In our everyday interaction with the environment, we often perceive objects and spaces as opportunities to feel, maintain, enhance, and change our affective states and processes. The concept of affective affordance was coined to accommodate this aspect of ordinary perception and the many ways in which we rely on the material environment to regulate our emo- tions. One natural way to think of affective affordances in emotion regulation is to interpret them as tools for regulating felt affective states. We argue (...) that this way of conceiving of affective affordances is too restrictive. By analyzing the role of expressive properties of objects and spaces in emotion regulation, we show that our environment does not need to elicit felt affective states to regulate our emotions. Thus, we revise the concept of affective affordance to accommodate these cases. This revised concept explains more with less. Hence, it should be preferred in wide-reaching philosophical projects that aim to explain human affectivity as a situated phenomenon. (shrink)

The aim of this paper is to reconstruct Geiger’s realist and Wollheim’s projectionist accounts on expressive properties and expressive perception by considering them within the larger contexts from which they emerged, by using as far as possible a common language and by focusing on the questions of the nature of expressive properties and of how we grasp them. My aim is to show that it is possible to put into dialogue phenomenological and Anglo-American aesthetics and (...) that this dialogue might lead to new insights about how we engage with art. (shrink)

While it is well known that the early Heidegger distinguishes between different ‘kinds of being’ and identifies various ‘structures’ that compose them, there has been little discussion about what these kinds and structures of being are. This paper defends the ‘Property Thesis’, the position that kinds of being (and their structures) are properties of the entities that have them. I give two arguments for this thesis. The first is grounded in the fact that Heidegger refers to kinds and structures (...) of being as ‘characteristics’ and ‘determinations’, which are just two different words for ‘properties’, in the broadest senses of these terms. The second argument is based on the fact that kinds and structures of being play three roles that properties are supposed to play: they are what account for similarities between things, they are what predicates express, and they are what abstract nouns refer to. (shrink)

In this paper I will try to trace a discussion about status of art in some recent theories, which pay special attention to the fact that artworks are the kind of things to which representational, expressive, and aesthetic properties are ascribed. First, I will briefly mention some already established criticisms—developed by Richard Wollheim1—against the idea that artworks cannot be identified with physical objects. These criticisms have the further aim of providing an account of art experience that includes our (...) perceiving representational and expressive properties as well as aesthetic ones in artworks. In Wollheim's view, a misconstruction of the nature of these properties and of our perception of them in artworks has been the main reason for the view he intensely criticizes. Thus, he offers a different understanding of these properties, which also involves a new account of perception that does not require an idealisation of our experience of art. (shrink)

This paper examines the relationship between beauty and aesthetic properties to argue that aesthetic properties are connected to a work’s content, to what a work conveys or expresses. I turn to Kant’s Critique of Judgement to make the case. My argument highlights two parts of Kant’s approach. Kant argues that pure aesthetic judgements of beauty are grounded in a harmonious yet free play of the imagination and understanding. Such free play is pleasurable and intimates that the power or (...) capacity of imagination is suitable for and can be brought within the conditions of the capacity for conceptual understanding. Within this broader frame, Kant’s account of artistic beauty specifies the relationship of aesthetic properties to the beauty of a work: aesthetic attributes help convey the aesthetic ideas that beautiful works express. I examine how Kant’s view helps us appreciate that aesthetic properties of artworks are integral to conveying the content of a work, and that the pleasure we feel has the potential to make us aware of the experience, its nature and value. (shrink)

Ordinarily when someone tells us something about her beliefs, desires or intentions, we presume she is right. According to standard views, this deferential trust is justified on the basis of certain epistemic properties of her assertion. In this paper, I offer a non-epistemic account of deference. I first motivate the account by noting two asymmetries between the kind of deference we show psychological self-ascriptions and the kind we grant to epistemic experts more generally. I then propose a novel agency-based (...) account of deference. Drawing on recent work on self-knowledge, I argue that a person normally has a distinctive type of cognitive agency; specifically she is able to constitute her psychological attitudes by making judgments about what they ought to be. I then argue that a speaker expresses this agentive authority when she self-ascribes a psychological attitude and this is what justifies deferentially trusting what she says. Because the notion of expression plays a central role in this account, I contrast it with recent neo-expressivist theories. (shrink)

Two expressive limitations of an infinitary higher-order modal language interpreted on models for higher-order contingentism – the thesis that it is contingent what propositions, properties and relations there are – are established: First, the inexpressibility of certain relations, which leads to the fact that certain model-theoretic existence conditions for relations cannot equivalently be reformulated in terms of being expressible in such a language. Second, the inexpressibility of certain modalized cardinality claims, which shows that in such a language, higher-order (...) contingentists cannot express what is communicated using various instances of talk of ‘possible things’, such as ‘there are uncountably many possible stars’. (shrink)

Hyperbole is traditionally understood as exaggeration. Instead, in this paper, we shall define it not just in terms of its form, but in terms of its effects and its purpose. Specifically, we characterize its form as a shift of magnitude along a scale of measurement. In terms of its effect, it uses this magnitude shift to make the target property more salient. The purpose of hyperbole is to express with colour and force that the target property is either greater or (...) lesser than expected or desired. This purpose is well suited to hyperbolic expression. This because hyperbole naturally draws a contrast between two points: how things are versus how they were expected to be. We also consider compound figures involving hyperbole. When it combines with other figures hyperbole operates by magnifying the specific effects of the figure it operates on. We shall see that sometimes hyperbole works as an input for irony; and at other times it builds on a metaphor to increase the effects of that metaphor. (shrink)

Informally, structural properties of mathematical objects are usually characterized in one of two ways: either as properties expressible purely in terms of the primitive relations of mathematical theories, or as the properties that hold of all structurally similar mathematical objects. We present two formal explications corresponding to these two informal characterizations of structural properties. Based on this, we discuss the relation between the two explications. As will be shown, the two characterizations do not determine the same (...) class of mathematical properties. From this observation we draw some philosophical conclusions about the possibility of a ‘correct’ analysis of structural properties. (shrink)

Several prominent philosophers of art have worried about whether Kant has a coherent theory of music on account of two perceived tensions in his view. First, there appears to be a conflict between his formalist and expressive commitments. Second (and even worse), Kant defends seemingly contradictory claims about music being beautiful and merely agreeable, that is, not beautiful. Against these critics, I show that Kant has a consistent view of music that reconciles these tensions. I argue that, for Kant, (...) music can be experienced as either agreeable or beautiful depending on the attitude we take toward it. Although it is tempting to think he argues that we experience music as agreeable when we attend to its expressive qualities and as beautiful when we attend to its formal properties, I demonstrate that he actually claims that we are able to judge music as beautiful only if we are sensitive to the expression of emotion through musical form. With this revised understanding of Kant's theory of music in place, I conclude by sketching a Kantian solution to a central problem in the philosophy of music: given that music is not sentient, how can it express emotion? (shrink)

Nominalists are confronted with a grave difficulty: if abstract objects do not exist, what explains the success of theories that invoke them? In this paper, I make headway on this problem. I develop a formal language in which certain platonistic claims about properties and certain nominalistic claims can be expressed, develop a formal language in which only certain nominalistic claims can be expressed, describe a function mapping sentences of the first language to sentences of the second language, and prove (...) some facts about that function and facts about some sound logics for those languages. In doing so, I prove that, given some plausible metaphysical assumptions, a large class of sentences about properties of concrete objects are “safe” on nominalistic grounds. Whenever some true sentences about concrete objects and some sentences belonging to this class that are true according to platonists collectively entail a conclusion about concrete objects, some nominalistically acceptable sentences are true and entail the same conclusion. Because the proof can itself be formulated without abstract objects, it provides a nominalistic explanation of the success of theories that invoke properties of concrete objects. (shrink)

Defenders of intellectual property rights argue that these rights are justified because creators and inventors deserve compensation for their labour, because their ideas and expressions are their personal property and because the total amount of creative work and innovation increases when inventors and creators have a prospect of generating high income through the exploitation of their monopoly rights. This view is not only widely accepted by the general public, but also enforced through a very effective international legal framework. And it (...) is endorsed by most academic researchers and commentators in this field. In this essay, I will show that the classical arguments for the justification of private intellectual property rights can be contested, and that there are many good reasons to abolish intellectual property rights completely in favour of an intellectual commons where every person is allowed to use every cultural expression and invention in whatever way he wishes. I will first give a short overview of the classical arguments for the justification of intellectual property as they are usually stated. We will then discuss the question of whether the creator or inventor deserves his de jure monopoly, by using John Christman’s categories of income and control rights to analyse property rights. The aim here is to show that it does not make sense to create control rights for abstract objects, as they are not scarce, and that there is no logical connection between the surplus which may be generated through income rights and the labour which has been put into a cultural artefact or an invention, and therefore it is not justified to grant monopoly rights on the basis of Lockean natural rights arguments for self-ownership and the just appropriation of worldly resources. As it is possible to reject Christman’s property rights categories, I will then go on to show on the basis of Richard Dawkins’ postulation of the ‘meme’ and Ludwik Fleck’s theory of the ‘thought collective’ that creative processes should be interpreted as interpersonal or collective processes, and therefore it is not justified to grant intellectual property rights to individuals on the basis of the idea that the individual who has put labour into the creative work or the invention should be the one to whom the contents of the work belong exclusively. As it is still possible to postulate the utilitarian argument that intellectual property rights are just because they increase the amount of creative works and inventions, I will argue in the last chapter that, from a libertarian as well as from an egalitarian point of view, the justification of intellectual monopoly rights on utilitarian grounds cannot be maintained. Therefore it is time to abolish the current global intellectual property law regime in favour of an intellectual commons for the good of all human beings and societies. (shrink)

Property-identical divine-command theory (PDCT) is the view that being obligatory is identical to being commanded by God in just the way that being water is identical to being H2O. If these identity statements are true, then they express necessary a posteriori truths. PDCT has been defended in Robert M. Adams (1987) and William Alston (1990). More recently Mark C. Murphy (2002) has argued that property-identical divine-command theory is inconsistent with two well-known and well-received theses: the free-command thesis and the supervenience (...) thesis. I show that Murphy's argument is vitiated by mistaken assumptions about the substitutivity of metaphysical identicals in contexts of supervenience. The free-command thesis and the supervenience thesis therefore pose no serious threat to PDCT. (Published Online August 11 2004). (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a (...) property when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)

The new frontiers in the philosophy of intellectual property lie squarely in territories belonging to moral and political philosophy, as well as legal philosophy and philosophy of economics – or so this collection suggests. Those who wish to understand the nature and justification of intellectual property may now find themselves immersed in philosophical debates on the structure and relative merits of consequentialist and deontological moral theories, or disputes about the nature and value of privacy, or the relationship between national and (...) global justice. Conversely, the theoretical and practical problems posed by intellectual property are increasingly relevant to bioethics and philosophy and public policy, as well as to more established areas of moral and political philosophy. Perhaps this is just to say that the philosophy of intellectual property is coming into its own as a distinct field of intellectual endeavour, providing a place where legal theorists and philosophers can have the sorts of discussions - neither reducible to questions about what the law is, nor wholly divorced from contemporary legal problems - which typify debates about freedom of expression, discrimination and human rights. These are all areas in which legal and philosophical ideas influence each other at the level of method as well as of substance. My hope is that this collection of essays will appeal to those who, whatever their professional specialty or training, share an interest in the philosophy of intellectual property, and that it will build upon and advance existing interdisciplinary dialogue and research in this complex, fascinating, and important area. Authors include John Christman, Stephen Munzer, Alex Rosenberg, Geert Demunijck, Laura Biron, James Wilson . (shrink)

This is the only complete logic for properties, relations, and propositions (PRPS) that has been formulated to date. First, an intensional abstraction operation is adjoined to first-order quantifier logic, Then, a new algebraic semantic method is developed. The heuristic used is not that of possible worlds but rather that of PRPS taken at face value. Unlike the possible worlds approach to intensional logic, this approach yields a logic for intentional (psychological) matters, as well as modal matters. At the close (...) of the paper, the origin of incompleteness in logic is investigated. The culprit is found to be the predication relation, a relation on properties and relations that is expressed in natural language by the copula. (shrink)

In the classical account of knowledge, S knows that P if and only if S believes that P, S is justified in believing that P, and P is true (JTB).. In 1963, Gettier presented two problems that casted doubt on this account. Since then, numerous authors proposed modifications or clarifications of JTB, however, these efforts have not produced a satis-factory solution. In this paper, the focus is on logical properties of justification. The Get-tier problem Case II is expressed in (...) sentential logic and Gettier Minimal Assumption (GMA) is introduced. It is shown that Gettier must have used GMA or some other as-sumption that entails GMA in his construction of Case II. Rejection of GMA solves Get-tier problem Case II and it is a step towards a better understanding of the logical proper-ties of justification and knowledge. (shrink)

According to what I call ‘the asymmetry thesis’, persons, though they are the direct bearers of the properties expressed by mental predicates, are not the direct bearers of properties such as those expressed by ‘weighs 135 pounds’ or ‘has crossed legs’. A number of different views about persons entail the asymmetry thesis. I first argue that the asymmetry thesis entails an error theory about our discourse involving person‐referring terms. I then argue that it is further threatened by consideration (...) of the grounds we have for self‐ascribing mental and physical predicates. (shrink)

THE SUBJECT MATTER of this essay is Locke's well-known discussion of consent in sections 116-122 of the Second Treatise of Government.' I will not be concerned to discuss the place of consent in Locke's political philosophy 2 My concerns are somewhat narrower than this. I will simply be concerned to show that in important respects several recent discussions of Locke's political philosophy have misrepresented Locke's views on the subject of express and tacit consent. At theheart of these misinterpretations lie misunderstandings (...) about the way in which landownership and the inheritance of land are related to express and tacit consent. I will show that these misinterpretations of Locke's views are, to a certain extent, indicative of internal strains that can bediscovered in Locke's arguments. My discussion will fall into four sections. In the first I will try toclarify Locke's views on the nature of express consent. I will show that Locke's views on this matter, when examined in their historical context, are not as obscure as some critics have suggested. In the second section I will examine Locke's views on the nature of tacit consent. I will be especially concerned to examine the relationship between landownership and express and tacit consent. In the third section I will look at Locke's views on the inheritance of land and how it relates to express and tacit consent. I will show that his views on this matter are not entirely consistent. In one passage Locke suggests that inheritance of land requires only tacit consent whereas, in another passage, he suggests that inheritance of land requires full membership of society and express consent. In the fourth and final section I will summarize the salient features of my interpretation of Locke's views on the subject of express and tacit consent. I will also briefly note interpretations of Locke's views that have been rejected in the course of this essay. . -/- . (shrink)

The notion of a correct appreciation of nature, like the one put forward in Carlson’s environmental account, has been rejected by many other authors in the aesthetics of the natural environment. Their critics challenge the idea that only scientific cat- egories can ground the aesthetic appreciation of nature as nature, and they hold that there is not a correct way of appreciating nature. However, they may share with Carlson the idea of correctness under an objectivist paradigm of aesthetic appreciation, according (...) to which correctness means the adequation of the experi- ence to properties of the object. My aim in the article is to claim that it is necessary to endorse an aesthetic standard of correctness that takes into consideration the subjective character of aesthetic appreciation. An aesthetic standard of correct- ness implies universal assent, or validity for everyone in Kantian terms, in place of an objectivist notion. This notion of correctness permits the inclusion of expressive perception of nature as an essential form of aesthetic appreciation. (shrink)

I here defend a theory consisting of four claims about ‘property’ and properties, and argue that they form a coherent whole that can solve various serious problems. The claims are (1): ‘property’ is defined by the principles (PR): ‘F-ness/Being F/etc. is a property of x iff F’ and (PA): ‘F-ness/Being F/etc. is a property’; (2) the function of ‘property’ is to increase the expressive power of English, roughly by mimicking quantification into predicate position; (3) property talk should be (...) understood at face value: apparent commitments are real and our apparently literal use of ‘property’ is really literal; (4) there are no properties. In virtue of (1)–(2), this is a deflationist theory and in virtue of (3)–(4), it is an error theory. (1) is fleshed out as a claim about understanding conditions, and it is argued at length, and by going through a number of examples, that it satisfies a crucial constraint on meaning claims: all facts about ‘property’ can be explained, together with auxiliary facts, on its basis. Once claim (1) has been expanded upon, I argue that the combination of (1)–(3) provides the means for handling several problems: they help giving a happy-face solution to what I call the paradox of abstraction , they form part of a plausible account of the correctness of committive sentences, and, most importantly, they help respond to various indispensability arguments against nominalism. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

Dance as art has been philosophically characterized as involving the natural expressiveness of human movements. But while some authors find the defense of expressiveness essential, others claim that it is not relevant to the understanding of dance and favour instead a focus on style, a supposedly more significant artistic feature. This paper is an attempt to provide an alternative account to both these positions, with the first (namely, that the dancers are supposed to convey emotions to us by their naturally (...) expressive movements) seeming too naturalistic and the second (that dance only consists in the performance of complicated gestures of a certain style) overly stylistic. (shrink)

This paper develops an account of the meaning of `ought', and the distinction between weak necessity modals (`ought', `should') and strong necessity modals (`must', `have to'). I argue that there is nothing specially ``strong'' about strong necessity modals per se: uses of `Must p' predicate the (deontic/epistemic/etc.) necessity of the prejacent p of the actual world (evaluation world). The apparent ``weakness'' of weak necessity modals derives from their bracketing whether the necessity of the prejacent is verified in the actual world. (...) `Ought p' can be accepted without needing to settle that the relevant considerations (norms, expectations, etc.) that actually apply verify the necessity of p. I call the basic account a modal-past approach to the weak/strong necessity modal distinction (for reasons that become evident). Several ways of implementing the approach in the formal semantics/pragmatics are critically examined. The account systematizes a wide range of linguistic phenomena: it generalizes across flavors of modality; it elucidates a special role that weak necessity modals play in discourse and planning; it captures contrasting logical, expressive, and illocutionary properties of weak and strong necessity modals; and it sheds light on how a notion of `ought' is often expressed in other languages. These phenomena have resisted systematic explanation. In closing I briefly consider how linguistic inquiry into differences among necessity modals may improve theorizing on broader philosophical issues. (shrink)

The word ‘equality’ often requires disambiguation, which is provided by context or by an explicit modifier. For each sort of magnitude, there is at least one sense of ‘equals’ with its correlated senses of ‘is greater than’ and ‘is less than’. Given any two magnitudes of the same sort—two line segments, two plane figures, two solids, two time intervals, two temperature intervals, two amounts of money in a single currency, and the like—the one equals the other or the one is (...) greater than the other or the one is greater than the other [sc. in appropriate correlated senses of ‘equals’, ‘is greater than’ and ‘is less than’]. In case there are two or more appropriate senses of ‘equals’, the one intended is often indicated by an adverb. For example, one plane figure may be said to be equal in area to another and, in certain cases, one plane figure may be said to be equal in length to another. Each sense of ‘equality’ is tied to a specific domain and is therefore non-logical. Notice that in every cases ‘equality’ is definable in terms of ‘is greater than’ and also in terms of ‘is less than’ both of which are routinely considered domain specific, non-logical. The word ‘identity’ in the logical sense does not require disambiguation. Moreover, it is not correlated ‘is greater than’ and ‘is less than’. If it is not the case that a certain designated triangle is [sc. is identical to] an otherwise designated triangle, it is not necessary for the one to be greater than or less than the other. Moreover, if two magnitudes are equal then a unit of measure can be chosen and, no matter what unit is chosen, each magnitude is the same multiple of the unit that the other is. But identity does not require units. In this regard, congruence is like identity and unlike equality. In arithmetic, the logical concept of identity is coextensive with the arithmetic concept of equality. The logical concept of identity admits of an analytically adequate definition in terms of logical concepts: given any number x and any number y, x is y iff x has every property that y has. The arithmetical concept of equality admits of an analytically adequate definition in terms of arithmetical concepts: given any number x and any number y, x equals y iff x is neither less than nor greater than y. As Aristotle told us and as Frege retold us, just because one relation is coextensive with another is no reason to conclude that they are one. (shrink)

● Any given placement (e.g. Sun in Taurus; Mars in Capricorn; Mercury in the third house) is necessarily common to tens of thousands of people. Saturn in the ninth house, for example, will not behave the same or produce the same effects in the twenty or one hundred charts in which we find it there. In each case Saturn will behave in accordance with the rest of the astrographic/chart composition (as if we stayed in the same hotel in different epochs (...) or different people contracted the same disease; our stay will be different each time, according to the epoch, and each person’s symptoms will too, be different, according to their individual biochemistry; not to mention that each chart or astrography, like each genetic code or sequence, is unrepeatable). Certainly, “no planet can produce, on its own, what only the combined or concerted action of all can” (BUSTAMANTE, 2023, SPICA magazine, pp. 93-111). Hence the synergistic nature of the interpretative exercise (i.e., the whole is greater than all its parts). The fundamental component of the mathematical expression of the interpretive exercise is: astrological triangulation, the functional denomination for what we know as synthesis (WEISS, 1946; LEO, 1983, HAND, 1981). In order to demonstrate its usefulness, as well as the convenience of its mathematical expression, we have chosen two individuals (JEFFREY DAHMER, STEVEN SPIELBERG) whose astrographies do not—according to the community—explain their lives. The rest of the astrographies correspond to those of serial killers JOHN WAYNE GACY, DAVID CARPENTER, and TED BUNDY. ● We explain, by means of algebraic notations, the synthesis and the functional values that make up the synthesis. ● We take the Moon and Neptune as relevant bodies for the purpose of diagnosing or studying endocrine or neurohormonal issues, and Mars, Pluto, and Saturn as relevant planets for the purpose of inferring violence or sinister behaviour, upon the case, and quadratures or oppositions—and conjunctions—between Venus and the Moon, the Moon and Neptune, and the Sun or Venus and Neptune or Uranus as indicators of neurohormonal disorders and/or sexual deviance (APA definition) . ● We consider quadratures (90º) or oppositions (180º)—and conjunctions—between Mercury or the Moon and Saturn, or between Mars or the Moon and Saturn, Uranus, Neptune, and/or Pluto as powerful indications of violence or mental disorders, upon the case. ● We have also regarded Sagittarius as a sign as expansive and abundant as its ruler, Jupiter, according to the best of its characterisations (or as an exceptionally swift and wild sign, according to other characterisations), and the fifth region of a natal chart as one closely related to fortune in a broad sense (material and immaterial). ● Because we advocate the idea that orbs should be predicated of the planet (size, speed), not the aspect itself, the gas giants (Jupiter, Saturn, Uranus, and Neptune) and the Sun have been granted up to 10º of orb (or 12º, in the case of broad influence ). We understand aspectual relationships as angular relationships held between two or more celestial bodies placed in signs with at least one property in common (according to our molecular theory of the ecliptic, compatible with the optical theory of the aspects from the Hellenistic tradition). (shrink)

This paper is concerned with the issue of authenticity in Wittgenstein’s philosophy of psychology. In the manuscripts published as Letzte Schriften über die Philosophie der Psychologie – Das Innere und das Äußere, the German term Echtheit is mostly translated as ‘genuineness’. In these manuscripts, Wittgenstein frequently uses the term as referring to a feature of the expression of feeling and emotion: -/- […] I want to say that there is an original genuine expression of pain; that the expression of pain (...) therefore is not equally connected to the pain and to the pretence. (LW II, p. 55) -/- “This weeping gives the impression of being genuine” – so there is such a thing as genuine weeping. […]. (LW II, p. 87) -/- […] Genuineness and falseness are not the only essential characteristics of an expression of feeling. […]. (LW II, p. 90) -/- Wittgenstein contrasts the genuineness of the expressions with the possibility that the expressions are feigned. It seems to me that Wittgenstein is trying to discredit a specific version of the sceptical claim that we do not know other minds. I will refer to it as the sceptical innuendo. The sceptical innuendo says that every expression of feeling and emotion may be pretended. Wittgenstein’s approach to the issue reflects his later interest in the philosophy of psychology and, in particular, the problem of the ascription of psychological states (P-ascriptions) on the basis of someone else’s expression of feeling or emotion. Thus, the attempt to reject the sceptical innuendo is done mainly by means of conceptual and psychological arguments. Let’s look at this short dialogue between the sceptic and Wittgenstein. The former asks „How do you know that someone else is in a certain psychological state?“ Wittgenstein’s first reply is „I know that he is glad because I see him“. But the sceptic cannot be very happy with this reply. The sceptic’s next question is: „How do you know that he is really glad and he is not pretending?“ Wittgenstein’s response is not a direct refutation but is composed of a number of related reasons. These may be summed up in three arguments: -/- (i) A psychological argument from the very nature of the expressions. The expressions are meant to be natural symptoms of someone else’s psychological state (P-state). -/- (ii) A conceptual argument about the nature of pretence. It claims that pretence is a psychological property which is rightly ascribed when an observer has evidence for it. -/- (iii) A psychological argument from genuineness. It claims that we are committed to accept people’s expressions of feeling and emotion as genuine. (shrink)

The fine structure constant appears in several fields of physics and its value is experimentally obtained with a high accuracy. Its physical origin however is unsolved long-standing problem. Richard Feynman expressed the idea that it could be similar to the natural irrational numbers, pi, and e. Amongst the proposed theoretical expressions with values closer to the experimental one is the formula of I. Gorelik which is based on rotating dipole with two empirically suggested coefficients, while the physical origin is unknown. (...) BSM-Supergravitation Unified Theory suggests a physical mechanism defining the fine structure constant. The mathematical expression is based on a spatial precession mode of vibrations in a tetrahedron of spheres with specific properties. The value from the derived expression differs from the CODATA 98 value by 0.000008% only. The conclusion is that the fine structure constant is a natural irrational number. While the irrational number pi, is defined in a 2D space, the fine structure constant is related to a vibration property of a specific formation in 3D space. (shrink)

All accepted proofs of the Four Colour Theorem (4CT) are computer-dependent; and appeal to the existence, and manual identification, of an ‘unavoidable’ set containing a sufficient number of explicitly defined configurations—each evidenced only by a computer as ‘reducible’—such that at least one of the configurations must occur in any chromatically distinguished, minimal, planar map. For instance, Appel and Haken ‘identified’ 1,482 such configurations in their 1977, computer-dependent, proof of 4CT; whilst Neil Robertson et al ‘identified’ 633 configurations as sufficient in (...) their 1997, also computer-dependent, proof of 4CT. However, treating any specific number of ‘reducible’ configurations in an ‘unavoidable’ set as sufficient entails a minimum number as necessary and sufficient. We now show that the minimum number of such configurations can only be the one corresponding to the ‘unavoidable’ set of a ‘reducible’, 4-sided configuration identified by Alfred Kempe in his, seemingly fatally flawed, 1879 ‘proof’ of 4CT. Although Kempe appealed to putative properties of ‘Kempe’ chains in a graphical representation to fallaciously argue that a 5-sided configuration was also in the ‘unavoidable’ set, and ‘reducible’, we shall show why the flaw in his ‘proof’ is not fatal when the argument is expressed geometrically; and that, essentially, Kempe correctly argued that any planar map which admits a chromatic differentiation with a five-sided area C that shares non-zero boundaries with four, all differently coloured, neighbours can be 4-coloured. (shrink)

Melancholy is a central expressive property of the Before films and key to understanding and appreciating the trilogy as a whole. That, in a nutshell, is the thesis I develop in this paper. In the first section, I present a philosophical account of melancholy in general and aesthetic melancholy in particular. Melancholy is understood here as the profound and bittersweet emotional experience that occurs when we vividly grasp a harsh truth about human existence in such a way that we (...) come to appreciate certain aspects of life more deeply. The second section of the paper focuses on the many intense as well as more subtle moments of melancholy in the various encounters between Celine and Jesse. These moments, I argue, are partly prompted by the environment and the circumstances in which they find themselves. But both of them also actively seek out and create such moments by the stories they tell and the reflections they engage in. That seems part of who they are as individuals and, I contend, it may be part of what attracts them to each other. In the third section, I address ‘film expression’, as opposed to ‘character expression’, and argue that melancholy is not just present in the characters’ dialogue and in their facial and bodily expressions but is also expressed through various cinematic means. The final section centres on the audience and the reception of the Before trilogy. I introduce the distinction between expression and expressiveness and suggest that the films may have resonated deeply with some viewers because they are so expressive of melancholy. (shrink)

In this paper, I discuss Jenefer Robinson’s personalist account of pictorial expression. [1] According to personalism, a picture possesses the expressive properties we attribute to it because we take it that someone expresses E in the work. Robinson’s particular strategy exploits the concept of an implied persona who ‘unifies’ and ‘specifies’ what is expressed. [2] Dominic Lopes challenges this view by attacking what he takes to be a flawed assumption motivating the personalist account: the priority of figure expression. (...) [3] Once we acknowledge this flaw, he argues, there is no good reason to prefer personalism to an impersonalist theory. I will argue that Robinson qua personalist can pre-empt this strike by clarifying the relation between (a) what a picture expresses and (b) what is depicted as expressing in the picture. Rather than leading with the idea that personalism unifies or determines the meaning, I argue that impersonalism diminishes it and that, should it be accepted, we would be left with an impoverished view of what specific art pieces can mean. (shrink)

In this paper I discuss Stephen Davies’s defence of literalism about emotional descriptions of music. According to literalism, a piece of music literally possesses the expressive properties we attribute to it when we describe it as ‘sad’, ‘happy’, etc. Davies’s literalist strategy exploits the concept of polysemy: the meaning of emotion words in descriptions of expressive music is related to the meaning of those words when used in their primary psychological sense. The relation between the two meanings (...) is identified by Davies in music’s presentation of emotion-characteristics-in-appearance. I will contend that there is a class of polysemous uses of emotion terms in descriptions of music that is not included in Davies’s characterization of the link between emotions in music and emotions as psychological states. I conclude by indicating the consequences of my claim for the phenomenology of expressive music. (shrink)

Consider truth predicates. Minimalist analyses of truth predicates may involve commitment to some of the following claims: (i) truth “predicates” are not genuine predicates -- either because the truth “predicate” disappears under paraphrase or translation into deep structure, or because the truth “predicate” is shown to have a non-predicative function by performative or expressivist analysis, or because truth “predicates” must be traded in for predicates of the form “true-in-L”; (ii) truth predicates express ineligible, non-natural, gerrymandered properties; (iii) truth predicates (...) express metaphysically lightweight properties; (iv) truth predicates have thin conceptual roles; (v) truth predicates express properties with no hidden essence; (vi) truth predicates express properties which have no causal or explanatory role in canonical formulations of fundamental theories. (shrink)

Do representational pictures have propositional contents? The current paper argues that the characteristic contents of pictures are predicative rather than propositional: pictures characterise things as looking certain ways, and they thereby express properties of visual perspectives. The paper argues that the characteristic predicative contents of pictures are nonetheless able to feature in fully-fledged propositional contents once they are combined with contents of other suitable sorts. Various facts about communicative uses of pictures are then explained. The paper concludes by considering (...) the bearing of its conclusions upon questions about the relationships between linguistic representation and pictorial representation. (shrink)

This paper advocates a generalized form of Expressivism, as a strategy for resolving certain metasemantic puzzles about identifying the semantic value of a context-sensitive expression in context. According to this form of Expressivism, speakers express properties of semantic parameters, and they do so in order to proffer those properties for cognitive adoption (acceptance) by their addressees. Puzzles arising from the pressure to say what a putatively context-sensitive expression refers to or denotes in contexts that do not seem to (...) specify a referent or denotation dissolve, once we appreciate that such attempts were ill-placed to begin with. Gibbard's Norm Expressivism, according to which speakers express properties of planning states or normative systems, can be regarded as a branch of this more general theory. I will however argue that Gibbard takes on commitments -- optional for the Expressivist -- that make it a bit hard to see how to distinguish his theory from a nuanced form of Subjectivism. (shrink)

Slurs possess interesting linguistic properties and so have recently attracted the attention of linguists and philosophers of language. For instance the racial slur "nigger" is explosively derogatory, enough so that just hearing it mentioned can leave one feeling as if they have been made complicit in a morally atrocious act.. Indeed, the very taboo nature of these words makes discussion of them typically prohibited or frowned upon. Although it is true that the utterance of slurs is illegitimate and derogatory (...) in most contexts, sufficient evidence suggests that slurs are not always or exclusively used to derogate. In fact, slurs are frequently picked up and appropriated by the very in-group members that the slur was originally intended to target. This might be done, for instance, as a means for like speakers to strengthen in-group solidarity. So an investigation into the meaning and use of slurs can give us crucial insight into how words can be used with such derogatory impact, and how they can be turned around and appropriated as vehicles of rapport in certain contexts among in-group speakers. In this essay I will argue that slurs are best characterized as being of a mixed descriptive/expressive type. Next, I will review the most influential accounts of slurs offered thus far, explain their shortcomings, then provide a new analysis of slurs and explain in what ways it is superior to others. Finally, I suggest that a family-resemblance conception of category membership can help us achieve a clearer understanding of the various ways in which slurs, for better or worse, are actually put to use in natural language discourse. (shrink)

Higher-order realists about properties express their view that there are properties with the help of higher-order rather than first-order quantifiers. They claim two types of advantages for this way of formulating property realism. First, certain gridlocked debates about the nature of properties, such as the immanentism versus transcendentalism dispute, are taken to be dissolved. Second, a further such debate, the tropes versus universals dispute, is taken to be resolved. In this paper I first argue that higher-order realism (...) does not in fact resolve the tropes versus universals dispute. In a constructive spirit, I then develop higher-order realism in a way that leads to a dissolution, rather than a resolution, of this dispute too. (shrink)

It is widely accepted that if a property is essential then it is necessary. Against this I present numerous counterexamples from biology and chemistry, which fall into two groups: (I) A property is essential to a genus or species, yet some instances of this genus or species do not have this essential property. (II) A property is essential to a genus, yet some species of this genus do not have this essential property. I discuss and reject four minor objections. Then (...) I discuss in depth whether a distinction between constitutive essence and consequential essence is able to handle these counterexamples. I conclude that this distinction is better put as one between (1) the essence, which is necessary, and (2) the essential properties, which are not formally necessary. An essence of an object X is the substantial universal expressed by its real definition. An object X has a property P essentially iff the property P is explanatory and non-trivial, and P follows from the essence of X. (shrink)

An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...) that something is beautiful and the path to an epistemology of art is effectively blocked. The article places the existence aesthetic properties in the proper context; presents a logically correct argument for the existence of such properties; identifies strategies for responding to this argument; explains why objections by Hume, Kant, and several other philosophers fail; and sketches a realization account of beauty influenced by Hogarth. (shrink)

This paper argues for contextualism about predicates of personal taste and evaluative predicates in general, and offers a proposal of how apparently resilient disagreements are to be explained. The present proposal is complementary to others that have been made in the recent literature. Several authors, for instance (López de Sa, 2008; Sundell, 2011; Huvenes, 2012; Marques and García-Carpintero, 2014; Marques, 2014a), have recently defended semantic contextualism for those kinds of predicates from the accusation that it faces the problem of lost (...) disagreement. These authors have proposed that a proper account of the resilient disagreement in the cases studied is to be achieved by an appeal to pragmatic processes, and to conflicting non-doxastic attitudes. It is argued here that the existing contextualist solutions are incomplete as they stand, and are subject to objections because of this. A supplementation of contextualism is offered, together with an explanation of why failed presuppositions of commonality (López de Sa), disputes over the appropriateness of a contextually salient standard (Sundell), and differences in non-doxastic attitudes (Sundell, Huvenes, Marques, and García-Carpintero) give rise to conflicts. This paper claims that conflicts of attitudes are the reason why people still have impressions of disagreement in spite of failed commonality presuppositions, that those conflicts drive metalinguistic disputes over the selection of appropriate standards, and hence conflicting non-doxastic attitudes demand an explanation that is independent of those context dependent pragmatic processes. The paper further argues that the missing explanation is 2-fold: first, disagreement prevails where the properties expressed by taste and value predicates are response-dependent properties, and, secondly, it prevails where those response-dependent properties are involved in evolved systems of coordination that respond to evolutionarily recurrent situations. (shrink)

We introduce the notion of complexity, first at an intuitive level and then in relatively more concrete terms, explaining the various characteristic features of complex systems with examples. There exists a vast literature on complexity, and our exposition is intended to be an elementary introduction, meant for a broad audience. -/- Briefly, a complex system is one whose description involves a hierarchy of levels, where each level is made of a large number of components interacting among themselves. The time evolution (...) of such a system is of a complex nature, depending on the interactions among subsystems in the next level below the one under consideration and, at the same time, conditioned by the level above, where the latter sets the context for the evolution. Generally speaking, the interactions among the constituents of the various levels lead to a dynamics characterized by numerous characteristic scales, each level having its own set of scales. What is more, a level commonly exhibits ‘emergent properties’ that cannot be derived from considerations relating to its component systems taken in isolation or to those in a different contextual setting. In the dynamic evolution of some particular level, there occurs a self-organized emergence of a higher level and the process is repeated at still higher levels. -/- The interaction and self-organization of the components of a complex system follow the principle commonly expressed by saying that the ‘whole is different from the sum of the parts’. In the case of systems whose behavior can be expressed mathematically in terms of differential equations this means that the interactions are nonlinear in nature. -/- While all of the above features are not universally exhibited by complex systems, these are nevertheless indicative of a broad commonness relative to which individual systems can be described and analyzed. There exist measures of complexity which, once again, are not of universal applicability, being more heuristic than exact. The present state of knowledge and understanding of complex systems is itself an emerging one. Still, a large number of results on various systems can be related to their complex character, making complexity an immensely fertile concept in the study of natural, biological, and social phenomena. -/- All this puts a very definite limitation on the complete description of a complex system as a whole since such a system can be precisely described only contextually, relative to some particular level, where emergent properties rule out an exact description of more than one levels within a common framework. -/- We discuss the implications of these observations in the context of our conception of the so-called noumenal reality that has a mind-independent existence and is perceived by us in the form of the phenomenal reality. The latter is derived from the former by means of our perceptions and interpretations, and our efforts at sorting out and making sense of the bewildering complexity of reality takes the form of incessant processes of inference that lead to theories. Strictly speaking, theories apply to models that are constructed as idealized versions of parts of reality, within which inferences and abstractions can be carried out meaningfully, enabling us to construct the theories. -/- There exists a correspondence between the phenomenal and the noumenal realities in terms of events and their correlations, where these are experienced as the complex behavior of systems or entities of various descriptions. The infinite diversity of behavior of systems in the phenomenal world are explained within specified contexts by theories. The latter are constructs generated in our ceaseless attempts at interpreting the world, and the question arises as to whether these are reflections of `laws of nature' residing in the noumenal world. This is a fundamental concern of scientific realism, within the fold of which there exists a trend towards the assumption that theories express truths about the noumenal reality. We examine this assumption (referred to as a ‘point of view’ in the present essay) closely and indicate that an alternative point of view is also consistent within the broad framework of scientific realism. This is the view that theories are domain-specific and contextual, and that these are arrived at by independent processes of inference and abstractions in the various domains of experience. Theories in contiguous domains of experience dovetail and interpenetrate with one another, and bear the responsibility of correctly explaining our observations within these domains. -/- With accumulating experience, theories get revised and the network of our theories of the world acquires a complex structure, exhibiting a complex evolution. There exists a tendency within the fold of scientific realism of interpreting this complex evolution in rather simple terms, where one assumes (this, again, is a point of view) that theories tend more and more closely to truths about Nature and, what is more, progress towards an all-embracing ‘ultimate theory’ -- a foundational one in respect of all our inquiries into nature. We examine this point of view closely and outline the alternative view -- one broadly consistent with scientific realism -- that there is no ‘ultimate’ law of nature, that theories do not correspond to truths inherent in reality, and that successive revisions in theory do not lead monotonically to some ultimate truth. Instead, the theories generated in succession are incommensurate with each other, testifying to the fact that a theory gives us a perspective view of some part of reality, arrived at contextually. Instead of resembling a monotonically converging series successive theories are analogous to asymptotic series. -/- Before we summarize all the above considerations, we briefly address the issue of the complexity of the {\it human mind} -- one as pervasive as the complexity of Nature at large. The complexity of the mind is related to the complexity of the underlying neuronal organization in the brain, which operates within a larger biological context, its activities being modulated by other physiological systems, notably the one involving a host of chemical messengers. The mind, with no materiality of its own, is nevertheless emergent from the activity of interacting neuronal assemblies in the brain. As in the case of reality at large, there can be no ultimate theory of the mind, from which one can explain and predict the entire spectrum of human behavior, which is an infinitely rich and diverse one. (shrink)

This paper examines distinctive discourse properties of preposed negative 'yes/no' questions (NPQs), such as 'Isn’t Jane coming too?'. Unlike with other 'yes/no' questions, using an NPQ '∼p?' invariably conveys a bias toward a particular answer, where the polarity of the bias is opposite of the polarity of the question: using the negative question '∼p?' invariably expresses that the speaker previously expected the positive answer p to be correct. A prominent approach—what I call the context-management approach, developed most extensively by (...) Romero and Han (2004)—attempts to capture speaker expectation biases by treating NPQs fundamentally as epistemic questions about the proper discourse status of a proposition. I raise challenges for existing context-managing accounts to provide more adequate formalizations of the posited context-managing content, its implementation in the compositional semantics and discourse dynamics, and its role in generating the observed biases. New data regarding discourse differences between NPQs and associated epistemic modal questions are introduced. I argue that we can capture the roles of NPQs in expressing speakers’ states of mind and managing the discourse common ground without positing special context-managing operators or treating NPQs as questions directly about the context. I suggest that we treat the operator introduced with preposed negation as having an ordinary semantics of epistemic necessity, though lexically associated with a general kind of endorsing use observed with modal expressions. The expressive and context-managing roles of NPQs are explained in terms of a general kind of discourse-oriented use of context-sensitive language. The distinctive expectation biases and discourse properties observed with NPQs are derived from the proposed semantics and a general principle of Discourse Relevance. (shrink)

The anti-counterfeiting trade agreement was originally meant to harmonise and enforce intellectual property rights provisions in existing trade agreements within a wider group of countries. This was commendable in itself, so ACTA’s failure was all the more disappointing. In this article, I wish to contribute to the post-ACTA debate by proposing a specific analysis of the ethical reasons why ACTA failed, and what we can learn from them. I argue that five kinds of objections—namely, secret negotiations, lack of consultation, vagueness (...) of formulation, negotiations outside any international body, and the creation of a new governing body outside already existing forums—had only indirect ethical implications. This takes nothing away from their seriousness but it does make them less compelling, because agreements should be evaluated, ethically, for what they are, rather than for the alleged reasons why they are being proposed. I then argue that ACTA would have caused three ethical problems: an excessive and misplaced kind of responsibility, a radical decrease in freedom of expression, and a severe reduction in information privacy. I conclude by indicating three lessons that can help us in shaping a potential ACTA 2.0. First, we should acknowledge the increasingly vital importance of the framework of implicit expectations, attitudes, and practices that can facilitate and promote morally good decisions and actions. ACTA failed to perceive that it would have undermined the very framework that it was supposed to foster, namely one promoting some of the best and most successful aspects of our information society. Second, we should realise that, in advanced information societies, any regulation affecting how people deal with information is now bound to influence the whole ‘onlife’ habitat within which they live. So enforcing IPR becomes an environmental problem. Third, since legal documents, such as ACTA, emerge from within the infosphere that they affect, we should apply to the process itself, which one day may lead to a post-ACTA treaty, the very framework and ethical values that we would like to see promoted by it. (shrink)

Marx thinks that capitalism is exploitative, and that is a major basis for his objections to it. But what's wrong with exploitation, as Marx sees it? (The paper is exegetical in character: my object is to understand what Marx believed,) The received view, held by Norman Geras, G.A. Cohen, and others, is that Marx thought that capitalism was unjust, because in the crudest sense, capitalists robbed labor of property that was rightfully the workers' because the workers and not the capitalists (...) produced it. This view depends on a Labor Theory of Property (LTP), that property rights are based ultimately on having produced something. (A view oddly enough shared with the libertarian right, though the LTP is better support for egalitarian or socialist views; see my From Libertarianism to Egalitarianism, 18 Social Theory & Prac. 259-288 (1992).) -/- I show that the idea that Marx's objection to exploitation is based on injustice or LTP-grounded theft is mistaken. Marx's real objection to exploitation is based on unfreedom, that capitalist relations of production, he thinks, unnecessarily limit human freedom. In the first place Marx is quite clear that he vehemently rejects the concepts of justice, fairness, or rights as bourgeois ideology. It is true that he uses the language of "theft" on occasion, but either a literal interpretation of that language must be abandoned, or his consistent, life-long objection to rights- and justice talk must be given up. Second, the structure, indeed the point, of his analysis of the laws of motion of capitalism, is that capitalists make profits through exploitation of labor -- without cheating -- by the normal "legitimate" operation of the system. Other arguments make the same point. -/- The unfreedom or force-based view, though not necessarily my specific arguments advocated so far is shared by a minority of other writers, such as Nancy Holmstrom and Richard Arneson. What my paper offers that is novel, part from arguments for the foregoing that are different and better than those found elsewhere (although Holmstrom and Arneson are excellent), is an account of in detail of what Marx regards as the real problem with exploitation. -/- I analyze Marx's objection that capitalist exploitation causes unnecessary unfreedom by distinguishing and spelling out three different kinds of freedom that he invokes: classic negative freedom, or noninterference; positive freedom, understood as control over or access to the resources enabling one to exercise one's negative freedom; and "real" freedom, as he puts it, the ability to "give the law to oneself," to regulate one's own activities under rules chosen by oneself, to develop one's capacities by autonomous choice. This puts Marx in the tradition going back through Hegel and Kant to Rousseau, the first express advocate of this idea. The opposite of real freedom, the unfreedom due to lack of autonomy, is alienation. -/- I conclude by stating that I think that justice-based objections to exploitation that avoid Marx's objections to the concept are possible. I do not attempt to spell these out here. I take up that task in my subsequently published paper Relativism, Reflective Equilibrium, and Justice, 17 Legal Stud.,128-168 (1997). -/- The present paper is related to and partly overlaps with my paper In Defense of Exploitation, 11 Econ. & Phil. 49-81 (1995), a critique of John Roemer's equality based account of the nature of exploitation and its wrongness. The research and writing of this paper was financially supported by the philosophy department of The Ohio State University. -/- Keywords: Exploitation, Justice, Unjustice, Theft, Labor Theory of Property, Marx, Freedom, Unfreedom, Rights, Fairness, Critique of Justice, Negative Freedom, Positive Freedom, Real Freedom, Alienation, G.A. Cohen, Norman Geras. (shrink)

Abstract. Kant's political philosophy in general is characterized by two aspects which sometimes compete with each other and sometimes supplement each other: an individualist element on the one hand and a social or "communitarian" element on the other hand. This paper deals with Kant's theory of private property. It attempts to show something that is usually overlooked in the secondary literature: that Kant has two, not just one argument for property. One is based on his theory of freedom and expresses (...) the individualist aspect of his thinking. The other argument is based on Kant's principle of right and expresses the social aspect of his political thought. Despite some problems with his arguments the complexity of Kant's theory remains impressive. (shrink)

When it comes to works of art, intellectual property rights (IPR) are often argued to be natural rights, for each work of art, so we are told, is the expression of the particular ingenuity of an individual artist. The account of creativity to which such arguments allude, however, is that of Romanticism, so that one may question whether these arguments hold valid for contemporary artistic practices. Thus, this chapter will construct a Hegelian justification for IPR that goes along with the (...) Romantic concept of creative work and then assess this justification drawing on the analysis of the modern culture industry by Adorno and Horkheimer. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize (...) its purpose. Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

Certain realists about properties and relations identify them with universals. Furthermore, some hold that for a wide range of meaningful predicates, the semantic contribution to the propositions expressed by the sentences in which those predicates figure is the universal expressed by the predicate. I here address ontological issues raised by predicates first introduced to us via works of fiction and whether the universal realist should accept that any such predicates express universals. After assessing arguments by Braun, D. and Sawyer, (...) S. for fictional universal anti-realism, I propose a novel, Kripke-inspired argument for the same conclusion. I ultimately defend the claim that while this argument presents the strongest case for fictional universal anti-realism, it is nonetheless unsound. I conclude that nothing stands in the way of accepting that some fictional predicates express fictional universals. (shrink)

A term expresses a thick concept if it expresses a specific evaluative concept that is also substantially descriptive. It is a matter of debate how this rough account should be unpacked, but examples can help to convey the basic idea. Thick concepts are often illustrated with virtue concepts like courageous and generous, action concepts like murder and betray, epistemic concepts like dogmatic and wise, and aesthetic concepts like gaudy and brilliant. These concepts seem to be evaluative, unlike purely descriptive concepts (...) such as red and water. But they also seem different from general evaluative concepts. In particular, thick concepts are typically contrasted with thin concepts like good, wrong, permissible, and ought, which are general evaluative concepts that do not seem substantially descriptive. When Jane says that Max is good, she appears to be evaluating him without providing much description, if any. Thick concepts, on the other hand, are evaluative and substantially descriptive at the same time. For instance, when Max says that Jane is courageous, he seems to be doing two things: evaluating her positively and describing her as willing to face risk. Because of their descriptiveness, thick concepts are especially good candidates for evaluative concepts that pick out properties in the world. Thus they provide an avenue for thinking about ethical claims as being about the world in the same way as descriptive claims. -/- Thick concepts became a focal point in ethics during the second half of the twentieth century. At that time, discussions of thick concepts began to emerge in response to certain disagreements about thin concepts. For example, in twentieth-century ethics, consequentialists and deontologists hotly debated various accounts of good and right. It was also claimed by non-cognitivists and error-theorists that these thin concepts do not correspond to any properties in the world. Dissatisfaction with these viewpoints prompted many ethicists to consider the implications of thick concepts. The notion of a thick concept was thought to provide insight into meta-ethical questions such as whether there is a fact-value distinction, whether there are ethical truths, and, if there are such truths, whether these truths are objective. Some ethicists also theorized about the role that thick concepts can play in normative ethics, such as in virtue theory. By the beginning of the twenty-first century, the interest in thick concepts had spread to other philosophical disciplines such as epistemology, aesthetics, metaphysics, moral psychology, and the philosophy of law. -/- Nevertheless, the emerging interest in thick concepts has sparked debates over many questions: How exactly are thick concepts evaluative? How do they combine evaluation and description? How are thick concepts related to thin concepts? And do thick concepts have the sort of significance commonly attributed to them? This article surveys various attempts at answering these questions. (shrink)