The philosophy of measurement studies the conceptual, ontological, epistemic, and technological conditions that make measurement possible and reliable. A new wave of philosophical scholarship has emerged in the last decade that emphasizes the material and historical dimensions of measurement and the relationships between measurement and theoretical modeling. This essay surveys these developments and contrasts them with earlier work on the semantics of quantity terms and the representational character of measurement. The conclusions highlight four characteristics of the emerging research program in (...) philosophy of measurement: it is epistemological, coherentist, practice oriented, and model based. (shrink)

In this paper we explain Wittgenstein’s claim in a 1933 lecture that “aesthetics like psychoanalysis doesn’t explain anything away.” The discussions of aesthetics are distinctive: Wittgenstein gives a positive account of the relationship between aesthetics and psychoanalysis, as contrasted with psychology. And we follow not only his distinction between cause and reason, but also between hypothesis and representation, along with his use of the notion of ideals as facilitators of aesthetic discourse. We conclude that aesthetics, like psychoanalysis, preserves the verifying (...) phenomena in their fullness. (shrink)

While Wittgenstein harked back to Romantic sentiments concerning the ineffable connection between musical depth and knowledge of human inner life, he nonetheless responded to them critically, while at the same time interweaving them into his forward thinking about the philosophic entanglements of language and the mind. In this paper I offer a thorough reading of Wittgenstein’s reorientation of metaphors of musical depth in a way that is conducive to a conception of knowledge of human beings which pushes beyond the inner/outer (...) dichotomy. (shrink)

Suppose we learn that we have a poor track record in forming beliefs rationally, or that a brilliant colleague thinks that we believe P irrationally. Does such input require us to revise those beliefs whose rationality is in question? When we gain information suggesting that our beliefs are irrational, we are in one of two general cases. In the first case we made no error, and our beliefs are rational. In that case the input to the contrary is misleading. In (...) the second case we indeed believe irrationally, and our original evidence already requires us to fix our mistake. In that case the input to that effect is normatively superfluous. Thus, we know that information suggesting that our beliefs are irrational is either misleading or superfluous. This, I submit, renders the input incapable of justifying belief revision, despite our not knowing which of the two kinds it is. (shrink)

Sentences that are ungrammatical and yet intelligible are instances of what I call perfectly thinkable thoughts. I argue that the existence of perfectly thinkable thoughts is revealing in regard to the question of why syntactic islands should exist. If language is an instrument of thought as understood in the biolinguistics tradition, then a uniquely human subset of thoughts is generated in narrow syntax, which suggests that island constraints cannot be rooted in narrow syntax alone and thus must reflect interface conditions (...) imposed on the output of the computational system and its mapping to external systems. (shrink)

The creative aspect of language use provides a set of phenomena that a science of language must explain. It is the “central fact to which any signi- ficant linguistic theory must address itself” and thus “a theory of language that neglects this ‘creative’ aspect is of only marginal interest” (Chomsky 1964: 7–8). Therefore, the form and explanatory depth of linguistic science is restricted in accordance with this aspect of language. In this paper, the implications of the creative aspect of language (...) use for a scientific theory of language will be discussed, noting the possible further implications for a science of the mind. It will be argued that a corollary of the creative aspect of language use is that a science of language can study the mechanisms that make language use possible, but that such a science cannot explain how these mechanisms enter into human action in the form of language use. (shrink)

I show that there are good arguments and evidence to boot that support the language as an instrument of thought hypothesis. The underlying mechanisms of language, comprising of expressions structured hierarchically and recursively, provide a perspective (in the form of a conceptual structure) on the world, for it is only via language that certain perspectives are avail- able to us and to our thought processes. These mechanisms provide us with a uniquely human way of thinking and talking about the world (...) that is different to the sort of thinking we share with other animals. If the primary function of language were communication then one would expect that the underlying mechanisms of language will be structured in a way that favours successful communication. I show that not only is this not the case, but that the underlying mechanisms of language are in fact structured in a way to maximise computational efficiency, even if it means causing communicative problems. Moreover, I discuss evidence from comparative, neuropatho- logical, developmental, and neuroscientific evidence that supports the claim that language is an instrument of thought. (shrink)

In this essay I take the opportunity to recast some insights from my extensive study over the last decade of Wittgenstein’s remarks on music into a coherent and concise portrayal of Wittgenstein’s philosophical underpinning and upshots pertaining to his perception of the modern music scene in interwar Austria. The gist of the present essay is to show that, for better or for worse, Wittgenstein’s personal taste in music was powered by philosophical reasoning, which was organic to his philosophical development, and (...) that ultimately his philosophical attitude to the music scene of interwar Austria manifests a deeply probing gradation. I are argue that we can distinguish between four varieties of the absurd in the music of interwar Austria, according to Wittgenstein. First is the nonsensical absurd of the incapability of seeing that the nonsensicality of the form of progress is incomprehensible. This category pertains to music which straightforwardly tries to emulate the various maxims and formulations derived from the form of progress. Such nonsensically absurd music typifies progressive Romantic composers such as Richard Strauss, Max Reger, and the early Arnold Schoenberg. Second is the vacuous absurd of the incapability of seeing what the form of progress renders incomprehensible. This category pertains to music which denounces the predominantly nonsensical maxims and formulations of modernity, thus destining itself to keeping on groping for something which it cannot express. Such vacuously absurd music is best exemplified, in Wittgenstein’s mind, by Josef Labor. Third is the philosophical absurd of rendering what is incomprehensible (from the perspective of a cultured person) comprehensible within the same purview. For Wittgenstein, Mahler’s music betokens such incommensurability, evoking a relativist philosophical puzzle: whether cultural progress is real, and it is us who have been left behind, or whether culture has really been vanquished, and we are the only ones left to notice it. The very thought of an artwork of “a totally different sort” remains invariably hypothetical. Fourth is the praxeological absurd of giving rise to an auxiliary, praxeologically dislodged musical language, replacing the transparency of human gesture with exact rules of comprehensibility. From Wittgenstein’s perspective, the shunning of the expanse of lived experience in a musical language fit for the meaning-blind would be the inglorious spot assigned to Arnold Schoenberg’s vision of the music of the future. (shrink)

I argue that the ability to compute phrase structure grammars is indicative of a particular kind of thought. This type of thought that is only available to cognitive systems that have access to the computations that allow the generation and interpretation of the structural descriptions of phrase structure grammars. The study of phrase structure grammars, and formal language theory in general, is thus indispensable to studies of human cognition, for it makes explicit both the unique type of human thought and (...) the underlying mechanisms in virtue of which this thought is made possible. (shrink)

This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...) entails ipso facto a critique of an influential idea of musical motion, which has been recurring in the work of some major philosophers of music up until the present day. The article connects Wittgenstein’s critical remarks on the confused foundations of such “Augustinian Picture of Music” with his emphasis on the notion of phrasing or characterization in language and music. Wittgenstein’s reversal of Augustinian priorities regarding musical time brings to surface the particularity of expression and the aesthetically “right” in music, evoked by Wittgenstein’s remarks on simultaneity and tempo in music and language. Wittgenstein renders musical simultaneity as enabled by a “protocol” which inheres in musizieren, in the aptly collaborative quest for drawing in significance by means of the phrasing and re-phrasing of a passage in order to characterize it, enabling by means of such comparative investigation meaningful distinctions between right and wrong. (shrink)

This book discusses the two main construals of the explanatory goals of semantic theories. The first, externalist conception, understands semantic theories in terms of a hermeneutic and interpretive explanatory project. The second, internalist conception, understands semantic theories in terms of the psychological mechanisms in virtue of which meanings are generated. It is argued that a fruitful scientific explanation is one that aims to uncover the underlying mechanisms in virtue of which the observable phenomena are made possible, and that a scientific (...) semantics should be doing just that. If this is the case, then a scientific semantics is unlikely to be externalist, for reasons having to do with the subject matter and form of externalist theories. It is argued that semantics construed hermeneutically is nevertheless a valuable explanatory project. (shrink)

Engels explained his admiration for Balzac by pointing to an apparent discrepancy between Balzac’s literature and his politics. Despite his sympathies for the French nobility, Balzac’s realism “compelled” him to portray this class in unflattering terms. In this article, I challenge Engels’s reading, arguing that Marx’s scattered remarks on Balzac take us in a different direction. Specifically, I argue that in his remark on Balzac’s The Peasants Marx pinpointed the author’s preoccupation with the spread of bourgeois ideology into the nobility. (...) Building on this remark, I analyze several of Balzac’s works showing that insofar as Balzac lambasted the nobles, his critique was primarily directed towards nobles who had adopted bourgeois ways. In this light, and against Engels’s observation, Balzac’s critique of the nobles appears to stem from his sympathy to aristocratic values rather than conflicting with them. In showing that affinities between Balzac, Marx and Engels did not depend on Balzac expressing anti-noble sentiment, I argue that the admiration the fathers of communism had for the monarchist’s prose exemplifies a partial, yet typical convergence between socialists and conservatives in their critique of modern bourgeois society. (shrink)

Mirvac chief executive Susan Lloyd-Hurwitz, not one usually associated with sympathy for tenants on the rental market, said earlier this year that ‘renting in Australia is generally a very miserable customer experience…the whole industry is set up to serve the owner not the tenant’ Her observation is basically correct and the solution she offers is to change the current situation where small investors, supported by generous government tax concessions, provide effectively all of the country’s private rental housing. Lloyd-Hurwitz wants Mirvac, (...) a property group currently managing over $15 billion of assets, to become an apartment landlord that would own not one or several properties like small investors currently do but rather thousands of properties to rent out. The proposal is for Mirvac to build apartment blocks and then, instead of selling individual apartments, rent them out on long-term or indefinite leases. This build-to-rent housing scheme would of course make the real estate–investment company a great deal of money. At the same time it would do very little to alleviate the current housing crisis. Such schemes are a nonstarter for people who want the security, stability and independence of home ownership, which is a very Australian aspiration that is increasingly becoming unobtainable not only for those experiencing homelessness, but also for the poor and middle-class. Those of us who care about finding a real solution to the housing crisis would do well to consider how we got into this situation in the first place, and then consider how this might inform what we do next. The following then, traces some of the historical and philosophical roots of our understanding of property and their institutionalisation via various levels of government, especially in the Australian context. (shrink)

This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...) between bad and vacuous modern music is analogous to Schenker's distinction between the compositional fallacies of the progressive and the reactionary composers of his time. Concomitantly, Wittgenstein's philosophically problematic notion of good modern music transcended the conceptual framework of both Schenker and Spengler. In this context, I examine Wittgenstein's remarks on Gustav Mahler as well as his remark on the music of the future as monophony, which, I conclude, should be understood ultimately as an ellipsis of his much later view of musical meaning and intelligibility. (shrink)

Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of language and (...) the mind, and also his pervasive pessimism as a philosopher of culture. In this essay I explore and explicate some of the major tenets of this unique position. I argue that Wittgenstein appropriates the Romantic focus on the specificity of musical expression by means of the idea that gesture consists in complex vertical interrelations between language games. Understanding what a musical passage is about logically presupposes a myriad of correlate moves in the entire range of our language-games. Wittgenstein explicates the notion of musical aboutness in terms of intransitive understanding, which expresses an internal relation conjoining musical gesture and our culture, our entire life in practice, whereupon the related concepts cannot be identified independently of the relation which holds them together. Wittgenstein responds to the Romantic focus on the unique knowledge of human life which is afforded by musical experience with his idiosyncratic later notion of Menschenkenntnis. I conclude that, in the context of Wittgenstein’s late work, ineffability pertaining to musical meaning is not a shortcoming, but rather constitutional of the type of games, which admit what Wittgenstein calls ‘imponderable evidence’, or indefiniteness. (shrink)

Wittgenstein’s experiments on rhythm, conducted in Charles Myers’s laboratory in Cambridge during the years 1912–13, are his earliest recorded engagement in thinking about music, not just appreciating it, and philosophizing by means of musical thinking. In this essay, I set these experiments within their appropriate intellectual, scientific, and philosophical context in order to show that, its minor scientific importance notwithstanding, this onetime excursion into empirical research provided an early onset for Wittgenstein’s career-long exploration of the philosophically pervasive implications of aspects. (...) Dramatically moving beyond the conceptual limitations, which were inscribed by Charles Myers’s scientific program, Wittgenstein got a glimpse of a philosophical angle, which was bound to become very important to him not only in aesthetics, but also for his overarching philosophical development. He became interested in what we actually do when we re-phrase, compare, come up with good similes in order to illuminate something definite within the space of possibility, so a new aspect may come to life. (shrink)

This study explored the experiences of the newly-hired faculty in the university to acquire an in-depth and profound understanding of these experiences. It involved eight purposively chosen faculty in a semi-structured interview and focus group discussion documented in voice and video recorders. Using Colaizzi’s seven step-approach to data analysis, results revealed three paradoxical themes: the joys and struggles of teaching, successes and pains of learning, and the privileges and challenges of serving. On the one hand, the joys and struggles of (...) teaching were brought about by their adjustments in instruction. On the other hand, successes and pains of learning centered on professional growth. Finally, the privileges and challenges of serving incorporated the experiences in research, production, and extension. Generally, these teachers have experienced ups and downs in their first two years of teaching at a higher education institution. On the basis of study findings, implications and recommendations are discussed. (shrink)

Preface to the Hebrew Translation of Karl Marx's Introduction and Preface to the Critique of Political Economy .

Preface to the Hebrew Translation of Louis Althusser's For Marx.

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: ‘felt time’ and ‘clock time’. For Langer, musical time is exclusively felt time, and in this sense, music is ‘time made audible’. However, Langer also postulates a ‘strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the ‘strong suspension thesis’, its philosophic foundation and its implications. We argue that this thesis (...) is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding, and that it rests on a contested presupposition concerning the conceptual primacy of memory-time. (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...) of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

We examine whether the "evidence of evidence is evidence" principle is true. We distinguish several different versions of the principle and evaluate recent attacks on some of those versions. We argue that, whatever the merits of those attacks, they leave the more important rendition of the principle untouched. That version is, however, also subject to new kinds of counterexamples. We end by suggesting how to formulate a better version of the principle that takes into account those new counterexamples.

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. (...) I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

Wittgenstein’s experiments on rhythm (1912-13) were based on Charles Myers’s 1911 written protocols for laboratory exercises. The experiments provided an early onset for Wittgenstein’s career-long exploration of the philosophically pervasive implications of aspects. Years before the Tractatus, Wittgenstein already got a glimpse of a philosophical angle, which was bound to become very important to him not only in aesthetics, but also for his overarching philosophical development. He became interested in the possibilities of aesthetic conversation, in what we actually do when (...) we re-phrase, compare, come up with good similes in order to illuminate something definite within the space of possibility. These initial insights were bound to recede into the background for a while by the mounting demands of the Tractatus framework, only to fully bloom in Wittgenstein’s later work. (shrink)

Wittgenstein composed five original musical fragments during his transitional middle period, in which he employs musical notation as a means by which to convey his philosophical thoughts. This is an overlooked aspect of the importance of aesthetics, and musical thinking in particular, in the development of Wittgenstein’s philosophy. We explain and evaluate the way the music interlinks with Wittgenstein’s philosophical thoughts. We show the direct relation of these musical examples as precursors to some of Wittgenstein’s most celebrated ideas (the push (...) beyond the inner/outer picture, the problem of rule-following, and aspect perception). We also show how important broad aesthetic notions such as style and composition concerning the very possibility of philosophizing were to Wittgenstein. (shrink)

Visitors is a hybrid art film fusing photography and music into a complex abstract texture for the attention of the viewer. It is also a requiem for our ‘New Order for the Ages’ in which humanity grows more and more technologically interconnected and communality means being alone together. We argue that Visitors can be experienced as a seeing aid designed to situate the viewer bewilderingly as needing to reacquire the capacity to see human beings as human beings. This is achieved (...) by various cinematic strategies of dépaysement, which render the familiar uncommon again by enabling us to recapture the uncanniness of what it is to be human. Most strikingly, seeing one another anew is facilitated in Visitors by the autonomous gradual musical processes of Philip Glass’s minimalist score, which not only affords a musical narrative for the imagery but also binds the film ironically to Beethoven’s Ninth Symphony. (shrink)

Putting together Kant's theory of emotion is complicated by two facts: (1) Kant has no term which is an obvious equivalent of "emotion" as used in contemporary English; (2) theorists disagree about what emotions are. These obstacles notwithstanding, my dissertation aims to provide the foundation for a reconstruction of Kant's theory of emotion that is both historically accurate and responsive to contemporary philosophical concerns. In contrast to available approaches which rest on contested assumptions about emotions, I start from the generally (...) accepted and reasonable premise that what we call "emotions" refers in Kant to a set of mental states, some of which he associates with the feeling of pleasure and displeasure ("feelings"), others with the faculty of desire ("desires"). I then proceed to examine the nature of these two kinds of mental states and their proper treatment. I argue that Kantian feelings are representations of objects' relation to the subject, that have a felt quality, and dispose their subject to certain behaviors. While feelings can only motivate action by causing desires and have no temporal direction, desires - except for certain wishes - are future-directed, which allows them to motivate actions immediately (but they need not bring action about). Equipped with this account of feelings and desires, I proceed to examine the kind of treatment Kant prescribes for them, and argue that feelings (except affects) should be cultivated, that is, acquired and improved so that they could be used to pursue rational ends, while inclinations, i.e., habitual sensuous desires, should generally be disciplined, that is, constrained by rules. The resultant picture is compelling because it rests on minimal assumptions about emotions and successfully incorporates the phenomenological, evaluative, and dispositional functions traditionally associated with emotions. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

In this paper I explain Wittgenstein’s ambivalent remarks on the music of Gustav Mahler in their proper musico-philosophical context. I argue that these remarks are connected to Wittgenstein’s hybrid conception of musical decline and to his tripartite scheme of modern music. I also argue that Mahler’s conundrum was indicative of Wittgenstein’s grappling with his own predicament as a philosopher, and that this gives concrete sense to Wittgenstein’s admission that music was so important to him that without it he was sure (...) to be misunderstood. (shrink)

The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take the opportunity to (...) relate Wittgenstein’s ideas on music to this current debate, thereby achieving a twofold goal: not only to reintroduce Wittgenstein’s ideas into the current debate, but also to use the current debate as a foil to better appreciating Wittgenstein’s otherness as a philosopher of music. I argue that Wittgenstein’s unique philosophical response to the Romantic framing of the discourse concerning musical profundity —specifically, its threefold emphasis on the specificity, aboutness, and artistically exalted status of music— occasioned a view, which was bound to be glossed over by a philosophical tradition, whose origins had made it inimical to Wittgenstein’s original philosophical insights. I conclude that, in a sense, Wittgenstein occasions a paradigm shift by his philosophical thrust to undo the gravitational forces which form the current debate: the very idea of aboutness pertaining to music, and the very idea that a clear line could ever be drawn between music and language. (shrink)

In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...) complex games can accommodate a continuous rich spectrum of congruent modes of listening, which broaches both the formalist-type and the narrativist-type. We conclude that this sort of oblique reading of Walton’s original theory actually complements and completes Walton’s recent theoretic angle concerning thoughtwriting in music by way of affording it with a suitable conception for a mechanism of appropriation for music. (shrink)

Hering’s opponent-colors theory suggests that our color sensations are produced by three mechanisms: a red–green mechanism, a yellow–blue mechanism, and a white–black mechanism. The first two mechanisms give rise to our sensations of hued colors; the third mechanism gives rise to our sensations of hueless colors. Noticeably, whereas the pair of colors produced by each of the hued mechanisms do not mix to yield a phenomenal intermediate (i.e., there are no greenish reds, reddish greens, yellowish blues, or bluish yellows), the (...) colors produced by the hueless mechanism, white and black, do have a phenomenal intermediate—gray. This different behavior of the white–black mechanism poses a problem for Hering’s theory. Several attempts to fix this problem have been suggested. This paper focuses on the suggestion made by Paul Heggelund a century after Hering proposed his theory. In Heggelund’s amendment of Hering’s theory, the hueless colors are not confined to the one-dimensional gamut between black and white, but rather require two components for their full description: a light–dark (or luminous–black) component, where light and dark are mutually exclusive sensations, and a white component, which doesn’t have an opponent counterpart. Here I show that although Heggelund’s theory indeed provides a solution to the problem that the hueless colors pose to Hering’s theory, it is not self-consistent. I go on to revise Heggelund’s theory to obtain a consistent opponent-colors theory. (shrink)

This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas about contemporary music (...) and the music of the future. (shrink)

I show that the mathematical description of opponent-colors theory is identical to the mathematical description of two-state quantum systems in a mixed state. Based on the dual-aspect theory of phenomenal consciousness, which suggests that one or more physical entities in our universe have phenomenal aspects that are dual to their physical aspects and therefore predicts an exact correspondence between a system’s phenomenal states and the objective states of its underlying physical substrate, I hypothesize that color sensations are phenomenal dual aspects (...) of two-state quantum systems in a mixed state. Since nothing in this hypothesis suggests that what brings about the phenomenal experience that is dual to two-state quantum systems is the two-dimensionality of these systems, it is natural to generalize this hypothesis and suggest that other types of phenomenal experience (e.g., taste, odor, sound) are phenomenal dual aspects of quantum systems of higher dimensionalities. Finally, I propose that the two-state quantum systems that give rise to color in the brain are two-state ion-channels. (shrink)

Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under conditions (...) of neustic uncertainty, that is, uncertainty concerning the kind of relationship we, the users, have to the propositional content mediated. I suggest that this puzzle calls upon us to consider what would be a viable logic of virtual discovery. (shrink)

I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms of vertically (...) interrelated language-games which facilitate Menschenkenntnis. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: “felt time” and “clock time.” For Langer, musical time is exclusively felt time, and in this sense, music is “time made audible.” However, Langer also postulates what we would call ‘a strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this paper we take issue with the ‘strong suspension thesis’ and its implications and ramifications regarding not (...) only musical meaning, but also the purported metaphysics of music construed as essentially inhering in felt time. We argue that this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding. We discuss a selection of examples of repetitive formations, from mediaeval music to contemporary music, which show that persistent, motion-inhibiting repetition undermines the listener’s ability to identify order and coherence due to a relative inability to anticipate the next occurrence of a differentiating musical event. We argue that Langer’s one-sided view of musical temporality, which patently relies on the conceptual framework of memory time and the specious present, exemplifies what we propose to call ‘the searchlight model of musical understanding,’ wherein the constant span of illumination of the searchlight (representing the span of the specious present) moves continuously parallel to, and along, its postulated target, i.e., the music heard, as it ‘illuminates’ it. We argue that, in the last analysis, memory time conceptually presupposes the publicly identifiable means of chronometric length. One maintains the ‘strong suspension thesis’ on pain of conceptual confusion. (shrink)

ABSTRACTShould conciliating with disagreeing peers be considered sufficient for reaching rational beliefs? Thomas Kelly argues that when taken this way, Conciliationism lets those who enter into a disagreement with an irrational belief reach a rational belief all too easily. Three kinds of responses defending Conciliationism are found in the literature. One response has it that conciliation is required only of agents who have a rational belief as they enter into a disagreement. This response yields a requirement that no one should (...) follow. If the need to conciliate applies only to already rational agents, then an agent must conciliate only when her peer is the one irrational. A second response views conciliation as merely necessary for having a rational belief. This alone does little to address the central question of what is rational to believe when facing a disagreeing peer. Attempts to develop the response either reduce to the first response, or deem necessary an unnecessary doxastic revision, or imply that rational dilemmas obtain in cases where intuitively there are none. A third response tells us to weigh what our pre-disagreement evidence supports against the evidence from the disagreement itself. This invites epistemic akrasia. (shrink)

When a belief is self-fulfilling, having it guarantees its truth. When a belief is self-defeating, having it guarantees its falsity. These are the cases of “self-impacting” beliefs to be examined below. Scenarios of self-defeating beliefs can yield apparently dilemmatic situations in which we seem to lack sufficient reason to have any belief whatsoever. Scenarios of self-fulfilling beliefs can yield apparently dilemmatic situations in which we seem to lack reason to have any one belief over another. Both scenarios have been used (...) independently to challenge Evidentialism, on which what we may rationally believe is all and only what fits our current evidence. Here we tie the two scenarios together and explore what a knowledge-sensitive evidentialist approach to one implies for the other. (shrink)

Family members can provide crucial support to individuals participating in clinical trials. In research on the “newest frontier” of Deep Brain Stimulation (DBS)—the use of DBS for psychiatric conditions—family member support is frequently listed as a criterion for trial enrollment. Despite the significance of family members, qualitative ethics research on DBS for psychiatric conditions has focused almost exclusively on the perspectives and experiences of DBS recipients. This qualitative study is one of the first to include both DBS recipients and their (...) family members as interview participants. Using dyadic thematic analysis—an approach that takes both the individuals and the relationship as units of analyses—this study analyzes the complex ways in which family relationships can affect DBS trial participation, and how DBS trial participation in turn influences family relationships. Based on these findings, we propose ways to improve study designs to better take family relationships into account, and better support family members in taking on the complex, essential roles that they play in DBS trials for psychiatric conditions. (shrink)

Epistemically akratic agents believe both p and that believing p is irrational for them. Some of the costs of thinking that epistemic akrasia can be rational are clear. It is hypocritical, and outright weird, to have beliefs that we consider irrational, let alone to reason with or act on those beliefs. However, as Maria Lasonen-Aarnio (2020) and Brian Weatherson (2019) have argued, the weirdness of akrasia does not obviously tell against its rationality. Here I argue that views permitting epistemic akrasia (...) fare worse than previously thought. These views imply that we should sometimes have beliefs that we know for certain are either irrational or false. And while having a belief that we know to be irrational is straightforwardly irrational, the additional possibility that the belief may be false cannot make having it any more rational. (shrink)

An Article with a map of professions, a mapping of power/knowledge.

In Marx’s posthumously published manuscripts from 1857–1863, we find a systematic exposition of his concept of subsumption. Though much has been written about it, significant interpretative gaps persist. In this article, I begin filling these gaps by examining the emergence of Marx’s concept of subsumption. I will argue that in the Grundrisse Marx brings together distinct but complementary elements from Hegel’s theories of judgment and teleology to coin two new and well delineated concepts of subsumption that prefigure his later concepts (...) of formal and real subsumption. These two concepts may be defined as: (a) the process of acquiring the social relational property of being a means to an end; (b) the process by which changes in non-relational properties occur in something due to this acquisition – and occur to better suit said end. (shrink)

I show that the mathematical description of opponent-colors theory is identical to the mathematical description of two-state quantum systems in a mixed state. Following the principles of dual-aspect theory of phenomenal consciousness, which predicts an exact correspondence between a system’s phenomenal states and the objective states of its underlying physical substrate, I suggest that color sensations are phenomenal dual aspects of two-state quantum systems in a mixed state. Since nothing in this hypothesis suggests that what brings about the phenomenal experience (...) that is dual to two-state quantum systems is the two-dimensionality of these systems, it is natural to generalize this hypothesis and suggest that other types of phenomenal experience (e.g., taste, odor, sound) are phenomenal dual aspects of quantum systems of higher dimensionalities. Finally, I propose that the two-state quantum systems that give rise to color in the brain are two-state ion-channels. (shrink)

What it means for an action to have moral worth, and what is required for this to be the case, is the subject of continued controversy. Some argue that an agent performs a morally worthy action if and only if they do it because the action is morally right. Others argue that a morally worthy action is that which an agent performs because of features that make the action right. These theorists, though they oppose one another, share something important in (...) common. They focus almost exclusively on the moral worth of right actions. But there is a negatively valenced counterpart that attaches to wrong actions, which we will call moral counterworth. In this paper, we explore the moral counterworth of wrong actions in order to shed new light on the nature of moral worth. Contrary to theorists in both camps, we argue that more than one kind of motivation can affect the moral worth of actions. (shrink)

Is it ever rational to suspend judgment about whether a particular doxastic attitude of ours is rational? An agent who suspends about whether her attitude is rational has serious doubts that it is. These doubts place a special burden on the agent, namely, to justify maintaining her chosen attitude over others. A dilemma arises. Providing justification for maintaining the chosen attitude would commit the agent to considering the attitude rational—contrary to her suspension on the matter. Alternatively, in the absence of (...) such justification, the attitude would be arbitrary by the agent's own lights, and therefore irrational from the agent's own perspective. So, suspending about whether an attitude of ours is rational does not cohere with considering it rationally preferable to other attitudes, and leads to a more familiar form of epistemic akrasia otherwise. (shrink)

An article about the place philosophy has in our lives. Lectured on youtube.

The years following Israel’s founding were formative ones for the development of philosophy as an academic discipline in this country. During this period, the distinction between philosophy seen as contiguous with the humanities and social sciences, and philosophy seen as adjacent to the natural and exact sciences began to make its presence felt in the Hebrew University of Jerusalem. This distinction, which was manifest in the curriculum, was by no means unique to the Hebrew University, but reflected the broader bifurcation (...) between two schools of Western philosophy in the twentieth century. In English-speaking countries, it is generally referred to as the divide between analytic and continental philosophy. What was special about the situation at the Hebrew University, however, was that the split manifested itself in a rather small department, being embodied, basically, in one prominent representative of each school – Nathan Rotenstreich and Yehoshua Bar-Hillel. This article will focus on some key aspects of the lives and thought of Rotenstreich and Bar-Hillel. It will address their philosophical maturation as S.H. Bergmann’s students, their views on the goals of twentieth-century philosophy, on the philosopher’s role in public life, and the circumstances under which they started teaching in Jerusalem right after the founding of the State of Israel. (shrink)

Scholars have recently argued that Hegel posited international recognition as a necessary feature of international relations. My main effort in this article is to disprove this point. Specifically, I show that since Hegel rejected the notion of an international legal system, he must hold that international recognition depends on the arbitrary will of individual states. To pinpoint Hegel’s position, I offer a close reading of Hegel’s intricate formulations from the final paragraphs of the Philosophy of Right—formulations that are easy to (...) quote out of context just as they are transparent when considered in due context. (shrink)