In this paper, I use a comparative analysis of mysticism in Zen and the Abrahamic faiths to formulate a phenomenological account of mysticism “as such.” I argue that, while Zen Buddhism is distinct from other forms of mystical experience in important ways, it can still be fit into a general phenomenological category of mystical experience. First, I explicate the phenomenological accounts of mysticism provided by Anthony Steinbock and Angela Bello. Second, I offer an account of Zen mysticism which both coheres (...) with and problematizes these accounts, arguing that Zen demonstrates the inadequacy of these accounts as descriptions of mysticism as a universal religious category. Lastly, I use this investigation to propose that Zen mysticism does generally cohere with the mystical experiences of other religions, but only if we devise a new formula for speaking phenomenologically about mystical experience as such which captures this phenomenon in all of its manifestations. (shrink)

In a well-known paper, Nick Bostrom presents a confrontation between a fictionalised Blaise Pascal and a mysterious mugger. The mugger persuades Pascal to hand over his wallet by exploiting Pascal's commitment to expected utility maximisation. He does so by offering Pascal an astronomically high reward such that, despite Pascal's low credence in the mugger's truthfulness, the expected utility of accepting the mugging is higher than rejecting it. In this article, I present another sort of high value, low credence mugging. This (...) time, the mugger utilises research on existential risk and the long-term potential of humanity to exploit Pascal's expected-utility-maximising descendant. This mugging is more insidious than Bostrom's original as it relies on plausible facts about the long-term future, as well as realistic credences about how our everyday actions could, albeit with infinitesimally low likelihood, affect the future of humanity. (shrink)

What is the human body? Both the most familiar and unfamiliar of things, the body is the centre of experience but also the site of a prehistory anterior to any experience. Alien and uncanny, this other side of the body has all too often been overlooked by phenomenology. In confronting this oversight, Dylan Trigg’s The Thing redefines phenomenology as a species of realism, which he terms unhuman phenomenology. Far from being the vehicle of a human voice, this unhuman phenomenology (...) gives expression to the alien materiality at the limit of experience. -/- By fusing the philosophies of Merleau-Ponty, Husserl, and Levinas with the horrors of John Carpenter, David Cronenberg, and H.P. Lovecraft, Trigg explores the ways in which an unhuman phenomenology positions the body out of time. At once a challenge to traditional notions of phenomenology, The Thing is also a timely rejoinder to contemporary philosophies of realism. The result is nothing less than a rebirth of phenomenology as redefined through the lens of horror. (shrink)

This paper argues that the concept of the Earth plays a pivotal role in Merleau-Ponty’s thinking in two ways. First, the concept assumes a special importance in terms of Merleau-Ponty’s relation to Husserl via the fragment known as “The Earth Does Not Move.” Two, from this fragment, the Earth marks a key theme around which Merleau-Ponty’s late philosophy revolves. In particular, it is with the concept of the Earth that Merleau-Ponty will develop his archaeologically oriented phenomenology. To defend this claim, (...) the paper unfolds in three stages. First, I provide a preliminary reading of Husserl’s fragment, focusing in particular on the co-constitution of body and Earth. Two, I turn to Merleau-Ponty’s interpretations of this fragment, especially in the lectures on nature and then in the later lectures on Husserl. From these varying interpretations, the germs of Merleau-Ponty’s archaeological phenomenology are conceived. Accordingly, in the final part of the paper, I claim that Merleau-Ponty’s account of the Earth is Husserlian insofar as it reinforces the primordial “ground (sol) of experience” but at the same time marks a departure from Husserl insofar as the Earth registers a brute or wild layer that resists phenomenology. (shrink)

By introducing the concept of “mental data,” Palermos (2023) highlights an underappreciated aspect of data ethics that policymakers would do well to heed. Sweeping artificial intelligence (AI) legi...

Automated influence is one of the most pervasive applications of artificial intelligence in our day-to-day lives, yet a thoroughgoing account of its associated individual and societal harms is lacking. By far the most widespread, compelling, and intuitive account of the harms associated with automated influence follows what I call the control argument. This argument suggests that users are persuaded, manipulated, and influenced by automated influence in a way that they have little or no control over. Based on evidence about the (...) effectiveness of targeted advertising as well as empirical results about the nature of attentional control, I provide reasons to reject this argument. In turn, I use C. Thi Nguyen’s theory of value collapse to develop a new account of the harmfulness of automated influence. (shrink)

I argue for the conditions that eco-sabotage (sabotage involving the protection of animals or the environment) must meet to be a morally permissible form of activism in a liberal democracy. I illustrate my case with Jessica Reznicek and Ruby Montoya’s oil pipeline destruction, the Sea Shepherd Conservation Society’s whale hunt sabotage, and the Valve Turners’ pipeline shut-off, climate necessity-defense. My primary contention is that just as it is permissible to destroy an attacker’s weapon in self- or other-defense, it is permissible (...) to engage in some forms of eco-sabotage. Taking inspiration from just war theory, I use the conditions of just cause, reasonable chance of success, proportionality, necessity, and discrimination to both conceptualize eco-sabotage as defense and illustrate the justificatory burden the eco-saboteur must meet. Often eco-sabotage is doubly pro-tanto wrong because it is illegal and involves property destruction. Overcoming these hurdles is particularly difficult because in seemingly bypassing democratic means of dispute resolution, the eco-saboteur seemingly coerces the other members of society by forcing idiosyncratic views upon them. Non-anthropocentric eco-sabotage grounded in defense of animal rights has mixed results regarding the democratic objection just described. I argue that anthropocentric eco-sabotage, grounded in defense of human rights, has the best chance of overcoming this objection, provided a persuasive case can be made for its reasonable chance of success. Passing a reasonable chance of success also causes problems for non-anthropocentric eco-sabotage grounded in species defense, while non-anthropocentric eco-sabotage grounded in defense against animal suffering has a lighter justificatory burden. (shrink)

This book review of Lieber and Press's “The myth of the nuclear revolution: Power politics in the atomic age" challenges the authors' position that nuclear weapons essentially have the same properties of conventional weapons. We argue that nuclear weapons alter warfare because they can end human civilization, and they pose a shared risk of mutual destruction.

From the “psychoplasmic” offspring in The Brood (1979) to the tattooed encodings in Eastern Promises (2007), David Cronenberg presents a compelling vision of embodiment, which challenges traditional accounts of personal identity and obliges us to ask how human beings persist through different times, places, and bodily states while retaining their sameness. Traditionally, the response to this question has emphasised the importance of cognitive memory in securing the continuity of consciousness. But what has been underplayed in this debate is the question (...) of how the body can both reinforce and disrupt the grounds for our personal identity. Accordingly, by turning the notoriously “body conscious” work of Cronenberg, especially his seminal The Fly (1986), I intend to pursue the relation between identity and embodiment in the following way. First, by augmenting John Locke’s account of personal identity with a specific appeal to the body, I will explore how Cronenberg’s treatment of embodiment as a site of independent experience challenges the idea we have that cognitive memory is the guarantor of personal identity. Cronenberg’s treatment of the “New Flesh” posits an account of the body that undermines the Cartesian and Lockean account of personal identity as being centred on the mind. In its place, I will argue that Cronenberg shows us how the body establishes a personality independently of the mind. Second, through focusing explicitly on body memory, I will explore how we, as embodied subjects, relate to our bodies in a Cronenbergian world. Approaching this relation between memory and embodiment via the phenomenology of Merleau-Ponty, I will argue that memory is at the heart of Cronenberg’s vision of body horror. I will conclude by suggesting that far from generating unity, Cronenberg’s vision of embodiment and identity is diseased (often literally) by a memory that cannot be assimilated by cognition. The result of this failure to assimilate body memory, is that memory itself occupies the role of the monster within. (shrink)

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...) “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

This paper is concerned with the aesthetic and discursive gap between music and contemporary art, and the recent attempts to remedy this in the field of New Music through a notion of “New Conceptualism.” It examines why, despite musical sources being central to the emergence of conceptual artistic strategies in the 1950s and ’60s, the worlds of an increasingly transmedial “generic art” and music have remained largely distinct. While it takes New Music’s New Conceptualism as its focus, it argues that (...) the perspective on New Music it takes has wider implications in music and art. It begins by defining what exactly “New Music” refers to, and outlines some of the conditions for the recent rise of conceptualism in New Music. It then takes the work of the composer Johannes Kreidler as a key example of some artistic tendencies and theoretical presuppositions in New Conceptualism. Following this it draws on work in the field of sound studies in order to critically examine the theoretical attempt to connect New Music with contemporary art that is found in the notion of “Music in the Expanded Field.” To conclude it offers some reflections on how a more robust conversation between contemporary art and New Music can begin to be conceived. (shrink)

Honors Research: PPE @ UPenn | This thesis seeks to address some of the most central questions to the fields of political philosophy and political economy. How can social order and government develop from anarchy under standard economic assumptions of rationality, where all agents act strictly in their own interests? What are the deontological limits to the State’s use of force such that political legitimacy is maintained, and how do these ethical boundaries of government relate to moral obligations conferred upon (...) individuals? Finally, what sets of policies and social institutions ought the State implement to achieve the best welfare outcomes for a society, and is there a necessary conflict between policy consequentialism and deontological ethics? This thesis will first show that a laissez-faire capitalist social order spontaneously emerges from the State of Nature as a result of mutual self-interest between rational agents, with the institution of government being a mere product of market forces that is best modeled as a locally-monopolized, excludable, collective entity with global competition. Then, this thesis will defend a theory of natural rights on the basis that persons are normatively separate, before establishing that laissez-faire capitalism and its contractual form of government are uniquely in compliance with these universal moral standards of conduct that predate the institution of any state. Finally, it will be argued in this thesis that the key tenets of laissez-faire capitalism - strong individual rights to life, liberty, and property - produce maximal human welfare from both individualist and collectivist aggregations, before such conclusions are translated into a foundation for limited government. These arguments serve to solidify libertarianism as both the dominant political philosophy and the globally convergent equilibrium of political organization, while also demonstrating that laissez-faire capitalism is the optimal form of social order. (shrink)

Intuitions play an important role in the debate on the causal status of high‐level properties. For instance, Kim has claimed that his “exclusion argument” relies on “a perfectly intuitive … understanding of the causal relation.” We report the results of three experiments examining whether laypeople really have the relevant intuitions. We find little support for Kim's view and the principles on which it relies. Instead, we find that laypeople are willing to count both a multiply realized property and its realizers (...) as causes, and regard the systematic overdetermination implied by this view as unproblematic. (shrink)

In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...) his account of representation. My own proposal is that in our apprehension of non-figurative artworks, our attention is drawn to the underlying structures of both emotive and perceptual experience. In this way, paintings, particularly abstract ones, disclose human cognition in a manner that makes fictionality an inappropriate tool for their analysis. (shrink)

In this thesis, I offer a new interpretation of the principles of Naturalistic philosophy that are relevant to the philosophy of mind. In doing so, I attempt to accomplish the broader task of showing how we can make significant progress in our thinking about consciousness by first offering new conceptual foundations that can ground our theorizing, and then applying these new ideas to specific problems in the field. The thesis first articulates the advantages of Naturalism, properly understood, as a valuable (...) methodological alternative to traditional approaches to problems in the field. Next, I explore what we can distill from work in Situated Cognition Research (understood as an extension of my interpretation of Naturalism) which will be useful in truly appreciating the Naturalist’s theoretical starting point, our conceptual foundation for work in the philosophy of mind. The thesis proceeds to show how the phenomenon of intentionality is to be understood given the principles of Naturalism, and a naturalistic account of intentionality emerges. I conclude with a consideration of the implications that a naturalistic account of intentionality has for our understanding of the nature of consciousness in general. (shrink)

We uncover a largely unnoticed and unaddressed problem in conservation research: arguments built within studies are sometimes defective in more fundamental and specific ways than appreciated, because they misrelate values and empirical matters. We call this the unraveled rope problem because just as strands of rope must be properly and intricately wound with each other so the rope supports its load, empirical aspects and value aspects of an argument must be related intricately and properly if the argument is to objectively (...) support its conclusion. By characterizing this problem with precision, our study differs from but complements existing studies of value issues in conservation science, in two ways. First, it focuses on key relationships between empirical issues and value issues, relations that have sometimes been obscured by focusing on these issues more independently of each other. Second, it focuses on these relationships within arguments and deploys a method of argument analysis and evaluation honed in other fields but under-utilized in conservation science. By combining our study's novel features, we detail six families of argument defect that exemplify the unraveled rope problem within existing literature. These defects sometimes manifest within basic research stages, rather than just in more applied downstream stages where roles for values are already obvious to many. As scientific reasoning and communication become increasingly important for addressing society's greatest environmental challenges, overcoming the unraveled rope problem will be essential to the success and integrity of conservation research. Therefore, we also outline potential solutions, preventative measures, and useful further work for conservation researchers. (shrink)

Donkey sentences have existential and universal readings, but they are not often perceived as ambiguous. We extend the pragmatic theory of nonmaximality in plural definites by Križ (2016) to explain how context disambiguates donkey sentences. We propose that the denotations of such sentences produce truth-value gaps — in certain scenarios the sentences are neither true nor false — and demonstrate that Križ’s pragmatic theory fills these gaps to generate the standard judgments of the literature. Building on Muskens’s (1996) Compositional Discourse (...) Representation Theory and on ideas from supervaluation semantics, the semantic analysis defines a general schema for quantification that delivers the required truth-value gaps. Given the independently motivated pragmatic theory of Križ 2016, we argue that mixed readings of donkey sentences require neither plural information states, contra Brasoveanu 2008, 2010, nor error states, contra Champollion 2016, nor singular donkey pronouns with plural referents, contra Krifka 1996, Yoon 1996. We also show that the pragmatic account improves over alternatives like Kanazawa 1994 that attribute the readings of donkey sentences to the monotonicity properties of the embedding quantifier. (shrink)

This article concerns the place of Plato’s eschatology in his philosophy. I argue that the theory of reincarnation appeals to Plato due to its power to explain how non-human animals came to be. Further, the outlines of this theory are entailed by other commitments, such as that embodiment disrupts psychic functioning, that virtue is always rewarded and vice punished, and that the soul is immortal. I conclude by arguing that Plato develops a view of reincarnation as the chief tool that (...) the gods have to ensure that virtue is victorious over vice throughout the whole cosmos. (shrink)

I argue that, according to Plato, the body is the sole cause of psychic disorders. This view is expressed at Timaeus 86b in an ambiguous sentence that has been widely misunderstood by translators and commentators. The goal of this article is to offer a new understanding of Plato’s text and view. In the first section, I argue that although the body is the result of the gods’ best efforts, their sub-optimal materials meant that the soul is constantly vulnerable to the (...) body’s influences. In the second section, I argue that every psychic disorder is a disruption of the motions of the inner psychic circles by the body; moreover, I defend my translation of 86b. In the final section, I argue that the goal of education is to restore the circles to their original orbits, and I disarm a possible objection that bad education is also a cause of psychic disorder. (shrink)

So-called ‘distinctively mathematical explanations’ (DMEs) are said to explain physical phenomena, not in terms of contingent causal laws, but rather in terms of mathematical necessities that constrain the physical system in question. Lange argues that the existence of four or more equilibrium positions of any double pendulum has a DME. Here we refute both Lange’s claim itself and a strengthened and extended version of the claim that would pertain to any n-tuple pendulum system on the ground that such explanations are (...) actually causal explanations in disguise and their associated modal conditionals are not general enough to explain the said features of such dynamical systems. We argue and show that if circumscribing the antecedent for a necessarily true conditional in such explanations involves making a causal analysis of the problem, then the resulting explanation is not distinctively mathematical or non-causal. Our argument generalises to other dynamical systems that may have purported DMEs analogous to the one proposed by Lange, and even to some other counterfactual accounts of non-causal explanation given by Reutlinger and Rice. (shrink)

This paper concerns Plato’s characterization of the body as the soul’s tool. I take perception as an example of the body’s usefulness. I explore the Timaeus’ view that perception provides us with models of orderliness. Then, I argue that perception of confusing sensible objects is necessary for our cognitive development too. Lastly, I consider the instrumentality relationship more generally and its place in Plato’s teleological worldview.

I argue that Plato believes that the soul must be both the principle of motion and the subject of cognition because it moves things specifically by means of its thoughts. I begin by arguing that the soul moves things by means of such acts as examination and deliberation, and that this view is developed in response to Anaxagoras. I then argue that every kind of soul enjoys a kind of cognition, with even plant souls having a form of Aristotelian discrimination (...) (krisis), and that there is therefore no completely unintelligent, evil soul in the cosmos that can explain disorderly motions; as a result, the soul is not the principle of all motion but only motion in the cosmos after it has been ordered by the Demiurge. (shrink)

I argue that Plato thinks that the soul has location, surface, depth, and extension, and that the Timaeus’ composition of the soul out of eight circles is intended literally. A novel contribution is the development of an account of corporeality that denies the entailment that the soul is corporeal. I conclude by examining Aristotle’s objection to the Timaeus’ psychology and then the intellectual history of this reading of Plato.

There is a major debate as to whether there are non-causal mathematical explanations of physical facts that show how the facts under question arise from a degree of mathematical necessity considered stronger than that of contingent causal laws. We focus on Marc Lange’s account of distinctively mathematical explanations to argue that purported mathematical explanations are essentially causal explanations in disguise and are no different from ordinary applications of mathematics. This is because these explanations work not by appealing to what the (...) world must be like as a matter of mathematical necessity but by appealing to various contingent causal facts. (shrink)

In this article, I make the case for the continued relevance of Plato’s Timaeus. I begin by sketching Allan Bloom’s picture of the natural sciences today in The Closing of the American Mind, according to which the natural sciences are, objectionably, increasingly specialized and have ejected humans qua humans from their purview. I argue that Plato’s Timaeus, despite the falsity of virtually all of its scientific claims, provides a model for how we can pursue scientific questions in a comprehensive way (...) that stresses their connections to other disciplines, including the humanities, and that puts humanity qua humanity back in the picture. I then argue that being led by Plato’s philosophy to return humanity conceptually to the natural world can improve our thinking regarding climate change and other important environmental crises. (shrink)

This article is a study of the interpretive resources developed by Rush Limbaugh on his radio show. Interpretive resources – also called ‘hermeneutical resources’ – are concepts, narratives, conceptual frameworks, etc. that enable subjects to make sense of themselves and their world. Much recent scholarship has explored how a community's interpretive resources influence social interactions or character traits in the community. In Limbaugh's transcripts, we found a pattern of what we call ‘concept doubling’, wherein terms are characterised in a way (...) suggesting that liberals and conservatives express different concepts by their utterances of the same word form. We propose that this promotes an interpretive resource that encourages in those who use it what we call ‘false double consciousness’. We contrast the effects of false double consciousness with those of double consciousness, and we consider the interpretive resources available within false double consciousness. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

Veblen's concept of conspicuous consumption, although widely known and commonly invoked, has rarely been examined critically; the associated "theory" has never been tested. It is suggested that the reason for this lies in the difficulty of determining the criterion that defines the phenomenon, a difficulty that derives from Veblen's failure to integrate two contrasting conceptual formulations. These are, first, an interpretive or subjective version that conceives of conspicuous consumption as action marked by the presence of certain intentions, purposes, or motives, (...) and second, a functionalist formulation in which conspicuous consumption is viewed as a form of behavior characterized by particular end results or outcomes. Consideration of each of these strands reveals major difficulties that prevent the construction of an operational definition of conspicuous consumption and hence the extraction of a workable theory from Veblen's discussion. (shrink)

This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and his development of a logic (...) of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology. (shrink)

I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of inquiries into signs that both Deleuze and Guattari undertook, individually and together, beginning in the 1960s. I first outline Deleuze’s theory of signs as a theory of encounter as (...) developed in Proust and Signs (1964) and Difference and Repetition (1968), following which I sketch Guattari’s engagements with signs and semiotics throughout the 1960s and 1970s, particularly through his notion of “a-signifying semiotics” and the concept of the “diagram” he adapts from the semiotics of Charles Sanders Peirce. I close by showing how these heterogeneous theories of the sign are drawn together in A Thousand Plateaus through the Spinozist reading of the ethology of Jakob von Uexküll and the theorisation of rhythm in the form of the refrain. (shrink)

Where does agency lie in musical performance? How is it expressed? Recent music scholarship has highlighted an increasingly prominent tendency to conceive of agency as not confined to any one individual or type of individual, instead being distributed across diverse individuals that can be found occupying performance situations. . This article uses two ‘percussion’ works from the 1970s by the composer John Cage, Child of Tree (1975) and its multi-performer elaboration Branches (1976), as a foil for engaging with these practical (...) and theoretical musical concerns, and for suggesting some heretofore underappreciated distinctions within the ongoing work on multi-agential performance. (shrink)

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...) Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

This article is concerned with the status and stakes of Gilles Deleuze’s “break” with structuralism. With a particular focus on a transitional text of Deleuze, the 1967/1972 article “How Do We Recognize Structuralism?,” it asks how Deleuze understood structuralism and why, after his encounter with Félix Guattari and Guattari’s own transitional text, 1969’s “Machine and Structure,” Deleuze felt the need to break with structuralism. It argues that reading these two texts together allows us to see that Deleuze already perceived tensions (...) within the structuralist project, and argues that Guattari’s non-structural account of the machine allowed Deleuze to clarify this perception, and see it as necessitating a departure from structuralism. To close, however, it turns to recent work by philosophers such as Étienne Balibar and Patrice Maniglier that re-examines the structuralist moment and identifies an ongoing legacy that the “poststructuralism” of Deleuze and Guattari may be part of. By considering Deleuze and Guattari’s break with structuralism in light of this work, this article considers how the polemical rejection of structuralism by Deleuze and Guattari may not fully account for the ongoing legacy of the structuralist program and the persistence of a structuralist problematic in their thought. (shrink)

In a series of articles Christopher Cowie has provided what he calls a ‘Master Argument’ against the Companions in Guilt (CG) defence of moral objectivity. In what follows I defend the CG strategy against Cowie. I show, firstly, that epistemic judgements are relevantly similar to moral judgements, and secondly, that it is not possible coherently to deny the existence of irreducible and categorically normative epistemic reasons. My argument for the second of these claims exploits an analogy between the thesis that (...) epistemic norms are non-categorical and G.E. Moore’s paradox concerning first personal belief ascriptions. I argue that the absurdity of the assertion “I have evidence that p but no reason to believe it” shows that the norms of belief are categorical. I then consider the counter-argument that this categoricity is a ‘conceptual’ rather than an ‘objective’ requirement. By drawing on the work of Hilary Putnam and Charles Travis, I show that this counter-argument is unsuccessful. Putnam is one of the original proponents of the Companions in Guilt strategy. Thus, by supporting the CG argument through appeal to other Putnamian theses, I show that its insights can only fully be appreciated in the context of broader metaphysical and semantic lessons. (shrink)

Public discourse is often caustic and conflict-filled. This trend seems to be particularly evident when the content of such discourse is around moral issues (broadly defined) and when the discourse occurs on social media. Several explanatory mechanisms for such conflict have been explored in recent psychological and social-science literatures. The present work sought to examine a potentially novel explanatory mechanism defined in philosophical literature: Moral Grandstanding. According to philosophical accounts, Moral Grandstanding is the use of moral talk to seek social (...) status. For the present work, we conducted six studies, using two undergraduate samples (Study 1, N = 361; Study 2, N = 356); a sample matched to U.S. norms for age, gender, race, income, Census region (Study 3, N = 1,063); a YouGov sample matched to U.S. demographic norms (Study 4, N = 2,000); and a brief, one-month longitudinal study of Mechanical Turk workers in the U.S. (Study 5, Baseline N = 499, follow-up n = 296), and a large, one-week YouGov sample matched to U.S. demographic norms (Baseline N = 2,519, follow-up n = 1,776). Across studies, we found initial support for the validity of Moral Grandstanding as a construct. Specifically, moral grandstanding motivation was associated with status-seeking personality traits, as well as greater political and moral conflict in daily life. (shrink)

In this article, I approach some phenomena seen predominantly on social-media sites that are grouped together as cancel culture with guidance from two major themes in Plato’s thought. In the first section, I argue that shame can play a constructive and valuable role in a person’s improvement, just as we see Socrates throughout Plato’s dialogues use shame to help his interlocutors improve. This insight can help us understand the value of shaming people online for, among other things, their morally reprehensible (...) views. In the second section, I argue that it is required for the proper functioning of democratic institutions that some views be excluded from the public sphere, which follows some Platonic ideas from the Laws. In neither case do I argue that this approach is good in an unqualified sense or even ultima facie good. However, I maintain that these important insights from Plato’s dialogues illuminate crucial aspects of how we should think about cancel culture. (shrink)

The alien in science fiction has not often been seen as part of an imperial colonial discourse. By examining John W. Campbell’s founding golden age SF text, “Who Goes There?” (1938), this paper explores the ways in which the alien adheres to an invisible mythos of whiteness that has come to be seen through a colonizing logic as isomorphic with the human. Campbell’s alien-monster comes to disseminate and invade both self and world and as such serves as an (...) interrogation of what whites have done through colonization. It is thus part and parcel of imperial domination and discourse and appears as the very nightmare of whiteness in the form of its liminal and estranged shadow side. Part of what has made Campbell’s text so influential is that it offers a new type of alien invasion in the figure of “contagion,” which speaks “to the transition from colonial to postcolonial visions of modernity and its attendant catastrophes” (Rieder, 124), and which can be further examined as a race metaphor in American SF—indeed, as the white man’s fear of racial mixing that has a long and dehumanizing history. Through its threat of mixture, I read the alien as a creolizing figure that both troubles and undoes the white/black, human/nonhuman binary in science fiction, which I also read as being a creolizing, i.e., hybrid and plastic, genre. (shrink)

This is an impressive and important book about perception in Plato’s Timaeus, but most of its readers will probably be researchers who are interested in much broader questions about the dialogue. There is nothing deficient or lacking about this treatment of perception, but this book should be put alongside Thomas Johansen’s Plato’s Natural Philosophy and Sarah Broadie’s Nature and Divinity in the sense that this is, for all intents and purposes, a monograph about the whole Timaeus, even though it is (...) pitched as being focused on perception. There are only a few topics missing, such as the nature of the cosmic receptacle and psychic diseases. Virtually everything else, including the status of Timaeus’ so-called likely story, the generation of the lower gods, and the nature of bone, is discussed at length. (shrink)

This thesis focuses on expressively rich languages that can formalise talk about probability. These languages have sentences that say something about probabilities of probabilities, but also sentences that say something about the probability of themselves. For example: (π): “The probability of the sentence labelled π is not greater than 1/2.” Such sentences lead to philosophical and technical challenges; but can be useful. For example they bear a close connection to situations where ones confidence in something can affect whether it is (...) the case or not. The motivating interpretation of probability as an agent's degrees of belief will be focused on throughout the thesis. -/- This thesis aims to answer two questions relevant to such frameworks, which correspond to the two parts of the thesis: “How can one develop a formal semantics for this framework?” and “What rational constraints are there on an agent once such expressive frameworks are considered?”. (shrink)

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...) conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

Famous examples of conceivability arguments include (i) Descartes’ argument for mind-body dualism, (ii) Kripke's ‘modal argument’ against psychophysical identity theory, (iii) Chalmers’ ‘zombie argument’ against materialism, and (iv) modal versions of the ontological argument for theism. In this paper, we show that for any such conceivability argument, C, there is a corresponding ‘mirror argument’, M. M is deductively valid and has a conclusion that contradicts C's conclusion. Hence, a proponent of C—henceforth, a ‘conceivabilist’—can be warranted in holding that C's premises (...) are conjointly true only if she can find fault with one of M's premises. But M's premises are modelled on a pair of C's premises. The same reasoning that supports the latter supports the former. For this reason, a conceivabilist can repudiate M's premises only on pain of severely undermining C's premises. We conclude on this basis that all conceivability arguments, including each of (i)–(iv), are fallacious. (shrink)

I argue that Plato thinks that a sunaition is a mere tool used by a soul (or by the cosmic nous) to promote an intended outcome. In the first section, I develop the connection between sunaitia and Plato’s teleology. In the second section, I argue that sunaitia belong to Plato’s theory of the soul as a self-mover: specifically, they are those things that are set in motion by the soul in the service of some goal. I also argue against several (...) popular and long-standing interpretations, namely, that sunaitia correspond to Aristotle’s idea of hypothetical necessity, that sunaitia are the ‘how’ in an explanation (whereas the true cause is the ‘why’), and that Plato’s causal views should be read through Aristotle’s fourfold schema. I conclude the article by surveying the history of sunaitia after Plato’s usage. (shrink)

The counterfactual account of physical computation is simple and, for the most part, very attractive. However, it is usually thought to trivialize the notion of physical computation insofar as it implies ‘limited pancomputationalism’, this being the doctrine that every deterministic physical system computes some function. Should we bite the bullet and accept limited pancomputationalism, or reject the counterfactual account as untenable? Jack Copeland would have us do neither of the above. He attempts to thread a path between the two horns (...) of the dilemma by buttressing the counterfactual account with extra conditions intended to block certain classes of deterministic physical systems from qualifying as physical computers. His theory is called the ‘algorithm execution account’. Here we show that the algorithm execution account entails limited pancomputationalism, despite Copeland’s argument to the contrary. We suggest, partly on this basis, that the counterfactual account should be accepted as it stands, pancomputationalist warts and all. (shrink)

Fourteen philosophers share their experience teaching Peirce to undergraduates in a variety of settings and a variety of courses. The latter include introductory philosophy courses as well as upper-level courses in American philosophy, philosophy of religion, logic, philosophy of science, medieval philosophy, semiotics, metaphysics, etc., and even an upper-level course devoted entirely to Peirce. The project originates in a session devoted to teaching Peirce held at the 2007 annual meeting of the Society for the Advancement of American Philosophy. The session, (...) organized by James Campbell and Richard Hart, was co-sponsored by the American Association of Philosophy Teachers. (shrink)

In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. After discussing some (...) criticisms of ontological and materialist approaches to sound, I consider the Actor-Network Theory (ANT) of Bruno Latour, posed as offering an alternative to these approaches. Following an examination of some limitations to ANT based around the themes of critique and abstraction, I draw from the work of Gilles Deleuze and Georgina Born to suggest that work on improvisation and the posthumanities may be fruitful, but must be part of a pluralistic mode of inquiry that does not reject critique and abstraction, as some work in the posthumanities has done. (shrink)

In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the possibilities of understanding (...) experimentation as a transdisciplinary concept and/or method. I develop a notion of experimentation as open, fluid, and non-hierarchical, but also consider points where such an idea is short-circuited by the reassertion of disciplinary closure and more top-down forms of method. My frame for discussing this question is a commonly posited distinction between the experiment and the experimental. Here the experiment is something like a controlled and closed environment in which a privileged observer tests predefined hypotheses, while the experimental concerns attempts to relinquish such control and to produce contexts in which the unknown and the unexpected can arise. By turning to Bachelard’s studies of the practice of science, I will question the common conception of a disciplinary split between the experiments of science and experimental art, showing both how such a distinction cannot be so neat and how these terms are often not easily separable. Putting this notion into conjunction with recent critical discourse on experimentation in music, namely regarding the kinds of exclusions and closures that the term ‘experimental music’ has produced, and with Deleuze’s criticisms of scientific method as well as the apparent disciplinary closure of his transdisciplinary project that is present and his and Félix Guattari’s final work, What is Philosophy?, I argue that refining our understanding of experimentation as a pluralistic and fragile concept will help us engage with the difficulties raised in these fields. More generally I point towards a project of mapping out the diverse and divergent relations that a transdisciplinary understanding of experimentation may draw between philosophy, science, and art. (shrink)

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, however, is not as (...) transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)

Three important 20th-century American films prominently feature a hotel as the site for morally ambiguous and sexually charged events depicted in the plot: Orson Welles's Touch of Evil (1958), Alfred Hitchcock's Psycho (1960), and Joel and Ethan Coen's Barton Fink (1991). While all three films have a multiplicity of elements that present how hotel spaces open horizons displaying human behaviors both normal and abnormal, moral and immoral, secret and public, sane and insane, the paper presents an extended argument for seeing (...) these particular cinematic efforts as being built around the same theme: that transgression (of a violent, misogynous nature) is the path to transcendence. (shrink)