Accounts of deep disagreements can generally be categorized as optimistic or pessimistic. Pessimistic interpretations insist that the depth of deep disagreements precludes the possibility of rational resolution altogether, while optimistic variations maintain the contrary. Despite both approaches’ respective positions, they nevertheless often, either explicitly or implicitly, agree on the underlying assumption that argumentation offers the only possible rational resolution to deep disagreements. This paper challenges that idea by, first, diagnosing this argument-only model of arriving at rational resolutions, second, articulating a (...) competing but undertheorized Hegelian-informed approach, and third, attending briefly to some of the challenges of such an approach. (shrink)

We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...) occurrences are physical particulars. And nontraditional techniques and materials employed in contemporary art violate the boundaries of conventional media, prompting a rethinking of what artistic medium might be. (shrink)

Strawson (1994) and Peacocke (1992) introduced thought experiments that show that it seems intuitive that there is, in some way, an experiential character to mental events of understanding. Some (e.g., Siewert 1998, 2011; Pitt 2004) try to explain these intuitions by saying that just as we have, say, headache experiences and visual experiences of blueness, so too we have experiences of understanding. Others (e.g., Prinz 2006, 2011; Tye 1996) propose that these intuitions can be explained without positing experiences of understanding. (...) Call this the debate between Realism and Anti-Realism about experiences of understanding. This paper aims to advance that debate in two ways. In the first half, I develop more precise characterizations of what Realists and Anti-Realists propose. In the second half, I distinguish the four most plausible versions of Anti-Realism and argue that Realism better explains the target intuition than any of them does. (shrink)

The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...) meta-ontological questions in the ontology of music. (shrink)

Roy Sorensen introduced the concept of an epistemic blindspot in the 1980s. A proposition is an epistemic blindspot for some individual at some time if and only if that proposition is consistent but unknowable by that individual at that time. In the first half of this paper, I extend Sorensen work on blindspots by arguing that there exist blindspots that essentially involve hopes. In the second half, I show how such blindspots can contribute to and impair different pursuits of self-understanding. (...) My arguments throughout this paper draw on Luc Bovens’s account of hope. (shrink)

In real-time, Twitter strongly imprints world events, popular culture, and the day-to-day; Twitter records an ever growing compendium of language use and change; and Twitter has been shown to enable certain kinds of prediction. Vitally, and absent from many standard corpora such as books and news archives, Twitter also encodes popularity and spreading through retweets. Here, we describe Storywrangler, an ongoing, day-scale curation of over 100 billion tweets containing around 1 trillion 1-grams from 2008 to 2020. For each day, we (...) break tweets into 1-, 2-, and 3-grams across 150+ languages, record usage frequencies, and generate Zipf distributions. We make the data set available through an interactive time series viewer, and as downloadable time series and daily distributions. We showcase a few examples of the many possible avenues of study we aim to enable including how social amplification can be visualized through ‘contagiograms’. (shrink)

Proclus' Stoicheiosis Theologike has had an enormous impact on Christian theological and philosophical thought; it has had a decisive influence on the theological interpretation of Aristotle's Metaphysics. However, the impact was less on the text itself than on the 'excerpt' translated from Arabic into Latin with the title Liber de Causis, which, like the Theologia Aristotelis (a compilation of Plotinian texts), was considered authentically Aristotelian. It was only Thomas, thanks to Moerbeke's translation of the Stoicheiosis Theologike, who realised that the (...) Liber de Causis was not a genuine Aristotelian text; nevertheless, he considered it to be fully compatible in meaning and intention with what Aristotle had thought and also used it accordingly in his argumentations. Although this was not the beginning of the theological reading of Aristotle's Metaphysics, this circumstance has completely cemented this conviction until today. -/- The conviction that Proclus' text is primarily a theological treatise has also persisted to this day (see the recent anthologies and monographs on Proclus, most recently Relire les Éléments de Théologie de Proclus, 2021). With my translation and commentary, I would like to counteract this limitation of Proclusian thought. Already the literary form of the text, 211 general propositions, shows that Proclus has something different in mind here than, for example, in his Platonic theology. I would like to make the philosophical content, the philosophical question of Proclus speak. In this text, Proclus poses the question of being and answers it by saying that being is to be understood as the unity of {staying-emerging-returning}. (shrink)

There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that have (...) been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)

JULIAN DODD’S MUSICAL PLATONISM The purpose of the paper is to analyse Julian Dodd’s musical Platonism in the ontology of works of music. Dodd defends two views; first, that musical works are norm-types the tokens of which are dateable, locatable patterns of sounds. Second, that musical works are entities individuated purely in terms of how they sound. The main results of the analysis is the rejection of the following Dodd’s theses: 1. that types exist eternally; 2. that they are unstructured; (...) 3.that their identity is determined by the condition that something must meet to be one of its tokens. Keywords: ONTOLOGY OF WORKS OF MUSIC, MUSICAL PLATONISM, JULIAN DODD. (shrink)

In this paper we confront a challenge to truthmaker theory that is analogous to the objections raised by deflationists against substantive theories of truth. Several critics of truthmaker theory espouse a ‘deflationary’ attitude about truthmaking, though it has not been clearly presented as such. Our goal is to articulate and then object to the underlying rationale behind deflationary truthmaking. We begin by developing the analogy between deflationary truth and deflationary truthmaking, and then show how the latter can be found in (...) the work of Dodd, Hornsby, Schnieder, Williamson, and others. These philosophers believe that the ambitions of truthmaker theory are easily satisfied, without recourse to ambitious ontological investigation—hence the analogy with deflationary truth. We argue that the deflationists’ agenda fails: there is no coherent deflationary theory of truthmaking. Truthmaking, once deflated, fails to address the questions at the heart of truthmaking investigation. Truthmaking cannot be had on the cheap. (shrink)

objects are standardly taken to be causally inert, but this claim is rarely explicitly argued for. In the context of his platonism about musical works, in order for musical works to be audible, Julian Dodd argues that abstracta are causally efficacious in virtue of their concrete tokens participating in events. I attempt to provide a principled argument for the causal inertness of abstracta by first rejecting Dodd’s arguments from events, and then extending and generalizing the causal exclusion argument to the (...) abstract/concrete distinction. For reasons of parsimony, if concrete tokens or instantiations of abstract objects account for all causal work, then there is no reason to attribute causal efficacy to abstracta, and thus reason to maintain their causal inertness. I then consider how one of the main arguments against causal exclusion, namely Stephen Yablo’s notion of “proportionality”, could be modified to support the causal efficacy of abstracta. I argue that from a few simple premises Yablo’s account in fact supports their causal inertness. Having a principled reason for the causal inertness of abstracta appears to entail that the musical platonist must admit that we never literally hear the musical work, but only its performances. I sketch a solution to this problem available to Dodd, so that the musical platonist can maintain that musical works are abstract objects and are causally inert while retaining their audibility. (shrink)

In this paper, I explore and defend the idea that musical works are historical individuals. Guy Rohrbaugh (2003) proposes this for works of art in general. Julian Dodd (2007) objects that the whole idea is outré metaphysics, that it is too far beyond the pale to be taken seriously. Their disagreement could be seen as a skirmish in the broader war between revisionists and reactionaries, a conflict about which of metaphysics and art should trump the other when there is a (...) conflict. That dispute is a matter of philosophical methodology as much as it is a dispute about art. I argue that the ontology of works as individuals need not be dunked in that morass. My primary strategy is to show, contra Dodd's accusation, that historical individuals are familiar parts of the world. Although the ontological details are open to debate, it is the standard opinion of biologists is that biological species are historical individuals. So there is no conflict here between fidelity to art and respectable metaphysics. What suits species will fit musical work as well. (shrink)

The aim of the paper is to critically assess the idea that reasons for action are provided by desires (the Model). I start from the claim that the most often employed meta-ethical background for the Model is ethical naturalism; I then argue against the Model through its naturalist background. For the latter purpose I make use of two objections that are both intended to refute naturalism per se. One is G.E. Moore’s Open Question Argument (OQA), the other is Derek Parfit’s (...) Triviality Objection (TO). I show that naturalists might be able to avoid both objections if they can vindicate the reduction proposed. This, however, leads to further conditions whose fulfillment is necessary for the success of the vindication. I deal with one such condition, which I borrow from Peter Railton and Mark Schroeder:the demand that naturalist reductions must be tolerably revisionist. In the remainder of the paper I argue that the most influential versions of the Model are intolerably revisionist. The first problem concerns the picture of reasons that many recent formulations of the Model advocate. By using an objection from Michael Bedke, I show that on this interpretation obvious reasons won’t be accounted for by the Model. The second problem concerns the idealization that is also often part of the Model. Invoking an argument of Connie Rosati’s, I show that the best form of idealization, the ideal advisor account, is inadequate. Hence, though not the knock down arguments they were intended to be, OQA and TO do pose a serious threat to the Model. (shrink)

The aim of the paper is to critically assess the idea that reasons for action are provided by desires (the Model). I start from the claim that the most often employed meta-ethical background for the Model is ethical naturalism; I then argue against the Model through its naturalist background. For the latter purpose I make use of two objections that are both intended to refute naturalism per se. One is G. E. Moore’s Open Question Argument (OQA), the other is Derek (...) Parfit’s Triviality Objection (TO). I show that naturalists might be able to avoid both objections in case they can vindicate the reduction proposed. This, however, leads to further conditions whose fulfillment is necessary for the success of vindication. I deal with one such condition, which I borrow from Peter Railton and Mark Schroeder: the demand that naturalist reductions must be tolerably revisionist. In the remainder of the paper I argue that the most influential versions of the Model are intolerably revisionist. The first problem concerns the picture of reasons many recent formulations of the Model advocate. By using an objection from Michael Bedke I show that on this interpretation obvious reasons won’t be accounted for by the Model. The second problem concerns idealization that is also often part of the Model. Invoking an argument by Connie Rosati, I show that the best form of idealization, the ideal advisor account, is inadequate. Hence, though not knock down arguments as they were intended to be, OQA and TO do pose a serious threat to the Model. (shrink)

A widespread intuition is that words, musical works, and flags are intentionally produced and that they’re abstract types that can have incorrect tokens. But some philosophers, notably Julian Dodd and Nicholas Wolterstorff, think intention-dependence isn’t necessary; tokens just need to have certain relevant intrinsic features to be tokens of a given type. I show how there’s an unappreciated puzzle that arises from these two views: if tokens aren’t intention-dependent and types can admit of correct and incorrect tokens, then some driftwood (...) that washes up and forms what seems like the word ‘cat’ may simultaneously be a misspelling of ‘act’ and innumerable other misspelt words. I consider various ways Dodd and Wolterstorff can respond to this counterintuitive result and argue that biting the bullet, as well as nearby views, are implausible. Thus, they need to give up one of the two commitments, and I argue that requiring the intention-dependence of tokens, rather than the mere possession of certain intrinsic properties, is the best option. (shrink)

The feeling of shame discussed by Socrates differs from the one considered in the classic distinction between shame culture and guilt culture [Dodds 1951; Williams 1993]. Dodds refers to 9th-century Homeric society and focuses on αἴδομαι understood as fear towards public opinion. What Socrates talks about, instead, is aischýne (αἰσχύνη), such as the feeling of shame Alcibiades only has towards Socrates, for which not public opinion but one’s own conscience matters (Smp. 216 b-c). Socrates’ standpoint does not coincide (...) at all with the dominant dòxa, nor does it intend to undermine Alcibiades’ moral autonomy by inducing his sense of shame. On the contrary, it performs a cathartic function that is essential for the care of the soul, which is an indispensable premise for Alcibiades to learn to govern himself. (shrink)

In this chapter I shall reply to a pair of articles in which the main contention of my “Why truthmakers” – namely, that an important class of synthetic true propositions have entities as truth-makers – is rejected. In §§1–5 I reply to Jennifer Hornsby’s “Truth without Truthmaking Entities” (2005) and in §§6–7 I reply to Julian Dodd’s “Negative Truths and Truthmaker Principles” (2007).

There are compelling reasons to believe that musical works are abstract. However, this hypothesis conflicts with the platitude that musical works are appreciated by means of audition: the things that enter our ear canals and make our eardrums vibrate must be concrete, so how can musical works be listened to if they are abstract? This question constitutes the audibility problem. In this paper, I assess Julian Dodd’s elaborate attempt to solve it, and contend that Dodd’s attempt is unsuccessful. Then I (...) discuss what I take to be the ideal response to the audibility problem, and show that it ultimately fails. I contend, consequently, that the project of construing musical works as audible is disheartening. Accordingly, in my last section, I will argue the audibility problem may be satisfactorily resolved without ascribing audibility to musical works. (shrink)

"Apology of Irrationality". Review of Eric R. Dodds. Grecy i irracjonalność. Trans. J. Partyka. Bydgoszcz: Wydawnictwo Homini, 2002.