periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street (...) class='Hi'>view visualizations. Mancini’s non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street (...) class='Hi'>view visualizations. Mancini’s non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Potentialities of attention and distraction with respect to images are critically reprised by Neapolitan artist Domenico Antonio Mancini. In Landscapes (2019), Google Street View addresses painted on canvases take the place of outlying areas of Italian cities, and of canonical oil ‘vedute’ paintings, obliging the viewer to switch from aesthetic absorption to a multitasking, reflexive attention enabled by the tools of mobile devices and the operative agency between the displayed and depicted images. Attracted by the ephemeral, geo-localized (...) vistas displayed on their smartphones, spectator-users must deal with the dynamis of the on-line GSV images: rhetorical and predictable, though, at the same time, and perhaps unintentionally, serendipitous and figural. (shrink)

A brief overview of work on street art and graffiti.

This chapter reconstructs the neo‐Wittgensteinian proposals, and re‐examines the “family resemblances” passages from the Philosophical Investigations. Arthur Danto chooses to explain the historically contextual nature of art in some of the same terms as Wittgenstein sketches for language. The neo‐Wittgenstein view is typically reconstructed as a conjunction of two claims about the concept of art: the concept is not definable and it needs to be understood along the lines of Wittgenstein's discussion of “family resemblances.” The concept of art evolves (...) historically with different uses and conditions of application in different historical contexts. Wittgenstein briefly invokes resemblances among family members to characterize such networks of overlapping similarities and immediately proceeds to apply the idea to numbers. Danto's considered view is that the diversity of art is a matter of the historicity of both meaning and embodiment. (shrink)

Jerry Fodor wrote the following assessment of Danto’s importance in 1993: “Danto has done something I’ve been very much wanting to do: namely, reconsider some hard problems in aesthetics in the light of the past 20 years or so of philosophical work on intentionality and representation” (Fodor 1993, p. 41). Fodor is absolutely right: some of Danto’s work could be thought of as the application of some influential ideas about perception that Fodor also shared. The problem is that these ideas (...) have turned out to be false. Both Danto and Fodor are modularist: they both think that perception is an encapsulated process that is in no way influenced by any kind of non-perceptual processing (see, e.g., Fodor 1983, Pylyshyn 1984). Many of Danto’s famous and influential arguments rely very directly on this modularist assumption. There is now, however, a wealth of evidence against modularism of the strong kind held to by Danto and Fodor. We now know that perceptual experience is not determined entirely by the retinal input: our visual processing is influenced at various point in a top-down manner. What we know and what kinds of visual stimuli we have encountered previously deeply influence how the retinal input is processed. The empirical literature on this is vast and conclusive (for an overview, see Teufel and Nanay 2017 but see also the references in the last section of this paper). What does this mean for Danto’s views on art and perception? While one of Danto’s premises may turn out to be false, the history and examples he gave are valuable and bear repeating. Even more importantly, Danto’s aesthetics can in part be separated out from his modularism, leading us to draw slightly different but arguably even more interesting conclusions from famous thought experiments such as the Gallery of Indiscernibles. (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

The starting point of this paper are two views: on the one hand, two general claims about street art – a broad art category encompassing works of spray painting as well as of yarn bombing, paste ups as well as sculptural interventions, tags as well as stickers, and so on – and, on the other hand, a much more specific view about certain contemporary tags produced, roughly, over the past twenty years. The two general claims are, first, that (...) all works of street art are subversive (see, e.g., Bacharach 2015; 2018; Chackal 2016; Baldini 2015; 2016; 2017; 2018; Willard 2016), second, that works of street art are the result of acts of self-expression (Riggle 2016). The specific view about certain contemporary tags is that they are artworks, although they are not presented, mainly, for appreciation of aesthetic properties grounded in their perceptual properties, because they are works of conceptual street art (see Lewisohn 2010; JAK 2012). The key question of the paper concerns, however, not contemporary tags, but “very early tags” (VETs) – a term that I shall use to designate the extremely simple, unadorned tags that first appeared in the late 1960s and that some scholars consider as the historical predecessors of the various practices that today we group under the category “street art” (see, e.g., Young 2014; Gastman et al. 2015): should we regard VETs as artworks? On the one hand, VETs writers tend to answer this question in the negative, since they stress that they didn’t cast themselves as artists and often identify the first tags that are artworks with the graphically elaborated tags that begun to be seen around New York City and Philadelphia just a few years after the appearance of the first tags. On the other hand, already in the early 1970s, artists and intellectuals such as Norman Mailer and Gordon Matta-Clark seemed to hold the view that it was appropriate to regard both VETs and later tags as art, although they didn’t defend this thesis with argument. The view that some contemporary tags that are not presented, mainly, for appreciation of their aesthetic properties might be candidates for appreciation as works of conceptual art suggests a strategy for assessing the issue whether VETs are candidates for art appreciation: can we defend the claim that the extremely simple, unadorned VETs were presented for appreciation as works of conceptual street art? I argue that we have good reasons to hold this view. (shrink)

Abstract: The present research was aimed to explore the nature of Children on the Street’s relationship with Society and its impacts such as living conditions, basic needs; behaviour of people and police, education, harassment. Using the purposive and convenience sampling technique, forty children on the street were selected for interviews from the areas, Golra Shareef and Bari Imam of Islamabad. Interview based questionnaire has been used as research tool and based on that questionnaire, analysis is provided in chapter four (...) with details. The results indicate that the main factors behind pushing children to the street are poverty, unemployment, orphaned, and disability, which leads these children towards terrorism and many other social evils. Such children are viewed negatively by the people and are considered a social burden. This research revealed that most of the children on the street face harassment but females face more than males. Children on the street are abused physically by police as well. It also focused that the behavior of society towards street children is not positive. Street is the most dangerous and threatening place for physical and sexual abuse. (shrink)

Can one expect religious minorities to be committed to a liberal democratic state? Can a democratic, Western, liberal state be open and safe for all – both ultra-orthodox and secular alike – and count on the allegiance of all? Does this require that religious minorities ‘hide’ their religious identity and conform to prevailing laws and customs and express their religious views and practices only in the privacy of their own homes? Or should minorities request that they receive public recognition? Ought (...) such minorities tolerate opposing views and practices on matters that are central to their faith, or should they request that these are not expressed in public? In this paper, I discuss and evaluate four possible responses to these questions. (shrink)

Sharon Street’s 2006 article “A Darwinian Dilemma for Realist Theories of Value” challenges the epistemological pretensions of the moral realist, of the nonnaturalist in particular. Given that “Evolutionary forces have played a tremendous role in shaping the content of human evaluative attitudes” – why should one suppose such attitudes and concomitant beliefs would track an independent moral reality? Especially since, on a nonnaturalist view, moral truth is causally inert. I abstract a logical skeleton of Street’s argument and, (...) with its aid, focus on problematic assumptions regarding the (a)causality of moral truth. It emerges that there are acquired causal powers that compensate for the intrinsic impotence of moral truth, as well as two distinct levels at which truth-tracking might occur. I argue that while evolution’s selective forces do not track moral truth, that does not imply individual organisms could not have evolved that capability. -/- . (shrink)

Due to the rising pressure from population growth and environmental crises induced by anthropogenic food production activities, the production and consumption of insects have been promoted internationally. The current paper discusses the nutritional and environmental benefits of insect consumption and the socio-cultural and psychological factors that constrain such a habit on an international scale. Then, some historical and cultural information regarding insect consumption in Vietnam is provided to highlight the potential of insect consumption standardization. Unlike those in Western societies, where (...) people exhibit significant psychological resistance to the idea of consuming insects as food, Vietnam has a longstanding tradition of entomophagy, resulting in far less resistance to this practice. Insects have not only been consumed widely in recent times, but they also have a historical root thanks to the early contribution of Nguyen Cong Tieu, a leading Vietnamese agriculture scientist since the French domination period (1884-1945). Nevertheless, insects are commonly viewed as street food or regional specialties but not dietary food, and the perception that insects are “poor man’s diet” persists, which can hinder the standardization of insect consumption within Vietnamese society. To capitalize on the nutritional sources from insects, we suggest that insect-eating should be embraced as an expression of progressive culture for environmental sustainability, and more interdisciplinary research in emerging countries, like Vietnam, could be conducted for the sake of good. (shrink)

There is a traditional interpretation of the work of Ralph Waldo Emerson that portrays him as a champion of nature, wilderness, or country life and an opponent of the city, technology, or urban life. Such a view, though, neglects the role of human activity in the universe as Emerson saw it. Furthermore, this view neglects the proper relation between soul and nature in the universe and risks entailing a philosophy of materialism--an unacceptable position for Emerson. An examination of (...) Emerson's philosophy will show that it is not fundamentally hostile to urban life or technology, and that, in fact, an anti-urban position is opposed to the most central themes of Emerson's philosophical vision. (shrink)

In this paper, I try to expatiate on the poetic function of language on the basis of considerations by Jakobson and Waugh. I try to bring in the consideration that pragmatics plays an important role in elucidating the poetic function of language. Contextualism allows us to interpret a poem: referents must be fixed or need not be fixed due to the requirements of the discourse; citations are brought in through pragmatic ways; polyphony is achieved by taking into account the context (...) of previous analyses of a poetic text; the vicinity of a certain word, or concept or line is likely to affect the interpretation of a certain expression; the poetic text can take different forms, from graffiti to discourse at the market place, to discourse between lovers. All these forms of poetic text would not exist if the notion of poetry did not include the idea of semantic/pragmatic compression which is matched, in interpretation, by expansions. (shrink)

ExtractThis essay is about liberal and conservative views of marriage. I'll begin by mentioning that I would really, really like to avoid use of the terms ‘liberal’ and ‘conservative’, but when push comes to shove, I know of no better labels for the positions that will be discussed in what follows. I would like to avoid these labels for a simple reason: many people strongly self-identify as liberals or as conservatives, and this can undermine our ability to investigate the topic (...) in a sane, rational way. Politics, at least in the contemporary English-speaking world, functions a lot like the world of sports. Many people have a particular team to which their allegiance has been pledged, and the team's successes and failures on the field are shared in the hearts and minds of its loyal followers. In my own case – and here, I ask for your pity – I am a fan of the National Football League's Cleveland Browns. As much as I might wish things were otherwise, I rejoice in the Browns' triumphs and suffer when they lose. I do not wait to see what happens in the game before I decide which team to cheer for; if it's an NFL game, and I see orange and brown, I know where my allegiance lies. Furthermore, I identify with my fellow Browns fans in a way that I cannot identify with followers of, say, the Pittsburgh Steelers. Clevelanders are my people. We share something, and what we share unites us in opposition to Steeler Nation. Their victories are our defeats. It is a zero-sum game: for one of us to win, the other must lose.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.LIBERAL AND CONSERVATIVE VIEWS OF MARRIAGEVolume 12, Issue 34Matthew Carey JordanDOI: https://doi.org/10.1017/S1477175613000067Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. LIBERAL AND CONSERVATIVE VIEWS OF MARRIAGEVolume 12, Issue 34Matthew Carey JordanDOI: https://doi.org/10.1017/S1477175613000067Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. LIBERAL AND CONSERVATIVE VIEWS OF MARRIAGEVolume 12, Issue 34Matthew Carey JordanDOI: https://doi.org/10.1017/S1477175613000067Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation. (shrink)

It is important to note that these are just two perspectives on the issue. There are many other factors to consider, and it is likely that the impact of AI on writers will vary depending on the specific circumstances.

The “Right to be forgotten” lies at the heart of the infosphere debate. It embodies how mature information societies cope and deal with their memories. As such, it has become a defining issue of our time. Drawing on the author’s experience as a member of the Google Advisory panel, this paper discusses some of the salient points of the “Right to be forgotten” discourse, including: privacy vs. freedom of speech and availability vs. accessibility of information. It argues that, while (...) there should be no removal of past information, steps must be taken to ensure that this is not constantly, or unnecessarily, recalled. (shrink)

Arthur C. Danto proposes a complex and controversial relationship between surface and deep interpretations in The Philosophical Disenfranchisement of Art (1986). We detail the analogy between understanding human actions and interpreting works of art that both develops a motivation for Danto's view and clarifies it. We object to the most plausible version of content dependency among surface and deep interpretations and in so doing, we also clarify the way in which an interpretation is constitutive of an artwork.

If someone disagrees with my moral views, or more generally if I’m in a group of n people who all disagree with each other, but I don’t have any special evidence or basis for my epistemic superiority, then it’s at best a 1-in-n chance that my views are correct. The skeptical threat from disagreement is thus a kind of moral lottery, to adapt a similar metaphor from Sharon Street. Her own genealogical debunking argument, as I discuss, relies on a (...) premise of such disagreement among evolutionary counterparts. -/- In this paper, I resist the threat from disagreement by showing that, on some of the most influential and most attractive theories of content determination, the premise of moral disagreement cannot serve any skeptical or revisionary purposes. I examine and criticize attempts, made by Gilbert Harman and Sharon Street, to argue from disagreement to relativism by relying on a theory of content determination that involves a principle that, within certain constraints, maximizes the attribution to us of true beliefs. And I examine and criticize Robert Williams’s attempt to show there is moral disagreement by relying on a theory of content determination that involves a principle that instead maximizes the attribution to us of rationality. My overall aim is to defend commonsense moral realism via a careful look at the theory of content and concepts. (shrink)

Sharon Street defines her constructivism about practical reasons as the view that whether something is a reason to do a certain thing for a given agent depends on that agent’s normative point of view. However, Street has also maintained that there is a judgment about practical reasons which is true relative to every possible normative point of view, namely constructivism itself. I show that the latter thesis is inconsistent with Street’s own constructivism about epistemic (...) reasons and discuss some consequences of this incompatibility. (shrink)

According to Arthur Danto, it is illegitimate to seek a neutral, or pre-interpretative, description of an artwork, since such descriptions necessarily fail to respect the artwork as such. Instead, we must begin by interpreting, so as to constitute the work : interpretation is what distinguishes artworks from mere physical objects. In this paper, I argue that, while Danto is right to distance artworks from mere things, this can be done without suggesting that artworks are constituted by interpretation. Moreover, Danto’s (...) class='Hi'>view leaves us unable to account for the fact that interpretations are constrained to be responsive to the work’s features. I demonstrate that, by appealing to conventions of description that are specific to art, it is possible to offer a neutral description that respects the work as an artwork. This view accords with our common sense understanding of the relation between description and interpretation, and avoids the unfortunate consequences of Danto’s theory. // Selon Arthur Danto, il est illégitime de chercher une description « neutre » ou préinterprétative d’une oeuvre d’art, parce qu’une telle description ne peut respecter l’oeuvre d’art en tant que telle. Nous ne pouvons aborder une oeuvre sans l’interpréter, puisque l’interprétation constitue l’oeuvre d’art et distingue celle-ci d’un simple objet physique. Dans cet article je soutiens que, bien que Danto ait raison de vouloir distinguer les oeuvres d’art des simples choses, on peut effectuer cette distinction sans conclure que les oeuvres d’art sont constituées par l’interprétation. Je soutiens en outre que le point de vue de Danto ne nous permet pas de tenir compte du fait que les interprétations doivent respecter les caractéristiques de l’oeuvre. Je montre qu’en faisant appel aux conventions de description spécifiques à l’art, on peut proposer une description neutre qui respecte l’oeuvre d’art en tant qu’oeuvre. Mon point de vue est conforme à la relation généralement admise entre la description et l’interprétation des oeuvres d’art, et évite les conséquences négatives de la théorie de Danto. (shrink)

If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into (...) account. The principal development that has shaped philosophy of perception in the last thirty years—explaining perceptual experience in terms of contents that represent that such-and-such is the case—is directly relevant to key arguments for the historical nature of art because contents can represent complex kinds and properties. Conceptual realism is especially well-suited for explaining perception of artworks and aesthetic properties because it emphasizes that forms of understanding—in the sense of capacities, abilities and techniques—are involved in perceptual engagement with individual objects and instances of properties. To make this case, the paper examines influential arguments for the historical nature of art and aesthetic properties by Arthur C. Danto and Kendall L. Walton; and examines art-historical discussions by Michael Baxandall, Linda Nochlin and T. J. Clark. The paper argues that the aesthetic properties of an artwork depend on human intentional uses of properties, colours and contours among them, and such uses may themselves be aesthetic. The Wittgensteinian notion of use is contextual and historical, and uses are perceptible. (shrink)

Many metaethicists assume that our normative judgments are both by and large true, and the product of causal forces. In other words, many metaethicists assume that the set of normative judgments that causal forces have led us to make largely coincides with the set of true normative judgments. How should we explain this coincidence? This is what Sharon Street (2006) calls the practical/theoretical puzzle. Some metaethicists can easily solve this puzzle, but not all of them can, Street argues; (...) she takes the puzzle to constitute a specific challenge for normative realism. In this article I elucidate Street's puzzle and outline possible solutions to it, framed in terms of a general strategy for reasoning about coincidences. I argue that the success of Street's challenge crucially depends on how we set the ‘reference class’ of normative judgments that we could have endorsed, assuming realism. I conclude that while the practical/theoretical puzzle falls short of posing a general challenge for normative realism, it can be successful as a selective challenge for specific realist views. (shrink)

Viewed in the light of the remarkable performance of ‘Watson’ - IBMs proprietary artificial intelligence computer system capable of answering questions posed in natural language - on the US general knowledge quiz show ‘Jeopardy’, we review two experiments on formal systems - one in the domain of quantum physics, the other involving a pictographic languaging game - whereby behaviour seemingly characteristic of domain understanding is generated by the mere mechanical application of simple rules. By re-examining both experiments in the context (...) of Searle’s Chinese Room Argument, we suggest their results merely endorse Searle’s core intuition: that ‘syntactical manipulation of symbols is not sufficient for semantics’. Although, pace Watson, some artificial intelligence practitioners have suggested that more complex, higher-level operations on formal symbols are required to instantiate understanding in computational systems, we show that even high-level calls to Google translate would not enable a computer qua ‘formal symbol processor’ to understand the language it processes. We thus conclude that even the most recent developments in ‘quantum linguistics’ will not enable computational systems to genuinely understand natural language. (shrink)

In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.

A sustained challenge to the view that artworks are physical objects relates to the alleged inability of physical objects to possess representational properties, which some artworks clearly do possess. I argue that the challenge is subject to confusions about representational properties and aesthetic experience. I show that a challenge to artwork-object identity put forward by Danto is vulnerable to a similar criticism. I conclude by noting that the identity of artworks and physical objects is consistent with the insight that (...) attending exclusively to the object’s individual physical properties may prevent us from grasping the nature of the work. // Contre l’opinion voulant que les œuvres d’art soient des objets physiques, d’aucuns font régulièrement valoir la présumée incapacité des objets physiques à possedér des propriétés représentationnelles, propriétés que certaines œuvres d’art possèdent a l’evidence. Je fais valoir que cette remise en question est sujette à des confusions à propos des propriétés représentationnelles et de l’experience esthétique. Je montre que de même, la remise en question par Danto de l’identité œuvre d’art-objet prête le flanc à une critique similaire. Je conclus pour finir que l’identité entre œuvres d’art et objets physiques est compatible avec l’intuition voulant que prêter attention exclusivement aux propriétés physiques d’un certain objet peut nous empêcher de saisir la nature de l’œuvre. (shrink)

Arthur C. Danto convincingly argued that works of art are not differentiated from common objects by aesthetic properties. With this he broke down the system of aestheticism, which discussed art as a sub-category of the aesthetic experience, looked for the universal, historically and culturally unconditioned significant form in works of art. At the same time, Danto’s theory can also be read as one considering the aesthetic point of view irrelevant for the essence of art. The paradigmatic starting point of (...) Danto’s theory is Andy Warhol’s Brillo Box. However it was the Brillo Box that created the opportunity for the questioning of this anti-aesthetic consequence, both Andy Warhol, when he created the Brillo Box, as well as Arthur C. Danto, when he chose it to be the starting point of his art philosophy, were driven by aesthetic motives. This inconsistency can be resolved by accepting that common objects are “transfigured” in the framework of an art theory, while adding that from the moment they have transfigured into a work of art, their (new) aesthetic properties become substantial. (shrink)

There is a widespread, popular view—and one I basically endorse—that Nietzsche is, in one sense of the word, a nihilist. As Arthur Danto put it some time ago, according to Nietzsche, “there is nothing in [the world] which might sensibly be supposed to have value.” As interpreters of Nietzsche, though, we cannot simply stop here. Nietzsche's higher men, Übermenschen, “genuine philosophers”, free spirits—the types Nietzsche wants to bring forth from the human, all-too-human herds he sees around him with the (...) fish hooks, as he says, of his books—seem to engage in what looks like valuing. These free spirits are supposed to revalue the old values—revaluing, as is clear from the texts, is not simply to remove the old values from circulation (Nietzsche uses “umwerten” and not “entwerten”)—and they are supposed to create new values. And, of course, Nietzsche himself, free spirit that he is, takes on the task of revaluing all values and seems to assert many a strident evaluation. So we need to say more here. What are Nietzsche and his free spirits up to when they engage in what looks, for all the world, like a practice of valuing? What is the practice of valuing Nietzsche is recommending for his free spirits? I argue for two claims: (i) First, we end up facing an interpretive puzzle when we attempt to explain how Nietzsche's free spirits are supposed to engage in a practice of valuing. (ii) Second, we can solve the interpretive puzzle by taking Nietzsche's free spirits to be engaged in a fictionalist simulacrum of valuing. (shrink)

Evolutionary debunking arguments purport to show that robust moral realism, the metaethical view that there are non-natural and mind-independent moral properties and facts that we can know about, is incompatible with evolutionary explanations of morality. One of the most prominent evolutionary debunking arguments is advanced by Sharon Street, who argues that if moral realism were true, then objective moral knowledge is unlikely because realist moral properties are evolutionary irrelevant and moral beliefs about those properties would not be selected (...) for. However, no evolutionary, causal explanation plays an essential role in reaching the argument’s epistemological conclusion. Street’s argument depends on the Benacerraf-Field challenge, which is the challenge to explain the reliability of our moral beliefs about causally inert moral properties. The Benacerraf-Field challenge relies on metaphysically necessary facts about realist moral properties, rather than on contingent Darwinian facts about the origin of our moral beliefs. Attempting to include an essential causal empirical premise yet avoiding recourse to the Benacerraf-Field problem yields an argument that is either self-defeating or of limited scope. Ultimately, evolutionary, causal explanations of our moral beliefs and their consequences do not present the strongest case against robust moral realism. Rather, the question is whether knowledge of casually-inert, mind-intendent properties is plausible at all. (shrink)

ABSTRACTThis essay offers a reconfiguration of the possibility‐space of positions regarding the metaphysics and epistemology associated with historical knowledge. A tradition within analytic philosophy from Danto to Dummett attempts to answer questions about the reality of the past on the basis of two shared assumptions. The first takes individual statements as the relevant unit of semantic and philosophical analysis. The second presumes that variants of realism and antirealism about the past exhaust the metaphysical options . This essay argues that both (...) of these assumptions should be rejected. It develops as an alternative an irrealist account of history, a view based in part on work by Leon Goldstein and Ian Hacking. On an irrealist view, historical claims ought to be treated as subject to the same conditions and caveats that apply to any theory of empirical or scientific knowledge. Irrealism argues for pasts as made and not found. The argument emphasizes the priority of classification over perception in the order of understanding and so verification. Because nothing a priori anchors practices of classification, no sense can be attached to claims that some single structure must or does determine what events take place in human history. Irrealism denies to realism the very intelligibility of any imagined view from nowhere, that is, a determinately configured past subsisting sub specie aeternitatis. A plurality of pasts exists because constituting a past always depends to some degree on socially mediated negotiations of a fit between descriptions and experience. (shrink)

It is commonly assumed that personalization technologies used by Google for the purpose of tailoring search results for individual users create filter bubbles, which reinforce users’ political views. Surprisingly, empirical evidence for a personalization-induced filter bubble has not been forthcoming. Here, we investigate whether filter bubbles may result instead from a searcher’s choice of search queries. In the first experiment, participants rated the left-right leaning of 48 queries (search strings), 6 for each of 8 topics (abortion, benefits, climate change, (...) sex equality, immigration, nuclear family, Islam, and taxation). An independent sample of participants were then asked to select one of these queries for each of the 8 topics. With the exception of the topic of Islam, participants were significantly more likely to select a query corresponding to their own political leaning, compared to other queries, explaining between 12% and 39% of the variance. A second experiment investigated the effect of the political leaning of the same queries on the overall political leaning of Search Engine Result Pages (SERPs) in Google Search. The top six results of each SERP were rated collectively by a third group of participants, explaining 36.3% of the variance across all 48 search terms (p < .00001). That is, (1) participants in our experiments tended to select own-side search queries, and (2) using those queries tended to yield own-side search results when using the Google search engine. Our results are consistent with the notion of a self-imposed filter bubble in which query selection plays a salient role. (shrink)

The Introduction provides an overview of Kendall Walton’s make-believe framework for a variety of representations and his arguments that such representations are dependent on their social or historical context. Walton argues that diverse representations involve our capacities for imagination and make-believe with props; they overlap with the fictional. Focusing on make-believe with props explains paradigmatic representational arts such as paintings and novels, theater and film. But this perspective reaches beyond the arts: it explains pictures and photographs in general not only (...) artistic ones; stories in general as well as literary and performing arts; music; metaphors, and even the claims we make about fictional entities and existence. The first section explains the main points of the make-believe framework in Mimesis as Make-Believe, and it reconstructs Walton’s argument in “Categories of Art” that some aesthetic properties depend on the perceptible and historical categories of art to which a work belongs. The second section outlines Walton’s specific proposals about literary fiction, fictional characters, poetry, pictures, photographs, music and negative existential claims. These explanations are integrated with summaries of the papers. The third section examines Walton’s implicit view of two much-discussed issues: the ontology of art and definitions of art. This discussion clears away some misunderstandings of Walton’s contextualism or historicism and relates Walton’s work to Arthur Danto’s and Frank Sibley’s. (shrink)

Suppose we grant that evolutionary forces have had a profound effect on the contours of our normative judgments and intuitions. Can we conclude anything from this about the correct metaethical theory? I argue that, for the most part, we cannot. Focusing my attention on Sharon Street’s justly famous argument that the evolutionary origins of our normative judgments and intuitions cause insuperable epistemological difficulties for a metaethical view she calls "normative realism," I argue that there are two largely independent (...) lines of argument in Street’s work which need to be teased apart. The first of these involves a genuine appeal to evolutionary considerations, but it can fairly easily be met by her opponents. The second line of argument is more troubling; it raises a significant problem, one of the most difficult in all of philosophy, namely how to justify our reliance on our most basic cognitive faculties without relying on those same faculties in a question-begging manner. However, evolutionary considerations add little to this old problem, and rejecting normative realism is not a way to solve it. (shrink)

Delmas successfully guides us to reconsider the traditional “wisdom” of civil disobedience. She also makes a strong case for expanding the notion of political obligation, which has been narrowly construed as mere obedience, to encompass a duty to resist. Principled disobedience, either civil or uncivil, includes a wide range of tools to tackle different forms of injustice, such as education campaigns, peaceful protests, graffiti street art, whistleblowing, vigilante self-defense, and political riots. We may question to what extent the violent (...) disobedience can be justified, as it is always good to be careful about violence that risks harming the innocent, but other forms of civil or uncivil disobedience may rightly be demanded in realistic circumstances. As I see it, these, along with the general warning to not unwittingly serve the status quo by dismissing social movements merely because of “incivility” and the proposal of the civic virtues of vigilance and open-mindedness, are significant contributions to the literature and could also benefit a politically interested general audience greatly. (shrink)

In 2006, David Carrier (Carrier, 2006, Museum Skepticism: A History of the Display of Art in Public Galleries. Durham: Duke University Press.) coined the term ‘museum skepticism’ to describe the idea that moving artworks into museum settings strips them of essential facets of their meaning; among art historians, this is better known as ‘decontextualization’, ‘denaturing’, or ‘museumization’. Although they do not usually name it directly, many contemporary debates in the philosophy of art are informed by an inclination towards museum skepticism, (...) from work on aesthetic cognitivism (Feagin, Susan, 1995, “Paintings and their places” Australasian Journal of Philosophy 73.2: 260-8.) and contextualism (Danto, Arthur C., 1988, “Artifact and Art”, in ART/ARTIFACT: African Art in Anthropological Collections. Exhibition Catalogue. New York: Center for African Art and Prestel Verlag, 18-32.) to cultural appropriation (Eaton, A. W. and Gaskell, Ivan, 2009, “Do subaltern artifacts belong in art museums?,” The Ethics of Cultural Appropriation, ed. James O. Young and Conrad Brunk, Oxford and Malden, Mass.: Wiley-Blackwell, 235-67), street art (Baldini, Andrea, 2016, “Street Art: A Reply to Riggle” Journal of Aesthetics and Art Criticism 74.2: 187-91), and the value of authenticity (Korsmeyer, Carolyn, 2016, “Real Old Things” British Journal of Aesthetics, 56.3: 219-31). The very first museum skeptic, however, was Antoine Chrysostôme Quatremère de Quincy (1755-1849). (shrink)

This paper investigates two puzzles in practical reason and proposes a solution to them. First, sometimes, when we are practically certain that neither of two alternatives is better than or as good as the other with respect to what matters in the choice between them, it nevertheless seems perfectly rational to continue to deliberate, and sometimes the result of that deliberation is a conclusion that one alternative is better, where there is no error in one’s previous judgment. Second, there are (...) striking differences between rational agents – some rational agents have most reason to pursue careers on Wall Street while others have most reason to take up a career in teaching, or scuba diving, or working for political causes. These differences aren’t plausibly explained by ‘passive’ facts about our psychology or their causal interaction with our environment; instead, these facts seem in some sense to ‘express who we are’. But what is this sense? These puzzles disappear if we adopt a novel view about the source of the normativity of reasons – some reasons are given to us and others are reasons in virtue of an act of will. We make certain considerations reasons through an act of will and thus sometimes make it true through an act of agency that we have most reason to do one thing rather than another. (shrink)

There are many different kinds of libertarianism. The first is right libertarianism, which received its most powerful expression in Robert Nozick’s Anarchy, State and Utopia (1974), a book that still sets the baseline for discussions of libertarianism today. The second, I will call faux libertarianism. For reasons I will explain in this paper, most ‘man-on-the-street’ libertarians and most politicians who claim to be libertarians are actually this kind of libertarian. And third, there is left libertarianism, which is what I (...) shall spend most of this paper explicating. But I will not simply be surveying the views of those who identify as left libertarians and put this forth as if I were engaged in an exegetical exercise. Instead, what I shall set forth is a kind of manifesto, a statement of why I consider myself a left libertarian, one that takes this approach to political morality well beyond where it was left around the end of the last century by the previous generation of left libertarians. My hope is to provide those who find certain left libertarian ideas attractive a guide by which they can explain and harmonise their own views, recognise left libertarianism as a distinct comprehensive political doctrine, and feel more open to identify themselves as left libertarian too. (shrink)

The book provides an overview of the contemporary discussion of the mind-body problem. This discussion takes its modern form during the 17th century in the works of René Descartes. The book covers the most important points of view in modern philosophy of mind. An important thesis of the book is that contemporary debates are still heavily influenced by Descartes’ arguments, especially those related to the nature of consciousness. (Google translate).

For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied by Ingarden’s (...) approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (shrink)

According to the causal theory of photography (CTP), photographs acquire their depictive content from the world, whereas handmade pictures acquire their depictive content from their makers’ intentional states about the world. CTP suffers from what I call the Problem of the Missing Agent: it seemingly leaves no room for the photographer to occupy a causal role in the production of their pictures and so is inconsistent with an aesthetics of photography. In this paper, I do three things. First, I amend (...) CTP with Fred Dretske’s distinction between triggering and structuring causes, thereby overcoming the Problem of the Missing Agent. Second, I argue that CTP so amended in fact illuminates two aesthetic interests that we may take in photographs, focussing on photographic portraiture and street photography. Third, I show how reflection on the aesthetics of photography serves to support aesthetic anti-empiricism: the view that the aesthetic value of artworks consists, at least in part, in achievement rather than sensory pleasure. (shrink)

The German text of Cohen’s Spinoza on State & Religion, Judaism & Christianity (Spinoza über Staat und Religion, Judentum und Christentum) first appeared in 1915 in the Jahrbuch für jüdische Geschichte und Literatur. Two years before, in the winter of 1913, Cohen taught a class and a seminar on Spinoza’s Theological-Political Treatise at the Hochschule für die Wissenschaft des Judentums. This was Cohen’s first semester at the Hochschule, after retiring from more than thirty years of teaching at the University of (...) Marburg. Cohen’s fame at the time was at its zenith, and his move to the Hochschule was a cause for celebration and excitement. According to the testimony of some students who attended the Tractatus Theologico-Politicus seminar, Cohen left no place for any expression of dissent (regrettably, the academy frequently encourages such authoritarian behavior). The text of Spinoza on State, which was the product of this seminar, still bears the marks of this “didactic” attitude. It is bombastic and feebly argued. Thus, in one moment of emotional crescendo in the text, we can literally hear Cohen shout: When Spinoza, with merciless severity, makes his own nation the object of contempt – at the time that Rembrandt lived on the same street and immortalized the ideal type of the Jew - no voices rises in protest against this humanly incomprehensible betrayal. Such patriotic rhetoric is quite typical of Cohen’s Spinoza on State, as the work reads more like a series of rants against the devil incarnated (“the demonic spirit of Spinoza”) in the figure of the traitor from Amsterdam than like a sustained and serious philosophical polemic. From time to time, one can observe hints of critical arguments, but hardly any are fleshed out. The text is also replete with rudimentary factual and interpretative errors. Thus, when Cohen argues that Spinoza traces his pantheism to Jewish sources, Cohen erroneously cites Spinoza’s reference in E2p7s to “some of the Hebrews [quidam Hebraeorum]” who argued for the identity of Sekhel, Maskil, and Muskal (the Intellect, the Intellecting Subject, and the Intellected Object) – a Maimonidean doctrine that has nothing to do with pantheism – while the text Cohen clearly had in mind was Spinoza’s claim, in Letter 73, that the traditions (traditionibus) of the “ancient Hebrews [antiquis Hebraeis]” agree with Spinoza’s claim that “all things are in God.” Similarly, and on the very same page, Cohen ascribes to Spinoza the claim that “the God of the Old Testament is only a body,” a claim which is nowhere to be found in Spinoza’s works, and which can be inferred from Spinoza’s text only through a patent fallacy. If I may add one last example, consider the following passage from Cohen’s Spinoza on State: [For Spinoza] divine law is grounded in our mind. Yet this does not mean that our mind bears responsibility for producing and obeying the law. Instead, it means that, by definition, the human mind and God are identical, inasmuch as He exists in the human mind. Hardly any claim in this brief passage is correct. Yet, what is most striking is Cohen’s derivation of the identity of God and the human mind from the claim that God exists in the human mind. If I exist in North America, this obviously does not imply that I am identical to North America (there are, for example, a couple of North American porcupines and alligators that are distinct from me). What rule of inference Cohen sought to employ in this argument, and how this impressive inference of the identity of God and the human mind is supposed to square with Cohen’s view of Spinoza as a pantheist – i.e., as considering the physical nature to be divine – is beyond my grasp. Instead of tracking down the dozens of crude errors and fallacies in Cohen’s text, I would like to concentrate here on one crucial issue: Cohen’s critique of Spinoza’s pantheism. By doing this, I will have to pass silently over a couple of surprising agreements between the two figures, such as the (false) claim that all of the prophets of the Hebrew Bible taught the same universal and simple morality. My discussion of pantheism will be divided into two sections. In the first, I will examine Cohen’s understanding of Spinoza’s pantheism. In the second, I will briefly examine the historical validity of Cohen’s claim that pantheism is a Christian doctrine, diametrically opposed to Judaism. (shrink)

Fifteen years ago, Sharon Street and Richard Joyce advanced evolutionary debunking arguments against moral realism, which purported to show that the evolutionary history of our moral beliefs makes moral realism untenable. These arguments have since given rise to a flurry of objections; the epistemic principles Street and Joyce relied upon, in particular, have come in for a number of serious challenges. My goal in this paper is to develop a new account of evolutionary debunking which avoids the pitfalls (...) Street and Joyce encountered and responds to the most pressing objections they faced. I begin by presenting a striking thought experiment to serve as an analogy for the evolution of morality; I then show why calibrationist views of higher-order evidence are crucial to the evolutionary debunking project; I outline a new rationale for why finding out that morality was selected to promote cooperation suggests that our moral judgments are unreliable; and I explain why evolutionary debunking arguments do not depend on our having a dedicated faculty for moral cognition. All things considered, I argue, evolutionary debunking arguments against moral realism are on relatively secure footing – provided, at least, that we accept a calibrationist account of higher-order evidence. (shrink)

According to a widely held view of assertion and belief, they are each governed by a tacitly acknowledged epistemic norm, and the norm on assertion and norm on belief are so related that believing p is epistemically permissible only if asserting it is. I call it the Same Norm View. A very common type of utterance raises a puzzle for this view, viz. utterances in which we say ‘I believe p' to convey somehow guarded affirmation of the (...) proposition that p. For example, one might respond to a query for directions to the station by saying ‘I believe it is down the first street on your left.' Often, when we reply in this way, it would have been pragmatically preferable simply to assert that p, had we been epistemically warranted in doing so. One's guarded reply thus suggests one is not so warranted. Nevertheless, if one believes what one, at face value, says one believes, one believes p. Contrary to what might seem to be suggested by the Same Norm View, one does not seem to portray oneself as irrational or epistemically beyond the pale in replying in this way. The paper develops this puzzle in detail, and examines a variety of options for a resolving it consistently with the Same Norm view. The most promising of these options, I argue, is to see ‘I believe' guarded affirmations as a form merely approximately correct speech. They would, though, be a form of such speech that interestingly differs from paradigm cases of loose use or conventional hyperbole in that speakers would be comparatively unaware of engaging in approximation. I conclude ‘I believe’—guarded affirmations either show the Same Norm View to be false or must be recognised as such an interestingly distinctive form of merely approximately correct speech. (shrink)

In a recent paper, Desmond Hogan aims to explain how Kant could have consistently held that noumenal affection is not only compatible with noumenal ignorance but also with the claim that experience requires causal affection of human cognitive agents by things in themselves. Hogan's argument includes the premise that human cognitive agents have empirical knowledge of one another's actions. Hogan's argument fails because the premise that we have empirical knowledge of one another's actions is ambiguous. On one reading, the argument (...) is valid but its conclusion trivial. On the other, it is unsound on Kant's own view.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.Freedom, Knowledge and Affection: Reply to HoganVolume 18, Issue 1Nicholas Stang DOI: https://doi.org/10.1017/S1369415412000301Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. Freedom, Knowledge and Affection: Reply to HoganVolume 18, Issue 1Nicholas Stang DOI: https://doi.org/10.1017/S1369415412000301Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. Freedom, Knowledge and Affection: Reply to HoganVolume 18, Issue 1Nicholas Stang DOI: https://doi.org/10.1017/S1369415412000301Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation. (shrink)

It is natural to think that our ordinary practices in giving explanations for our actions, for what we do, commit us to claiming that content properties are causally relevant to physical events such as the movements of our limbs and bodies, and events which these in turn cause. If you want to know why my body ambulates across the street, or why my arm went up before I set out, we suppose I have given you an answer when I (...) say that I wanted to greet a friend on the other side of the street, and thought that my arm's going up would be interpreted by him as a signal to stop for a moment. This widely held view might be disputed, but I shall not argue for it in this paper. I want to start with the view that our beliefs and desires and other propositional attitudes are causally relevant, in virtue of their modes and particular contents, to our movements, in order to investigate the consequences for analyses of thought content. For this purpose, I argue, in sec. II, for three necessary conditions on causal relevance: (a) a nomic sufficiency condition, (b) a logical independence condition, and (c) a screening-off condition. In sec. III, I apply these conditions to relational and functional theories of thought content, arguing that these theories cannot accommodate the causal relevance of content properties to our behaviour. I argue further that, on two plausible assumptions, one about the dependence of the mental on the physical, and the other about the availability in principle of causal explanations of our movements in terms of our non-relational physical properties, content properties can be causally relevant only if they are nomically type-correlated, relative to certain circumstances, with non-relational physical properties of our bodies. In sec. IV, I respond to a number of objections that might be advanced against this conclusion. (shrink)

One famous scene in The Wolf of Wall Street (2013) is the dialogue between the young Jordan Belfort (Leonardo DiCaprio) and the expert trader Mark Hanna (Matthew McConaughey). Hanna is complaining that the stock market is unpredictable; it’s “fugazi … it’s fairy dust. It doesn’t exist. It’s never landed. It is not matter. It’s not on the element chart. It’s not real”. But the fact that something is unpredictable and non-physical does not imply that it does not exist. On (...) the other hand, its unpredictability, non-physicality, and the fact that the stock market trend is largely determined by investors’ beliefs, do make its nature difficult to grasp. -/- This special issue of Rivista di Estetica aims to explore the financial sector from an ontological point of view. While the ontology of money has been extensively studied, few scholars have focused on the stock market and, more generally, on those entities belonging to the investment landscape. Matters are made more complicated by the fact that the financial sector is characterized by an ever-increasing use of digital technology, including software elements that trade in the market themselves. We believe that a careful study of this phenomenon may help us better to understand the role of artificial agents in the social world. (shrink)

A debate has recently appeared regarding whether non-naturalism is better than other metaethical views at explaining moral progress. I shall take the occasion of this debate to present a novel debunking dilemma for moral non-naturalists, extending Sharon Street's Darwinian one. I will argue that moral progress indicates that our moral attitudes tend to reflect contingent sociocultural and psychological factors. For non-naturalists, there is then either a relation between these factors and the moral facts, non-naturalistically construed, or there is not. (...) If there is no relation, the contingent factors are unlikely to lead to moral knowledge. If there is a relation, they must be likely to lead to non-naturalist-style moral knowledge, but no theoretically virtuous explanation of moral progress is likely to accommodate non-naturalist commitments. It follows that non-naturalist moral realism cannot explain our moral knowledge. I call this a contingentist challenge to non-naturalism. (shrink)

In the title essay of The Philosophical Disenfranchisement of Art Arthur Danto describes two dominant strains of the philosophy of art in its Platonic beginnings: one that art is dangerous, and thus subject to political censorship or control, and the other that art exists at several removes from the ordinary reality, impotent to effect any meaningful change in the human world.1 These two ways of understanding art, really two charges laid at art’s door, seem contradictory, he writes, until one realizes (...) that the second is a philosophical response to the first. In a ‘‘kind of warfare between philosophy and art’’ philosophy sees art as a rival, as a challenger to the supremacy of reason over the minds of men. Thus Danto describes the premise advanced in Book X of the Republic that art is mimesis, or that of The Ion that the artist lacks knowledge of what he does, as components of a powerfully disabling theory of art, designed not so much to come to terms with the essence of art as to neutralize its power through metaphysical exile, denying art causal efficacy or epistemic validity in the real world. And the history of aesthetics, in Danto’s view, continues this disenfranchisement, whether in the Kantian ephemeralization of art as an object of disinterested judgment, outside the realm of human practical and political concerns, or in the Hegelian ‘‘takeover’’ of art, in which it is demoted as an inadequate form of philosophy. (shrink)

This paper focuses on the view that rationality requires that our credences be regular. I go through different formulations of the requirement, and show that they face several problems. I then formulate a version of the requirement that solves most of, if not all, these problems. I conclude by showing that an argument thought to support the requirement as traditionally formulated actually does not; if anything, the argument, slightly modified, supports my version of the requirement.Send article to KindleTo send (...) this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.REGULARITY REFORMULATEDVolume 9, Issue 4Weng Hong TangDOI: https://doi.org/10.1017/epi.2012.23Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. REGULARITY REFORMULATEDVolume 9, Issue 4Weng Hong TangDOI: https://doi.org/10.1017/epi.2012.23Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. REGULARITY REFORMULATEDVolume 9, Issue 4Weng Hong TangDOI: https://doi.org/10.1017/epi.2012.23Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation Request permission. (shrink)

Some of the world's most powerful corporations practise what Shoshana Zuboff (2015; 2019) calls ‘surveillance capitalism’. The core of their business is harvesting, analysing and selling data about the people who use their products. In Zuboff's view, the first corporation to engage in surveillance capitalism was Google, followed by Facebook; recently, firms such as Microsoft and Amazon have pivoted towards such a model. In this paper, I suggest that Karl Marx's analysis of the relations between industrial capitalists and (...) workers is closely analogous to the relations between surveillance capitalists and users. Furthermore, three problematic aspects of industrial capitalism that Marx describes – alienation, exploitation and accumulation – are also aspects, in new forms, of surveillance capitalism. I draw heavily on Zuboff's work to make these parallels. However, my Marx-inspired account of surveillance capitalism differs from hers over the nature of the exchange between users and surveillance capitalists. For Zuboff, this is akin either to robbery or the gathering of raw materials; on the Marx-inspired account it is a voluntary sale. This difference has important implications for the question of how to resist surveillance capitalism. -/- Joint winner of the 2020 Philosophy essay prize. (shrink)