmit only because of premise circularity. Finally, I apply this account to the Neo-Moorean and Zebra Deductions and show that, given my permissive view, these deductions transmit in an intuitively acceptable way—at least if either a certain type of circularity is benign or a certain view of perceptual justification is false. (shrink)

The metaphor of weighing reasons brings to mind a single (double-pan balance) scale. The reasons for φ go in one pan and the reasons for ~φ go in the other. The relative weights, as indicated by the relative heights of the two pans of the scale, determine the deontic status of φ. This model is simple and intuitive, but it cannot capture what it is to weigh reasons correctly. A reason pushes the φ pan down toward permissibility (has justifying weight) (...) only insofar as it pushes the ~φ pan up toward impermissibility (has requiring weight). Thus, Single Scale is committed to Single Proportion (first pass): all reasons have the same proportion of justifying and requiring weight. Many normative theories reject Single Proportion, and they are not thereby confused about how to weigh reasons. One can be mistaken about the weight of a reason without being confused about how reasons are to be weighed. Single Scale is problematic, not because it appeals to the image of a scale, but because it appeals to the image of a single scale. We need two scales to capture what it is to weigh reasons correctly. (shrink)

Philosophers often treat racist and sexist slurs as a special sort of puzzle. What is the difference between a slur and its correlates? In attempting to answer this question, a second distinction has been overlooked: that between slurs and insults. What makes a term count as a slur? This is not an unnecessary taxonomical question as long as ableist terms such as ‘moron’ are dismissed as mere insults. Attempts to resolve the insult/slur distinction by considering the communicative content of slurs (...) are not promising. A better solution is offered by speech act theory, and this paper develops a novel way to describe ordinary slurring utterances as oppressive speech acts. This can both explain the difference between slurs and insults, and challenge the dismissal of ableist terms. (shrink)

Many contemporary philosophers rate error theories poorly. We identify the arguments these philosophers invoke, and expose their deficiencies. We thereby show that the prospects for error theory have been systematically underestimated. By undermining general arguments against all error theories, we leave it open whether any more particular arguments against particular error theories are more successful. The merits of error theories need to be settled on a case-by-case basis: there is no good general argument against error theories.

In two very influential papers from 2008, Tamar Gendler introduced the concept of “alief” to describe the mental state one is in when acting in ways contrary to their consciously professed beliefs. For example, if asked to eat what they know is fudge, but shaped into the form of dog feces, they will hesitate, and behave in a manner that would be consistent with the belief that the fudge is really poop. They alieve that it is disgusting, while they believe (...) it is not. This paper investigates laughter from self-proclaimed egalitarian, tolerant folk, in response to oppressive jokes that might fit the alief-model. If I merely alieve the content of a joke at which I laugh, will that constitute morally exculpating reasons for such laughter? And what else might it imply? This paper will provide insights at the intersections of humor studies, ethics, epistemology, phenomenology, and the philosophy of mind, all while being moderately and appropriately amusing. (shrink)

Starting from two observations regarding nursing ethics research in the past two decades, namely, the dominant influence of both the empirical methods and the principles approach, we present the cornerstones of a foundational argument-based nursing ethics framework. First, we briefly outline the general philosophical–ethical background from which we develop our framework. This is based on three aspects: lived experience, interpretative dialogue, and normative standard. Against this background, we identify and explore three key concepts—vulnerability, care, and dignity—that must be observed in (...) an ethical approach to nursing. Based on these concepts, we argue that the ethical essence of nursing is the provision of care in response to the vulnerability of a human being in order to maintain, protect, and promote his or her dignity as much as possible. (shrink)

This paper responds to a new objection, due to Ben Bramble, against attitudinal theories of sensory pleasure and pain: the objection from unconscious pleasures and pains. According to the objection, attitudinal theories are unable to accommodate the fact that sometimes we experience pleasures and pains of which we are, at the time, unaware. In response, I distinguish two kinds of unawareness and argue that the subjects in the examples that support the objection are unaware of their sensations in only a (...) weak sense, and this weak sort of unawareness of a sensation does not preclude its being an object of one’s attitudes. (shrink)

Psychedelic ingestion and meditative practice are both ancient methods for altering consciousness that became widely known in Western society in the second half of the 20th century. Do the similarities begin and end there, or do these methods – as many have claimed over the years – share some deeper common elements? In this chapter I take a neurophilosophical approach to this question and argue that there are, indeed, deeper commonalities. Recent empirical studies show that psychedelics and meditation modulate overlapping (...) brain networks involved in the sense of self, salience, and attention; moreover, psychedelics can occasion lasting increases in “mindfulness-related capacities” for taking a non-reactive stance on one’s inner experience (e.g. Sampedro et al. 2017). The self-binding theory of psychedelic ego dissolution (Letheby and Gerrans 2017) offers a plausible explanation of these findings: by disrupting self-related beliefs implemented in high-level cortical networks, both psychedelics and meditation can “unbind” mental contents from one’s self-model, moving these contents along the continuum from phenomenal transparency to opacity (cf. Metzinger 2003). In other words, both psychedelics and meditation can expose and weaken our foundational beliefs about our own identity, allowing us to disidentify with these beliefs and see them as “just thoughts”. There are connections between these ideas and recent arguments suggesting that psychedelic use may have epistemic benefits consistent with philosophical naturalism (Letheby 2015, 2016, 2019). I conclude with a proposal: these connections may help in thinking about the putative epistemic benefits of meditation practice from a naturalistic perspective. (shrink)

It is natural to think that many of our beliefs are rational because they are based on seemings, or on the way things seem. This is especially clear in the case of perception. Many of our mathematical, moral, and memory beliefs also appear to be based on seemings. In each of these cases, it is natural to think that our beliefs are not only based on a seeming, but also that they are rationally based on these seemings—at least assuming there (...) is no relevant counterevidence. This piece is an introduction to a volume dedicated to the question of what the connection is between seemings and justified belief: under what conditions, if any, can a seeming justify its content? (shrink)

This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use of fictionalized (...) scenarios to facilitate an open, playful attitude, encouraging a space for collaborative interpretation. This interaction between humorist and audience is an aesthetic experience that is enjoyable in and of itself, as the feelings of mirth are intrinsically valuable. But connected to the “Ha-ha!” experience of these sorts of humorous creations is an “Aha!” or potentially revelatory experience that is a mixture of cognitive comprehension and motivated (emotional) response. The third part of the article will attempt to go beyond the consciousness-raising element with an account of how such possible worlds created in the realm of imagination through subversive humor can bleed into the real world of flesh and blood people. Finally, an example of subversive humor will be analyzed. (shrink)

The (moral) permissibility of an act is determined by the relative weights of reasons, or so I assume. But how many weights does a reason have? Weight Monism is the idea that reasons have a single weight value. There is just the weight of reasons. The simplest versions hold that the weight of each reason is either weightier than, less weighty than, or equal to every other reason. We’ll see that this simple view leads to paradox in at least two (...) ways. We must complicate the picture somehow. I consider two candidate complications. The first, Parity Monism, is inspired by Ruth Chang’s suggestion that parity is a fourth comparative beyond the traditional three (>, <, =). This view complicates the single weight relation by allowing that the weights of reasons can be on a par. Unfortunately, Parity Monism resolves only one of the two paradoxes that afflict simple versions of Weight Monism. To resolve both paradoxes, we need our second candidate complication, Weight Pluralism. This view holds that reasons have at least two weight values (e.g., justifying weight and requiring weight) and these two values aren’t always equivalent. Parity is no substitute for Pluralism. (shrink)

Given the laws of our universe, the initial conditions and cosmological constants had to be "fine-tuned" to result in life. Is this evidence for design? We argue that we should be uncertain whether an ideal agent would take it to be so—but that given such uncertainty, we should react to fine-tuning by boosting our confidence in design. The degree to which we should do so depends on our credences in controversial metaphysical issues.

The dignity approach to racist hate speech regulation maintains that hate speech ought to be regulated because it impugns targets’ dignity and poses a threat to their equal treatment. This approach faces the significant causal challenges of showing that hate speech has the power to erode its targets’ dignity and that regulations can successfully protect that dignity. My aim is to show how a friend of the dignity approach can resolve these challenges. To do so, I borrow insights from the (...) critical legal studies (CLS) approach to hate speech. Specifically, I argue that hate speech can erode its targets’ dignity 1) by constituting an act of discrimination, and 2) by enacting norms that call for treating targeted groups as inferior. Yet while I maintain that the CLS approach offers valuable resources for shoring up the dignity approach, I reject the CLS approach in favor of the dignity approach. (shrink)