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)

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 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)

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)

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)

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)

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.

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)

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.

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.

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)

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 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)

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)

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)

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)

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.

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.

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)

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)

The advent of contemporary evolutionary theory ushered in the eventual decline of Aristotelian Essentialism (Æ) – for it is widely assumed that essence does not, and cannot have any proper place in the age of evolution. This paper argues that this assumption is a mistake: if Æ can be suitably evolved, it need not face extinction. In it, I claim that if that theory’s fundamental ontology consists of dispositional properties, and if its characteristic metaphysical machinery is interpreted within the framework (...) of contemporary evolutionary developmental biology, an evolved essentialism is available. The reformulated theory of Æ offered in this paper not only fails to fall prey to the typical collection of criticisms, but is also independently both theoretically and empirically plausible. The paper contends that, properly understood, essence belongs in the age of evolution. (shrink)

Synthetic biology has immense potential to ameliorate widespread environmental damage. The promise of such technology could, however, be argued to potentially risk the public, industry, or governments not curtailing their environmentally damaging behaviour or even worse exploit the possibility of this technology to do further damage. In such cases, there is the risk of a worse outcome than if the technology was not deployed. This risk is often couched as an objection to new technologies, that the technology produces a moral (...) hazard. This paper describes how to navigate a moral hazard argument and mitigate the possibility of a moral hazard. Navigating moral hazard arguments and mitigating the possibility of a moral hazard will improve the public and environmental impact of synthetic biology. (shrink)

I examine some recent claims put forward by L. A. Paul, Barry Dainton and Simon Prosser, to the effect that perceptual experiences of movement and change involve an (apparent) experience of ‘passage’, in the sense at issue in debates about the metaphysics of time. Paul, Dainton and Prosser all argue that this supposed feature of perceptual experience – call it a phenomenology of passage – is illusory, thereby defending the view that there is no such a thing as passage, conceived (...) of as a feature of mind-independent reality. I suggest that in fact there is no such phenomenology of passage in the first place. There is, however, a specific structural aspect of the phenomenology of perceptual experiences of movement and change that can explain how one might mistakenly come to the belief that such experiences do involve a phenomenology of passage. (shrink)

The article honours the contribution of the Ukrainian philosopher Hryhoriy Skovoroda on the occasion of his 300th birthday on 9 October 2022. It begins with an address of solidarity to the Ukrainians and the Ukrainian philosophers in their fight against the Russian invaders who had bombed and destroyed the Skorovoda Museum in Kharkov shortly before this birthday. The article's main part is an analysis of Skovoroda's theory of happiness in his writing "Conversation Among Five Travellers Concerning Life's True Happiness". In (...) the form of a Socratic dialogue, Skorovoda discusses materialistic hedonism, a Christian eudaemonism, satisfactionism and a radical, evangelical Christian eudaemonism. Skorovoda's own position is not entirely clear; it probably lies between the two Christian positions. The critical analysis then shows that Skorovoda's arguments quite well, if not flawless, in the first third of the text and in tune with the times, while after that, with the appearance of the representative of radical Christian eudaemonism, the dialogue moves more and more from the philosophical to the theological, abandons the argumentative style and slips more and more into (repetitive) preaching. Speculations follow as to why this striking change of subject and style occurs. (shrink)

The hazards of the use of English as a default language in analytic philosophy are obvious to everyone except mainstream analytical philosophers. The uncanny conceptual resemblance between what one is told about Jerry Fodor’s universal Language of Thought and current globalese basic academic English calls for reflection. [...] What I am pleading for is not just a matter of paying great attention to other philosophical traditions. It is a matter of understanding how English cannot serve as any centre or point (...) de départ for the description of all cognitive systems. We need to try to define the topology of the human cognitive space where English must show up as the very untypical case of a natural language that it manifestly is. Pace Donald Davidson, English is not the measure of all things. And historical cognitive ethnography is relevant to philosophical epistemology. The indispensable basis for any philosophy with global ambitions is a conceptual “experimental method” applied to the problems of conceptual diversity among human languages regarding not least of all the conceptual schemes of which one’s own philosophical keywords are an integral part. (shrink)

Newton frequently characterized his methodology as distinctive and capable of achieving greater evidential support than that of his contemporaries, due to its mathematical character. Newton's pronouncements reflect a striking position regarding the role of mathematics in natural philosophy. We can give an initial characterization of his position by considering two questions central to seventeenth century debates about the applicability of mathematics. First, how are we to understand the distinctive universality and necessity of mathematical reasoning? One common way to preserve the (...) demonstrative character of mathematics was to restrict its domain, as far as possible, to pure abstractions. The subject matter of mathematics is then taken to be abstracted from the changeable natural world, consisting of quantity and magnitude themselves rather than the objects bearing quantifiable properties. Yet restricting the domain in this way leaves it difficult to see how mathematics relates to natural phenomena. How could the book of nature be written in a language of pure abstractions? Second, what is the proper role of mathematical reasoning in natural philosophy? Many followed Aristotle in consigning mathematics to a subordinate role. Mathematics could not fulfill the main aim of natural philosophy, namely to provide demonstrations reflecting the essences of things and nature's causal order. A related concern was also pressing for the mechanical philosophers: a merely mathematical demonstration fails to provide an intelligible mechanical explanation. The very title of Newton's masterpiece, Philosophiae Naturalis Principia Mathematica, would have been extremely perplexing: how could natural philosophy be based on mathematical principles? My aim is to articulate Newton's position regarding the mathematization of nature in response to these two concerns. (shrink)

Value capture occurs when an agent’s values are rich and subtle; they enter a social environment that presents simplified — typically quantified — versions of those values; and those simplified articulations come to dominate their practical reasoning. Examples include becoming motivated by FitBit’s step counts, Twitter Likes and Re-tweets, citation rates, ranked lists of best schools, and Grade Point Averages. We are vulnerable to value capture because of the competitive advantage that such crisp and clear expressions of value have in (...) our private reasoning and our public justification. There is, however, a price. In value capture, we take a central component of our autonomy — our ongoing deliberation over the exact articulation of our values — and we outsource it. And the metrics to which we outsource usually engineered for the interests of some external force, like a large-scale institution’s interest in cross-contextual comprehensibility and quick aggregability. That outsourcing cuts off one of the key benefits to personal deliberation. In value capture, we no longer adjust our values and their articulations in light of own rich experience of the world. Our values should often be carefully tailored to our particular selves or our small-scale communities, but in value capture, we buy our values off the rack. In some cases – like decreasing CO2 emissions – the costs of non-tailored values are outweighed by the benefit of precise collective coordination. In other cases, like in our aesthetic lives, they are not. This suggests that we should want different values suited to different scales. We should want value federalism. Some values are perhaps best pursued at the largest-scale level, others at smaller scales. The problem occurs when we exhibit an excess preference for the largest-scale values – when we consistently let the universal metrics swamp our quieter interests. (shrink)

This paper discusses the roles of responsibility and desert in egalitarian theories of justice. It contrasts two main views of their relationship with justice: one according to which what justice requires depends on what people deserve (or are responsible for), and the other according to which what people deserve (or are responsible for) depends on what justice requires. The paper discusses how to interpret Rawls's remarks on desert in light of this distinction.

The paper argues that an account of understanding should take the form of a Carnapian explication and acknowledge that understanding comes in degrees. An explication of objectual understanding is defended, which helps to make sense of the cognitive achievements and goals of science. The explication combines a necessary condition with three evaluative dimensions: an epistemic agent understands a subject matter by means of a theory only if the agent commits herself sufficiently to the theory of the subject matter, and to (...) the degree that the agent grasps the theory (i.e., is able to make use of it), the theory answers to the facts and the agent’s commitment to the theory is justified. The threshold for outright attributions of understanding is determined contextually. The explication has descriptive as well as normative facets and allows for the possibility of understanding by means of non-explanatory (e.g., purely classificatory) theories. (shrink)

What does Wittgenstein say about the learning child? In the Philosophical Investigations, he writes, ‘An important part … will consist in the teacher’s pointing to the objects, directing the child’s attention to them, and at the same time uttering a word.’ Here Wittgenstein is describing what is called ‘joint attention’ which is agreed to be a rich resource for learning in children. In this essay, I explore the developmental significance of this passage particularly with regards the learning that occurs in (...) the pre-linguistic child during joint attention. I refer to critical remarks elsewhere in the PI which can help further convey what Wittgenstein means when he talks about attentional capacities and how they develop, including the relevant ability for responsiveness required for the learning to proceed. These considerations should motivate a defence of the social initiation model of learning contra Luntley’s mentalist-individualist account, this despite conceding that certain prior capacities do play a role, though not a central one since these do not pick out the relevant ability (responsiveness) required for learning to take place in the child. (shrink)

Many philosophers and music theorists have claimed that music is a language, though whether this is meant metaphorically or literally is often unclear. If the claim is meant literally, then it faces serious difficulty—many find it compelling to think that music cannot be a language because it lacks any semantic value. On the other hand, if it is meant metaphorically, then it is not clear what is gained by the metaphor—it is not clear what the metaphor is meant to illuminate. (...) Considering the claim as a metaphor, I take it that what a theorist who speaks in this way is trying to draw our attention to is that there are interesting and illuminating parallels between music and language that might be philosophicallysignificant. Ifthisistheirpoint,thenthequestionis:whatinteresting parallel is it that could be so philosophically significant? (shrink)

A central tension shaping metaethical inquiry is that normativity appears to be subjective yet real, where it’s difficult to reconcile these aspects. On the one hand, normativity pertains to our actions and attitudes. On the other, normativity appears to be real in a way that precludes it from being a mere figment of those actions and attitudes. In this paper, I argue that normativity is indeed both subjective and real. I do so by way of treating it as a special (...) sort of artifact, where artifacts are mind-dependent yet nevertheless can carve at the joints of reality. In particular, I argue that the properties of being a reason and being valuable for are grounded in attitudes yet are still absolutely structural. (shrink)

Let serious propositional contingentism (SPC) be the package of views which consists in (i) the thesis that propositions expressed by sentences featuring terms depend, for their existence, on the existence of the referents of those terms, (ii) serious actualism—the view that it is impossible for an object to exemplify a property and not exist—and (iii) contingentism—the view that it is at least possible that some thing might not have been something. SPC is popular and compelling. But what should we say (...) about possible worlds, if we accept SPC? Here, I first show that a natural view of possible worlds, well-represented in the literature, in conjunction with SPC is inadequate. Though I note various alternative ways of thinking about possible worlds in response to the first problem, I then outline a second more general problem—a master argument—which generally shows that any account of possible worlds meeting very minimal requirements will be inconsistent with compelling claims about _mere possibilia_ which the serious propositional contingentist should accept. (shrink)

Psychedelic-assisted therapy (PAT) is currently undergoing a resurgence of clinical interest for several mental health ailments. We propose that philosophers can play a significant role in PAT in both the preparation and integration phases of PAT. Philosophers can aid in the former phase by offering philosophical preparatory insights and in the latter phase by providing the conceptual language to articulate the complex philosophical aspects of a psychedelic experience.

Variants of the slogan that a succession of experiences does not amount to an experience of succession are commonplace in the philosophical literature on temporal experience. I distinguish three quite different arguments that might be captured using this slogan: the individuation argument, the unity argument, and the causal argument. Versions of the unity and the causal argument are often invoked in support of a particular view of the nature of temporal experience sometimes called intentionalism, and against a rival view sometimes (...) called extensionalism. I examine these arguments in light of the individuation argument. In particular, I show that the individuation argument is, at least prima facie, neutral between those two views of temporal experience; and once the individuation argument is in place, the unity and causal argument also lose their force against extensionalism. (shrink)

In Reasons and Persons, Parfit (1984) posed a challenge: provide a satisfying normative account that solves the Non-Identity Problem, avoids the Repugnant and Absurd Conclusions, and solves the Mere-Addition Paradox. In response, some have suggested that we look toward person-affecting views of morality for a solution. But the person-affecting views that have been offered so far have been unable to satisfy Parfit's four requirements, and these views have been subject to a number of independent complaints. This paper describes a person-affecting (...) account which meets Parfit's challenge. The account satisfies Parfit's four requirements, and avoids many of the criticisms that have been raised against person-affecting views. (shrink)

Many questions about wellbeing involve metaphysical dependence. Does wellbeing depend on minds? Is wellbeing determined by distinct sorts of things? Is it determined differently for different subjects? However, we should distinguish two axes of dependence. First, there are the grounds that generate value. Second, there are the connections between the grounds and value which make it so that those grounds generate that value. Given these distinct axes of dependence, there are distinct dimensions to questions about the dependence of wellbeing. In (...) this paper, I offer a view of wellbeing that gives different answers with respect to these different dimensions. The view is subjectivist about connections but objectivist about grounds. Pluralist about grounds but monist about connections. Invariabilist about connections but variabilist about grounds. Thus, the view offers a simple account that captures the complexity of wellbeing. (shrink)

This paper argues that we should replace the common classification of theories of welfare into the categories of hedonism, desire theories, and objective list theories. The tripartite classification is objectionable because it is unduly narrow and it is confusing: it excludes theories of welfare that are worthy of discussion, and it obscures important distinctions. In its place, the paper proposes two independent classifications corresponding to a distinction emphasised by Roger Crisp: a four-category classification of enumerative theories (about which items constitute (...) welfare), and a four-category classification of explanatory theories (about why these items constitute welfare). (shrink)

As there is currently a neo-Aristotelian revival currently taking place within contemporary metaphysics and dispositions, or causal powers are now being routinely utilised in theories of causality and modality, more attention is beginning to be paid to a central Aristotelian concern: the metaphysics of substantial unity, and the doctrine of hylomorphism. In this paper, I distinguish two strands of hylomorphism present in the contemporary literature and argue that not only does each engender unique conceptual difficulties, but neither adequately captures the (...) metaphysics of Aristotelian hylomorphism. Thus both strands of contemporary hylomorphism, I argue, fundamentally misunderstand what substantial unity amounts to in the hylomorphic framework – namely, the metaphysical inseparability of matter and form. (shrink)

This article endorses a familiar, albeit controversial, argument for the existence of group-based reasons for action, but then rejects two doctrines which other advocates of such reasons usually accept. One such doctrine is the willingness requirement, which says that a group-based reason exists only if (sufficient) other members of the group in question are willing to cooperate. Thus the paper argues that there is sometimes a reason, which derives from the rationality of some group action, to play one's part unilaterally (...) in that group action. This seems implausible only because we tend wrongly to accept a second doctrine, monism about the unit of agency. Monism claims that, for any given deliberative problem, there is only one unit of agency to which reasons attach. If we are monists who believe in group-based reasons, the willingness requirement will seem necessary in order to avoid recklessness. We should reject monism, and if we do so we can recognise genuine conflict between individual-based and group-based reasons, and in doing so we can explain, without endorsing the willingness requirement, why we should not act recklessly. (shrink)

This paper examines the debate between permissive and impermissive forms of Bayesianism. It briefly discusses some considerations that might be offered by both sides of the debate, and then replies to some new arguments in favor of impermissivism offered by Roger White. First, it argues that White’s (Oxford studies in epistemology, vol 3. Oxford University Press, Oxford, pp 161–186, 2010) defense of Indifference Principles is unsuccessful. Second, it contends that White’s (Philos Perspect 19:445–459, 2005) arguments against permissive views do not (...) succeed. (shrink)

Das spezifische Ziel von Argumentationen ist nicht einfach, den Adressaten etwas glauben zu machen - dies wäre bloße Rhetorik ﷓, sondern: den Adressaten beim Erkennen der Akzeptabilität (insbesondere der Wahrheit) der These anzuleiten und ihn so zu begründetem Glauben, zu Erkenntnis zu führen. Argumentationen leiten das Erkennen an, indem sie in ihren Argumenten hinreichende Akzeptabilitätsbedingungen der These als erfüllt beurteilen und so den Adressaten implizit auffordern, diese Bedingungen zu überprüfen. Argumentationen sind gültig, wenn sie prinzipiell das Erkennen anleiten können; d. (...) h. wenn die genannten Akzeptabilitätsbedingungen hinreichend sind, wenn sie tatsächlich erfüllt (die Argumente also wahr) sind und wenn es irgendjemanden gibt, der zwar die Akzeptabilität der Argumente, nicht aber die der These erkannt hat. Eine gültige Argumentation ist adäquat, um einen bestimmten Adressaten rational zu überzeugen, wenn dieser u. a. die Akzeptabilität der Argumente, nicht aber die der These erkannt hat. Die in gültigen Argumentationen als erfüllt beurteilten Akzeptabilitätsbedingungen sind Konkretisierungen allgemeiner Erkenntnisprinzipien für die spezifische These, z. B. des deduktiven Erkenntnisprinzips: 'Eine Proposition ist wahr, wenn sie von wahren Propositionen logisch impliziert wird.' oder des erkenntnisgenetischen Erkenntnisprinzips: 'Eine Proposition ist wahr, wenn sie korrekt verifiziert worden ist.' Eine Konkretisierung des deduktiven Prinzips für eine These p wäre z. B.: 'p ist wahr, 1. wenn q und r wahr sind und 2. wenn q und r zusammen p logisch implizieren.' Sind beide Bedingungen erfüllt, so könnte 'q; r; also p.' eine gültige deduktive Argumentation sein. Die verschiedenen Argumentationstypen unterscheiden sich danach, auf welchem Erkenntnisprinzip sie basieren. Das argumentativ angeleitete Erkennen der Akzeptabilität der These funktioniert so: Der Adressat benutzt das von ihm (zumindest implizit) gewußte allgemeine Erkenntnisprinzip als Checkliste, auf der er nach dem Vorbringen der Argumente abhakt, welche Akzeptabilitätsbedingung des Erkenntnisprinzips durch das Zutreffen des Arguments jeweils erfüllt wird. Auf der Basis dieser Funktionsbestimmung werden in der "Praktischen Argumentationstheorie" (erstmalig) präzise Gültigkeitskriterien für Argumentationen allgemein und für mehrere spezielle Argumentationstypen entwickelt, erkenntnistheoretisch begründet und auf komplexe Argumentationsbeispiele aus Philosophie, Wissenschaft, Technik und Kultur angewendet. Die Analyse der erkenntnistheoretischen Grundlagen - der zugrundeliegenden Erkenntnisprinzipien - vor allem der interpretierenden und praktischen Argumentationen ist zudem von erheblicher Bedeutung weit über die Argumentationstheorie hinaus: für die Interpretationstheorie, die Handlungstheorie und die praktische Philosophie. (shrink)