An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

Two problems about rights have received so far little attention. One is the problem of identifying a general value in the practice of rights. The second is to see when, if at all, rights violations wrong the right-holder, in a morally significant sense. In the present essay, I address the first question by investigating the second. I first show that if we commit to the two ideas, common in the contemporary philosophy of rights, that claim-rights always correlate with directed duties (...) and that rights aspire to protect interests of the right-holder, we make it hard to explain why rights violations, in general, wrong right-holders. In the final section, I present what I see as a promising solution to the puzzle. I describe a particular social environment (the society of equals) where interacting with others through rights is indeed valuable because respecting rights communicates that one takes seriously others’ equal moral status. In such a society and only in such a society, I conclude, moral agents are required to treat all rights violations as wrongs perpetrated against the right-holder. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

In juxtaposition with the myth and tragedy of Ovid’s Medea, this paper investigates the possibility within the Kantian conception of agency of understanding moral evil as acting against one’s better judgment. It defends the thesis that in Kant self-deception, i. e. the intentional untruthfulness to oneself, provides the fundamental structure for choosing against the moral law. I argue that, as Kant’s thought progresses, self-deception slowly proceeds to become the paradigmatic case of moral evil. This is discussed with regard to two (...) important topics in his later moral philosophy: the doctrine of radical evil and the crucial role of the duty of truthfulness in ethics. The inquiry into Kant’s theory of conscience unfolds both against this theoretical background and in light of its historical roots in the polemic against casuistry and probabilism. This contribution closes with a brief look at the tools Kant implements to counter this tendency to self-deception in moral judgment and particularly at the role casuistry plays within his conception of moral education. (shrink)

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...) the term “pornographic art.”. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.

The extended mind thesis states that the mind is not brain-bound but extends into the physical world. The philosophical debate around the thesis has mostly focused on extension towards epistemic artefacts, treating the phenomenon as a special capacity of the human organism to recruit external physical resources to solve individual tasks. This paper argues that if the mind extends to artefacts in the pursuit of individual tasks, it extends to other humans in the pursuit of collective tasks. Mind extension to (...) other humans corresponds essentially to the ‘we-mode’ of cognition, the unique power of human minds to be jointly directed at goals, intentions, states of affairs, or values. Because the capacity for collective intentionality holds evolutionary and developmental primacy over human-epistemic artefacts relations, the extended mind should not be seen as a special phenomenon, but as a central aspect of the human condition. The original extended mind thesis carried important implications for how the cognitive sciences should proceed. In a version of the thesis that accommodates collective intentionality, these implications would go far deeper than originally assumed. (shrink)

In this paper, I assess critically the recent debate on corrective duties across moral and legal philosophy. Two prominent positions have emerged: the Kantian rights-based view (holding that what triggers corrections is a failure to respect others' right to freedom) and the so-called continuity view (correcting means attempting to do what one was supposed to do before). Neither position, I try to show, offers a satisfactory explanation of the ground (why correct?) and content (how to correct?) of corrective duties. In (...) the final section, I suggest that it is probably better to restrict the label “corrective duties” to duties generated by interpersonal wronging. (shrink)

Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...) our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...) aesthetic. That is, we claim Aesthetic Theory so re-framed suggests that the aesthetic might have a central and substantial explanatory role to play within both traditional philosophical enquiries as well as recent and more empirical enquiries into the psychological and cognitive aspects of art and its practice. Finally, we discuss the directions this new work might take—by tying art theory to investigations of the distinctive sensorimotor capacities of expert artists, their specialized aesthetic conceptual schemata, and the ways these distinctive capacities and schemata contribute to the production of artworks. (shrink)

I aspire to answer two questions regarding the concept of a corrective duty. The first concerns what it means to wrong others, thus triggering a demand for corrections (the ground question). The second relates to the proper content of corrective duties. I first illustrate how three prominent accounts of corrective duties—the Aristotelian model of correlativity, the Kantian idea that wronging corresponds to the violation of others’ right to freedom, and the more recent continuity view—have failed to answer the two questions (...) satisfactorily. I then introduce my proposal, which holds that we wrong others when we fail to treat their status as moral agents as a source of stringent constraints on our action. I call it the moral neglect account. Once we have identified a common aim of corrective duties (counterbalancing moral neglect), we can fill their content in the various contexts in which wronging has occurred. I conclude by observing that it is not the primary role of corrective justice to assign responsibilities for damage reparations; in fact, requests for compensation make more sense if framed in distributive rather than corrective terms. (shrink)

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...) Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...) certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

Bill Seeley suggests that what follows from research into crossmodal perception for expression and emotion in the arts is that there is an emotional contour (i.e., a contour constitutive of the content of an emotion and potentially realizable across a range of media). As a response of sorts, I speculate as to what this might hold for philosophical and empirical enquiry into expression and emotion across the arts as well as into the nature of the emotions themselves.

Kant scholars have rarely addressed the centuries-old tradition of casuistry and the concept of conscience in Kant’s writings. This book offers a detailed exploration of the period from Pascal’s Provincial Letters to Kant’s critique of probabilism and discusses his proposal of a (new) casuistry as part of an moral education. / Trotz der Hinweise an wichtigen Stellen in Kants Schriften richtet die Kantforschung ihre Aufmerksamkeit nur selten auf die Jahrhunderte währende Tradition der Kasuistik und den Begriff des Gewissens, der in (...) ihrem Rahmen ausgearbeitet wird. Eingehend untersucht wird in diesem Buch insbesondere der Zeitabschnitt von Pascals »Briefen in die Provinz« bis zu Kants eigener Kritik des Probabilismus und seinem Entwurf einer (neuen) Kasuistik als Teil der ethischen Methodenlehre. (shrink)

In this paper, I contrast two approaches to political legitimacy, both influenced by Rawls. One is the classic political liberal picture, according to which a state is legitimate if its “constitutional essentials” could be endorsed by reasonable citizens. The alternative is the idea that what makes a state legitimate is primarily its success at organizing the basic structure in a way that is demonstrably favorable to the governed. Specifically, I suggest that a state is legitimate insofar as it organizes the (...) basic structure in a manner that makes it easier for citizens to behave justly towards one another and adopt autonomous choices. I then move to demonstrate the superiority of this normative impact solution to the problem of legitimacy vis-à-vis political liberalism, even when reasonable disagreement about justice is factored in. (shrink)

El artículo examina un episodio curioso, ocurrido en las relaciones de Galileo Galilei y de su amigo Giovanfrancesco Sagredo -el destacado personaje del Diálogo sobre los dos máximos sistemas del mundo- con el filósofo aristotélico Cesare Cremonini. Estando todavía de profesor en Padua, Galilei entrega al colega y amigo Cremonini, en forma de préstamo, la cuantiosa suma de cuatrocientos ducados. Al trasladarse de Padua a Florencia, el científico confía a Sagredo la tarea de recuperar el dinero prestado. Las cartas numerosas (...) que Sagredo dirigiera a Galilei a tal propósito, nos informan que la cancelación total del préstamo tardó nueve años (1619), gracias a las reiteradas intromisiones del patricio veneciano. Es opinión común de los historiadores, que la tardanza fue causada simplemente por la morosidad y la mala conducta seguida por Cremonini. El autor, en cambio, sugiere una interpretación diferente de los hechos; al tomar en cuenta, de un lado, la presencia de factores financieros que hicieron subir el costo de la deuda; del otro, la forma agresiva con que Sagredo llevó adelante el cuidado de los intereses de Galilei, hasta el extremo de levantar en Cremonini la sospecha de ser objeto de maniobras usureras. (shrink)

Entanglement is one of the most striking features of quantum mechanics, and yet it is not specifically quantum. More specific to quantum mechanics is the connection between entanglement and thermodynamics, which leads to an identification between entropies and measures of pure state entanglement. Here we search for the roots of this connection, investigating the relation between entanglement and thermodynamics in the framework of general probabilistic theories. We first address the question whether an entangled state can be transformed into another by (...) means of local operations and classical communication. Under two operational requirements, we prove a general version of the Lo-Popescu theorem, which lies at the foundations of the theory of pure-state entanglement. We then consider a resource theory of purity where free operations are random reversible transformations, modelling the scenario where an agent has limited control over the dynamics of a closed system. Our key result is a duality between the resource theory of entanglement and the resource theory of purity, valid for every physical theory where all processes arise from pure states and reversible interactions at the fundamental level. As an application of the main result, we establish a one-to-one correspondence between entropies and measures of pure bipartite entanglement and exploit it to define entanglement measures in the general probabilistic framework. In addition, we show a duality between the task of information erasure and the task of entanglement generation, whereby the existence of entropy sinks (systems that can absorb arbitrary amounts of information) becomes equivalent to the existence of entanglement sources (correlated systems from which arbitrary amounts of entanglement can be extracted). (shrink)

It is common to distinguish between disagreement in the state sense (being in disagreement) and disagreement in the activity sense (having a disagreement). This paper deals with the question of what it is for two people to have a disagreement. First, I present and reject the thesis according to which having a disagreement is a matter of expressing conflicting attitudes. I argue that this is not sufficient for having a disagreement: two people can express conflicting attitudes without having a disagreement. (...) Second, I present and reject the thesis according to which having a disagreement involves not only the expression of conflicting attitudes, but also the persuasive attempt to bring the other around to one’s view. I argue that this is not necessary for having a disagreement: two people can have a disagreement without trying to change each other’s minds. Finally, I put forward an alternative account that goes beyond the mere expression of conflicting attitudes, but that does not go as far as to posit the attempt to change someone’s mind. Having a disagreement, I submit, is a matter of expressing conflicting attitudes and demanding agreement, that is, advancing the normative claim that the other should share one’s attitude. (shrink)

Se examina la defensa que de la filosofía en cuanto episteme, elaboró el aristotélico renacentista Cesare Cremonini (1550-1 631), al introducir el curso de lecciones sobre la Física de Aristóteles, según la redacci6n todavía inédita del Ms.200-2 de la Biblioteca Universitaria de Padua. Mediante un topos ya clásico, y actual, los temas en discusión son además de la falta de certitudo y la inconsistencia veritativa que afectan las conclusiones de la filosofía de la naturaleza, la inutilidad e incluso la peligrosidad (...) que, desde el punto de vista ético- político, parecen descalificar la labor del filósofo ociosamente levantar sospechas y alarma. La interpretación de la réplica cremoniniana intenta establecer conexiones entre el perfil conceptual de los argumentos esgrimidos, y algunos episodios de la biografía intelectual y académica de Crernonini sin dejar de tomar en cuenca las implicaciones políticas que pueden derivarse, en perspectiva histórica, del amplio debate que caracterizó la vida académica y cultural del estudio de Padua y de la república veneciana, durante la segunda mitad del siglo XVI.The defence of philosophy as episteme is examined, as elaborated by Renaissance Aristotelian philosopher Cesare Cremonini (1550 - 1 631) in his as yet unpublished manuscript numbered 200-2 by t he University of Padua. Which purported to be an introduction for a course on Aristotle's Physics. Following a topos both classic and contemporary, the issues arc, in addition to the lack of certitudet and the inconsistency of truth concerning the philosophy of nature. The uselessness and even the ethical-political danger arising from the work of the idle philosopher devoted to the contemplation of truth, whose presence in society may stir suspicion and unrest. The analysis of Cremonini’s arguments intends to establish the connections between the philosopher's views and his own academic and intellectual circumstances. Also the political implications are taken into account that resulted from the wide-range debate typical of academic and cultural life in the Studio of Padua and the Republic of Venice during the second half of the 16th Century. (shrink)

We review a recent approach to the foundations of quantum mechanics inspired by quantum information theory. The approach is based on a general framework, which allows one to address a large class of physical theories which share basic information-theoretic features. We first illustrate two very primitive features, expressed by the axioms of causality and purity-preservation, which are satisfied by both classical and quantum theory. We then discuss the axiom of purification, which expresses a strong version of the Conservation of Information (...) and captures the core of a vast number of protocols in quantum information. Purification is a highly non-classical feature and leads directly to the emergence of entanglement at the purely conceptual level, without any reference to the superposition principle. Supplemented by a few additional requirements, satisfied by classical and quantum theory, it provides a complete axiomatic characterization of quantum theory for finite dimensional systems. (shrink)

Kant scholars have rarely addressed the centuries-old tradition of casuistry and the concept of conscience in Kant’s writings. This book offers a detailed exploration of the period from Pascal’s Provincial Letters to Kant’s critique of probabilism and discusses his proposal of a (new) casuistry as part of an moral education. *** -/- Die Debatte um Kasuistik und Probabilismus zählt zu den wichtigsten Themen der Moraltheologie und Moralphilosophie der frühen Neuzeit. In der enormen Verbreitung der Literatur über die Gewissensfälle (casus conscientiae) (...) und in der großen Resonanz der Lehre von den wahrscheinlichen Meinungen (opiniones probabiles) in der ersten Hälfte des 17. Jahrhunderts findet sich ein wirkungsmächtiges Modell für die Analyse des moralischen Handelns, in welchem Universalität des Gebots und Kontingenz der Handlung, Notwendigkeit der Norm und individuelle Freiheit miteinander versöhnt werden. Dennoch erregt dieses Modell heftige Kritik, die in Pascals berühmtem Angriff in den Briefen in die Provinz (1656–1657) gipfelt. So beginnt für die Kasuistik und den Probabilismus eine lange Krise, welche die Entstehung der modernen Moralphilosophie und den Siegeszug des kantischen Paradigmas ankündigt. Die Krise von Kasuistik und Probabilismus fällt zusammen mit einer einsetzenden rigoristischen Reaktion der christlichen Moraltheologie sowohl katholischer als auch protestantischer Prägung,welche die moralischen und spekulativen Folgen eines Rückgriffs auf Gewissensfälle und wahrscheinliche Meinungen als inakzeptabel ablehnt. Die Ablehnung geht aber weiter und dringt bis in den Kern der philosophischen Reflexion vor: Die rigoristische Reaktion gegen Kasuistik und Probabilismus entzündet sich im moralphilosophischen Denken Kants als Folge seiner umfassenden kritischen Revision der Grundbegriffe der Moralphilosophie sowie insbesondere seiner Neubestimmung des Verhältnisses von Gewissen und praktischem Urteil. Dem Grundsatz des Probabilismus setzt Kant das Kriterium der moralischen Gewißheit („quod dubitas, ne feceris!“) entgegen, das er als „Postulat des Gewissens“ bezeichnet (RGV 6:185.23–186.9).Und die Kasuistik wird als eine „Critic der Handlungen nach Sophistic“ abgestempelt, als eine „Uebung, um nach der Sophistic das Gewissen zu hintergehen oder es zu chicaniren, insofern man es in Irrthum zu setzen denkt“ (V-MS/Vigil 27:620.2–5). Dennoch weist Kant den kasuistischen Fragen eine herausragende Stellung in der Tugendlehre zu und legt der Kasuistik im Rahmen der ethischen Methodenlehre, also im Hinblick auf pädagogische Anwendungen, letztlich eine positive Funktion bei. Vermutlich ist Kants Angriff auf Kasuistik und Probabilismus durch den Einfluss Pascals philosophisch vermittelt. Kants Verhältnis zu Pascal und, allgemeiner, zu dem historischen Hintergrund, welchem dieser angehört, sind gleichwohl noch erstaunlich wenig erforscht: Trotz der wiederholten (stillschweigenden oder sogar ausdrücklichen) Hinweise an wichtigen Stellen in Kants Schriften richtet die Kant-Forschung ihre Aufmerksamkeit nur selten auf die Jahrhunderte währende Tradition der Kasuistik und den Begriff des Gewissens, der in ihrem Rahmen ausgearbeitet wird. Aus dieser langen Geschichte wird in diesem Band insbesondere der Zeitraum „von Pascal bis Kant“ eingehend untersucht, d.h. der noch wenig erkundete Zeitabschnitt von der beißenden Polemik von Pascals Briefe in die Provinz bis zu Kants eigener Kritik des Probabilismus und seinem Entwurf einer (neuen) Kasuistik als Teil der ethischen Methodenlehre. (shrink)

In quantum theory every state can be diagonalized, i.e. decomposed as a convex combination of perfectly distinguishable pure states. This elementary structure plays an ubiquitous role in quantum mechanics, quantum information theory, and quantum statistical mechanics, where it provides the foundation for the notions of majorization and entropy. A natural question then arises: can we reconstruct these notions from purely operational axioms? We address this question in the framework of general probabilistic theories, presenting a set of axioms that guarantee that (...) every state can be diagonalized. The first axiom is Causality, which ensures that the marginal of a bipartite state is well defined. Then, Purity Preservation states that the set of pure transformations is closed under composition. The third axiom is Purification, which allows to assign a pure state to the composition of a system with its environment. Finally, we introduce the axiom of Pure Sharpness, stating that for every system there exists at least one pure effect occurring with unit probability on some state. For theories satisfying our four axioms, we show a constructive algorithm for diagonalizing every given state. The diagonalization result allows us to formulate a majorization criterion that captures the convertibility of states in the operational resource theory of purity, where random reversible transformations are regarded as free operations. (shrink)

In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...) are those that invite us to believe something false. We further develop this account and restate it in terms of the notion of “import-export inconsistency.” That is, unrealistic fictions invite us to import certain propositions true in the actual world then invite us to export propositions entailing the negation of those imported. Finally, we consider whether for fiction being unrealistic is always an aesthetic flaw. (shrink)

This discussion note addresses Caleb Hazelwood’s ‘Practice-Centered Pluralism and a Disjunctive Theory of Art’. Hazelwood advances a disjunctive definition of art on the basis of an analogy with species concept pluralism in the philosophy of biology. We recognize the analogy between species and art, we applaud attention to practice, and we are bullish on pluralism—but it is a mistake to take these as the basis for a disjunctive definition.

Objective correlates—behavioral, functional, and neural—provide essential tools for the scientific study of consciousness. But reliance on these correlates should not lead to the ‘fallacy of misplaced objectivity’: the assumption that only objective properties should and can be accounted for objectively through science. Instead, what needs to be explained scientifically is what experience is intrinsically— its subjective properties—not just what we can do with it extrinsically. And it must be explained; otherwise the way experience feels would turn out to be magical (...) rather than physical. We argue that it is possible to account for subjective properties objectively once we move beyond cognitive functions and realize what experience is and how it is structured. Drawing on integrated information theory, we show how an objective science of the subjective can account, in strictly physical terms, for both the essential properties of every experience and the specific properties that make particular experiences feel the way they do. (shrink)

Among the cognitive processes involved in the construction of any kind of meaning, attention is fundamental in determining why, how and what we mean. Attention plays a primary role in the process of learning the meanings of words and more generally of acquiring knowledge; signification, discourse and persuasion; perceiving, representing and (re)framing reality; shaping the attitudes of the audience; conveying values and ideologies. Conversely, the meanings of words and more generally, of signs, convey the condensed instructions for the attentional operations (...) one has to perform in order to consciously experience what is expressed through and by them. Language, by addressing and guiding attention in specific ways, helps to select, amplify and support certain semantic components and concepts, and construct and communicate knowledge and values. This book is the first to present a comprehensive overview of the extant research on the relationships between attention and meaning. The contributions collected here offer an overview of the most prominent theories and models developed so far that aim to explain how attention determines meaning construction. This book will be of interest to students, researchers and teachers in the realm of linguistics, semantics, discourse studies, semiotics, psycholinguistics, computational linguistics, linguistic development, cognitive architectures of language, neuropsychology of linguistic function and social psychology. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...) but for which the new song is in part about the original song. In order to allow for the very possibility of transformative and referential covers, we argue that a cover is characterized by relation to a canonical track rather than merely by being a new instance of a song that had been recorded previously. (shrink)

A recording or performance of a song is a cover if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of hearing in, whereby one hears elements of the original version in the cover. (...) We argue that it can nevertheless be just as legitimate to consider a cover version on its own as it is to consider it in relation to the earlier recording that it is covering. In some cases, these two modes of appreciation will offer distinct rewards. In other cases, one mode will be substantially more rewarding than the other. The details matter, especially in complicated cases like covers of covers, but neither mode is privileged in principle. (shrink)

Christy Mag Uidhir has recently argued (a) that there is no in principle aesthetic difference between a live performance and a recording of that performance, and (b) that the proper aesthetic object is a type which is instantiated by the performance and potentially repeatable when recordings are played back. This paper considers several objections to (a) and finds them lacking. I then consider improvised music, a subject that Mag Uidhir explicitly brackets in his discussion. Improvisation reveals problems with (b), because (...) the performance-event and the performance-type are distinct but equally proper aesthetic objects. (shrink)

A review of Christy Mag Uidhir's Art & Art-Attempts (OUP 2013).

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...) art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

The complex world of thought and sensitivity in the sphere of contemporary art has entailed the revision and exclusion of disciplines aimed at providing a model to explain and conceptualize reality. Art history, as one such discipline, has had many of its contributions questioned from Gombrich’s epistemological reformulation to the postmodern discourses, which extol the death of the author, the post-structuralist idea of tradition as a textual phenomenon, and the declaration of the death of history as a consequence of the (...) hybridization of disciplines and of other bran- ches of human knowledge. Nevertheless, it can be demonstrated that proposals as those by Julius von Schlosser and Giulio Carlo Argan enclose reflections and methodological aspects which can help us face the task of understanding and visualizing the mediating role of historians in the culture of sensitivity, and the art modulations that have resulted from the blows of history and that, in turn, have shaped both art and art history into what they are or can be to us today. (shrink)

Ang pag-aaral na ito ay naglalayong alamin ang kapaligirang pampagkatuto, klimang pangklasrum at performans sa Filipino ng mga mag-aaral sa grado labing-isa (11) ng Mataas na Paaralang Nasyonal ng Ajuy. Ito rin ay naglayong matukoy kung mayroong makabuluhang pagkakaiba sa kapaligirang pampagkatuto at klimang pangklasrum at kung mayroon bang makabuluhang kaugnayan sa performans sa Filipino. Ang mga kinakailangang datos ay tinipon sa pamamagitan ng pagbigay ng talatanungan sa kapaligirang pampagkatuto, klimang pangklasrum at pagsusulit sa performans sa Filipino. Isandaan na nagmula (...) sa Mataas na Paaralang Nasyonal ng Ajuy ang naging kalahok sa pagaaral na ito. Sila ay pinili gamit ang stratified quota random sampling. Ang mga datos ay sinuri sa larangan ng computerprocessed statistics, percentage mean, frequency count, standard deviation, One Way ANOVA (Analysis of Variance), t-test at Pearson’ r. Ang alpha level ay nakaset sa .05 sa lahat ng inferensyal na pagsusulit. Ang mga natuklasan ay nagpakita na may “kaaya-aya” na antas ang kapaligirang pampagkatuto at may “kaaya-aya” na antas ang klimang pangklasrum. Napag-alaman din na mayroon silang “katamtamang” performans sa Filipino. Nakita rin sa pananaliksik na ito na “walang makabuluhang kaugnayan” ang performans sa Filipino sa antas ng kapaligirang pampagkatuto at antas ng klimang pangklasrum. Napag-alaman din na “walang makabuluhang pagkakaiba” ang kapaligirang pampagkatuto sa performans sa Filipino. “Wala ring makabuluhang pagkakaiba” ang klimang pangklasrum ng mga mag-aaral sa Filipino sa performans sa Filipino. Napag-alaman din na “walang makabuluhang kaugnayan” ang kapaligirang pampagkatuto sa klimang pangklasrum maging ang kapaligirang ampagkatuto sa performans sa Filipino gayundin ang klimang pangklasrum at performans sa Filipino. (shrink)

Jason Brennan and Phillip Magness (2018) and (2020) argue that adjuncts are not exploited. We are sympathetic to some of their points. We agree, for example, that certain ways in which adjuncts are compared to sweatshop workers are offensive. For, as Brennan and Magness point out, there are many respects in which adjuncts are much better off than sweatshop workers. However, we show that the core insights of their paper are compatible with the view that adjuncts are exploited. Furthermore, their (...) more general views about exploitation expressed in Cracks in the Ivory Tower actually lend support to the claim that adjuncts are exploited. (shrink)

Isang patuloy na hamon sa wikang Filipino at sa mga gumagamit nito sa panahon ng pandemya ang pagpapayabong ng kultura ng saliksik. Sa kabila ng iba’t ibang modalidad ng pagkatuto ng mag-aaral, tinukoy ng pag-aaral na ito ang mga paraan ng guro sa pagtuturo ng Pananaliksik gayundin naitala ang kanilang karanasan at natukoy ang hamon at suliranin na kanilang kinaharap. Penomenolohikal na pagsusuri ang disenyong ginamit sa pag-aaral na tumuon sa pagsukat at pag-aanalisang tematiko ng mga tugon. Inilahad ng pag-aaral (...) na ito na malaking suliranin ng guro at mag-aaral ang mahinang koneksyon ng internet, subalit nagampanan pa rin ng bawat isa ang kani-kanilang tungkulin; ang maghatid ng impormasyon sa bahagi ng guro at unawain ang mga ito sa panig naman ng mag-aaral nang sa ganoon ay makabuo ng papel-pampananaliksik sa wikang Filipino. At bilang tugon sa pangangailangan ng mag-aaral gayundin ang maisulong ang intelektwalisasyon ng Wika, may mungkahing programa na inilaan sa patuloy na pagpapalakas ng wikang Filipino. (shrink)

Ang kakayahan ng mga mag-aaral sa paggamit ng wikang Filipino ay nararapat lamang na malinang nang lubusan ng mga tagapagturong may sapat na kasanayan. Ang pag-aaral na ito ay gumamit ng pagsusuring palarawan, upang malinaw na makita ang saloobin ng mga mag-aaral sa paggamit ng Filipino sa paraan na pagpapahayag ng kanilang saloobin. Nilayon ng pag-aaral na ito na malaman ang saloobin ng mga mag-aaral hinggil sa paggamit ng Filipino sa mga piling asignatura ng GEC (General Education Subject) kabilang dito (...) ang GEC 5 (Purposive Communication), GEC 2 (Readings in Philippine History), GEC 1 (Understanding The Self) at GEM 14 (The Life and Works of Rizal). Sinusuri rin dito ang mga uri ng pag-uulat, mga sulatin at proyekto sa naging negatibong saloobin ng mga mag-aaral sa paggamit ng wikang Filipino. At bilang midyum sa mga piling asignatura, 33 o 27.50% ng mga mag-aaral ay may negatibong tugon samantalang (87 o 72.50%) karamihan ay nagsabi na kailangan, mahalaga, nakatutulong, madaling gamitin, at gamitin pa sa ibang asignatura. Ang mga respondent ay napatunayan na batid nila na ang paggamit ng Filipino ay isa sa mga wikang panturo sa mga piling asignatura sa antas tersarya at ang walang pagkakaibang saloobin ng mga mag-aaral sa paggamit ng Filipino ay nagpapakita ng kanilang positibong pagtanggap sa Filipino ay kinakailangan sa kanilang pagkatuto. Batay sa kinalabasan ng pag-aaral, ang mga mag-aaral ay kailangang mabigyan ng mga kaukulang gawain kaugnay sa wika upang mapahalagahan ang kanilang saloobin at lalong magamit ang wikang Filipino bilang unang wika sa paraang pasulat at pasalita. (shrink)

il verbo latino «desiderare» deriva dal composto latino della particella "de-" con il termine "-sideris", plurale di "sidera", che significa pertanto "stelle". Quindi il desiderio non ha a che fare con una singola stella, ma con un insieme di stelle. Perché? Gli antichi collegavano idealmente nel cielo le stelle fino a formare le costellazioni, e queste erano necessarie non solo per orientarsi (ad es. nel mare), ma anche a livello esistenziale (l’astrologia). Il problema è che finora la parola de-Sidera è (...) stata interpretata come il sentimento di una «mancanza» di costellazioni, cioè di punti di orientamento, magari con stravaganti riferimenti al De bello gallico di Giulio Cesare. In queste pagine del 2017 dimostro che è possibile una interpretazione alternativa partendo dall'interpretazione della particella "de-" in quanto finora essa è stata interpretata unicamente come un prefisso privativo. Eppure "de-" oltre a un significato privativo nel senso di sentire la mancanza di stelle, può indicare anche una negazione. In pratica interpretare de-siderare nel senso di nostalgia delle stelle sarebbe come interpretare de-costruire come "nostalgia delle costruzioni"! In realtà de-Sidera non significa affatto nostalgia delle stelle, bensì, molto più radicalmente «de-Costellare» nel senso di negare la costellazione che imprigiona e abbruttisce la mia esistenza attuale negli affanni della routine quotidiana, per cercare, oltre tale costellazione fatalistica, cioè il DESTINO, quella che corrisponde meglio alla mia vera DESTINAZIONE, nel senso di vocazione. Il de-siderio non è quindi nostalgia delle stelle, ma ricerca della costellazione che corrisponde alla propria vocazione. (shrink)

Ang layunin ng artikulong ito ay tuklasin ang konsepto ng pag-asa ng mga Pilipino sa suwerte sa pamamagitan ng pagtaya sa lotto. Tatalakayin ditto ang kahulugan ng mga paniniwala at saloobin ng mga Pilipino tungkol sa kapalaran at kayamanan, lalo na sa konteksto ng pagtaya sa lottery. Tinalakay din sa artikulo ang kahalagahan ng sikolohiyang Pilipino sa pagsusuri ng pag-asa ng mga Pilipino sa suwerte at lottery. Layunin ng artikulong ito na: (1) Malaman ang epekto ng paniniwala sa suwerte at (...) malas sa pagtaya sa lotto sa pangarap at pagkilos ng mga Pilipino sa iba't ibang aspeto ng buhay, (2) Paano nakakaapekto ang popularidad ng lotto sa mga mahihirap na sektor ng lipunan, at ano ang potensyal na mga banta at pinsala nito (3) Mga sikolohiyang Pilipinong masasalamin sa paniniwala ng mga Pilipino ukol sa lotto bilang isang instrumento ng pag-asang pangkabuhayan, at ano ang mga implikasyon nito sa lipunang Pilipino. Ang mga natuklasan at ang kanilang mga implikasyon ay maaaring mag-ambag sa ating pag-unawa sa mga pangunahing sanhi at epekto ng pag-asa ng mga Pilipino sa suwerte na may kaugnayan sa lotto, at maaaring humantong sa mga reporma at solusyon upang matugunan ang mga kaugnay na isyu. Sa huli, ang artikulong ito ay naglalayong magbigay ng mas malalim na kaalaman at pag-unawa sa kulturang Pilipino ng pag-asa at paniniwala na may kaugnayan sa suwerte at kapalaran. (shrink)