There are different ways to be. This paper explicates and defends this controversial thesis. Special attention is given to the meta-ontology of Martin Heidegger. -/- .

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines (...) several postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

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

Let’s start with compositional pluralism. Elsewhere I’ve defended compositional pluralism, which we can provisionally understand as the doctrine that there is more than one basic parthood relation. (You might wonder what I mean by “basic”. We’ll discuss this in a bit.) On the metaphysics I currently favor, there are regions of spacetime and material objects, each of which enjoy bear a distinct parthood relation to members of their own kind. Perhaps there are other kinds of objects that enjoy a kind (...) of parthood relation other than the ones enjoyed by material objects and regions of spacetime. Perhaps, for example, there are facts; I’ve been wavering over whether to embrace these entities for years now. However, I’m reasonably confident that if there are facts than the kind of parthood relation that facts bear to that which composes them is not the kind of parthood relation enjoyed by material objects or regions of spacetime. More on why I am reasonably confident later. (shrink)

According to the presentist, it is always the case that the only existing objects are those that exist at the present time, and the only properties and relations that are instantiated are those that are instantiated at the present time. The truth-supervenes-on-being thesis (TSB) is that there can be no difference in what is true without a corresponding difference in what exists and in what properties and relations are instantiated. The truth-supervenes-on-being objection says that presentism cannot accommodate TSB. Lucretianism is (...) the thesis that the world instantiates irreducibly past-tensed properties. Though not popular, it is not entirely uncommon for presentists to endorse Lucretianism as a means to respond to the truth-supervenes-on-being objection. Defenses of Lucretianism itself are still less common. Appropriately up-to-date defenses are lacking altogether. I take up such a defense, arguing that the attacks on Lucretianism fail, and that there is, therefore, no compelling truth-supervenes-on-being objection to presentism. (shrink)

In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.

Let NNG be the claim that necessitation is necessary for grounding, and let NSG be the claim that necessitation is sufficient for grounding. The consensus view is that grounding cannot be reduced to necessitation, and this is due to the (approximately) universally-accepted claim that NSG is false. Among deniers of NSG: grounding contingentists think NNG is also false, but they are in the minority compared to grounding necessitarians who uphold NNG. For one who would defend the claim that grounding is (...) reducible to necessitation, the task is formidable: she must defend NSG and NNG. I consider two prominent objections against NSG, and two more against NNG before developing a reductive account of grounding as minimal necessitation that avoids not only all four of the previously mentioned objections, but also an additional objection that targets minimal necessitation accounts in particular. If my arguments are compelling, then, insofar as we thereby have a strong prima facie case for thinking that grounding can be reduced to (minimal) necessitation, we have a strong prima facie case for thinking the consensus view is mistaken. (shrink)

I will discuss Stein’s first major philosophical work, On the Problem of Empathy. I’ll first present some of the background context to the composition of this work and then discuss some of the themes of the work that I find intriguing.

There are many kinds of beings – stones, persons, artifacts, numbers, propositions – but are there also many kinds of being? The world contains a variety of objects, each of which exists – but do some objects exist in different ways? The historically popular answer is yes. This answer is suggested by the Aristotelian slogan that “being is said in many ways”, and according to some interpretations is Aristotle’s view.1 Variants of this slogan were championed by medieval philosophers, such as (...) Aquinas, who worried that God cannot be said to exist in the same sense (or in the same way?) as created things.2 Descartes alluded to the medievals’ worry, but extensive discussion of the problem of being disappeared from the central stage by the time of the modern period.3 However, in the early 20th century, friends of ways of being included Alexius Meinong (1910: 49- 62), G.E. Moore (1903: 161-163), Russell (1912: 91-100), Husserl (1901: 249-250), and Heidegger (1927).4 In what follows, I develop a meta-ontological theory based on the work of Martin Heidegger circa Being and Time. I take Heidegger’s work as my inspiration because of the historical importance of Heidegger’s philosophy, and because Heidegger provides a particularly clear statement of the doctrine that there are many ways to be. I begin by carefully discussing and then formulating the relevant aspects of Heidegger’s metaontological theory. Heidegger claims both that the word “being” has many meanings and that there are different ways in which things exist. Section 2 explicates the former thesis, as well as elucidates the connection between senses of “being” and quantification. Most contemporary analytic metaphysicians believe that the idea that different kinds of beings can enjoy different ways of being is metaphysically bankrupt, and probably even meaningless.5 They are mistaken. In section 3, I discuss the doctrine that there are ways of being, and show how we can understand this doctrine in terms of the meta-ontological framework defended by Theodore Sider.. (shrink)

Here I will put forward a claim about rhythm – that rhythm is relation. To develop this I will explore the entanglement of and antagonism between two notions of the musical avant-garde and its theorization. The first of these is derived from the European classical tradition, the second concerns Afrodiasporic musical practices. This essay comes in two parts. The first will consider some music-theoretical and philosophical ideas about rhythm in the post-classical avant-garde. Here I will explore how these ideas have (...) been used to, on one hand, stage a critique of Afrodiasporic musics, and specifically jazz, and, on the other hand, diminish and obscure the relation between the post-classical and Afrodiasporic avant-gardes. In the second part I will develop another lineage of rhythm, orthogonal to that of the post-classical avant-garde. Drawing from philosophy and Afrocentric, Afromodernist and, finally, Afrofuturist theory, I will map a theoretical move from rhythm understood, in its post-classical guise, as an exclusive and strictly musical category, to rhythm understood as an inclusive and plural category. This likewise charts a passage from an aesthetically autonomous understanding of objects of art to social and collective forms of artistic practice. (shrink)

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

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

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

Monistic grounding says that there is one fundamental ground, while pluralistic grounding says that there are many such grounds. Grounding necessitarianism says that grounding entails, but is not reducible to, necessitation, while grounding contingentism says that there are at least some cases where grounding does not entail necessitation. Pluralistic grounding necessitarianism is a very popular position, but accidental generalizations, such as ‘all solid gold spheres are less than one mile in diameter’, pose well-known problems for this view: the many fundamental (...) grounds of such generalizations do not necessitate them. Though there is a straightforward response to this objection, I argue that it fails. Thus the objection from accidental generalizations stands, and proponents of pluralistic grounding necessitarianism face the following dilemma: either give up pluralistic grounding, or give up necessitarianism. (shrink)

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

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

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

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

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can be (...) meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

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

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

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

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

ABSTRACT Let wF, wC+, and wC− be three distinct worlds, each of which contains only a single point-sized material particle, and in each of which spacetime is: uniformly flat, constantly positively curved, and constantly negatively curved, respectively. By the relationist’s lights, these worlds seem to be qualitatively identical. Nevertheless, for each world, there are propositions concerning possible arrangements of material points that are true in that world, but false in the other two. I argue that, surprisingly, the relationist can ground (...) these differences in the distinct non-modal and intrinsic relations that are instantiated in each of wF, wC+, and wC–. (shrink)

Let wF, wC+, and wC– be three distinct worlds, each of which contains only a single point-sized material particle, and in each of which spacetime is: uniformly flat, constantly positively curved, and constantly negatively curved, respectively. By the relationist’s lights, these worlds seem to be qualitatively identical. Nevertheless, for each world, there are propositions concerning possible arrangements of material points that are true in that world, but false in the other two. I argue that, surprisingly, the relationist can ground these (...) differences in the distinct non-modal and intrinsic relations that are instantiated in each of wF, wC+, and wC–. (shrink)

D. M. Armstrong rejects various ontologies that posit truths without truthmakers. But, lest proponents of such questionable ontologies postulate suspicious truthmakers in a bid to regain ontological respectability, Armstrong requires a plausible restriction on truthmaking that eliminates such ontologies. I discuss three different candidate restrictions: categorical, natural, and intrinsic difference-making. While the categorical and natural restrictions eliminate the questionable ontologies, they also eliminate Armstrong’s own ontology. The intrinsic difference-making restriction, on the other hand, fails to eliminate any of them. Thus (...) Armstrong lacks a principled reason for rejecting such ontologies. (shrink)

Teaching at a private, conservative religious institution poses unique challenges for equality, diversity, and inclusivity education (EDI). Given the realities of the student population in the Honors College of a private, religious institution, it is necessary to first introduce students to the contemporary realities of inequality and oppression and thus the need for EDI. This chapter proposes a conceptual framework and pedagogical suggestions for teaching basic concepts of social justice in a team-taught, interdisciplinary social science course. The course integrates four (...) different approaches to justice: theoretical, social scientific, narratological, and experiential. The discussion of the experiential dimension of the course references practical pedagogical strategies for making social justice and inequality real for our students. Understanding the realities of social inequality and its roots can foster a better understanding of the social forces and structures that perpetuate inequality. Furthermore, this approach can plant the intellectual and empathic seeds to challenge in-group bias and hopefully germinate into fruitful interaction with diverse others. Finally, this rich, interdisciplinary encounter with social inequality and justice can prepare students to work for just social structures that will lead to a more inclusive world. (shrink)

The hard problem of consciousness is a symptom of a fact of all scientific explanations. This article demonstrates through analogy with uncontroversial explanations that the hard problem of consciousness either shouldn't be considered a problem or that all scientific explanations are also lacking in the same way as an explanation of consciousness.

In recent years noise seems to have become an interdisciplinary concept par excellence, apt to capturing important dynamics at work whether in technological, scientific, social, or aesthetic domains. But when economists, biologists, psychologists, and musicians speak of noise, are they really all referring to the same thing? In An Epistemology of Noise Cecile Malaspina takes this dispersion of the notion of noise as a starting point, and moreover accepts that, when removed from its mathematical formulation in information theory and spread (...) into diverse disciplines, noise takes on a metaphorical ambiguity. Yet rather than aiming to eliminate this ambiguity, Malaspina sets out to account for it. The key problem in An Epistemology of Noise is not to identify the legitimate usage of the concept of noise, but rather to examine what happens when noise moves between disciplines, and what the ‘noisiness’ of this movement tells us about the conditions for interdisciplinary knowledge. Noise here is both an object (or many objects) of inquiry and a condition for that inquiry, and presents us with the problem of how knowledge can find its ground in these ‘shifting sands’ (9). (shrink)

Machine learning algorithms may radically improve our ability to diagnose and treat disease. For moral, legal, and scientific reasons, it is essential that doctors and patients be able to understand and explain the predictions of these models. Scalable, customisable, and ethical solutions can be achieved by working together with relevant stakeholders, including patients, data scientists, and policy makers.

Ethical decision-making frameworks assist in identifying the issues at stake in a particular setting and thinking through, in a methodical manner, the ethical issues that require consideration as well as the values that need to be considered and promoted. Decisions made about the use, sharing, and re-use of big data are complex and laden with values. This paper sets out an Ethics Framework for Big Data in Health and Research developed by a working group convened by the Science, Health and (...) Policy-relevant Ethics in Singapore Initiative. It presents the aim and rationale for this framework supported by the underlying ethical concerns that relate to all health and research contexts. It also describes a set of substantive and procedural values that can be weighed up in addressing these concerns, and a step-by-step process for identifying, considering, and resolving the ethical issues arising from big data uses in health and research. This Framework is subsequently applied in the papers published in this Special Issue. These papers each address one of six domains where big data is currently employed: openness in big data and data repositories, precision medicine and big data, real-world data to generate evidence about healthcare interventions, AI-assisted decision-making in healthcare, public-private partnerships in healthcare and research, and cross-sectoral big data. (shrink)

Majority cycling and related social choice paradoxes are often thought to threaten the meaningfulness of democracy. But deliberation can prevent majority cycles – not by inducing unanimity, which is unrealistic, but by bringing preferences closer to single-peakedness. We present the first empirical test of this hypothesis, using data from Deliberative Polls. Comparing preferences before and after deliberation, we find increases in proximity to single-peakedness. The increases are greater for lower versus higher salience issues and for individuals who seem to have (...) deliberated more versus less effectively. They are not merely a byproduct of increased substantive agreement. Our results both refine and support the idea that deliberation, by increasing proximity to single-peakedness, provides an escape from the problem of majority cycling. (shrink)

I would like to thank Kris McDaniel for his reply. In my original response to McDaniel I say that, given his interpretation of the distinction between conventional and ultimate truth, we would no longer be able to employ certain powerful arguments in favor of the thesis that persons are merely conventionally existent, and it would turn out that the thesis that persons are merely conventionally existent doesn't have some of the important implications that proponents of that thesis generally (...) take it to have. McDaniel offers a reply to both of these concerns. In the remainder of this rejoinder I will say a bit about his reply.In my original response to McDaniel I claim that a proponent of... (shrink)

Kris McDaniel has recently proposed an interpretation of the distinction between conventional truth and ultimate truth, as that distinction is made within Abhidharma metaphysics. According to McDaniel's proposal, the distinction between conventional truth and ultimate truth is closely connected with a similar distinction between conventional existence and ultimate existence. What is more, the distinction between conventional existence and ultimate existence should be interpreted along ontological pluralist lines: the difference between things that ultimately exist and things that merely conventionally (...) exist amounts to a difference in the modes of being enjoyed by the things in question.One... (shrink)

I raised the following question in a recent paper: What are the necessary and jointly sufficient conditions for an object's being a simple? And I proposed and defended this answer (which I called 'MaxCon'): Necessarily, x is a simple iff x is a maximally continuous object. In a more recent paper, Kris McDaniel raises several objections to MaxCon, including, in particular, two objections based on a principle about the supervenience of constitution that he calls 'SoC'. The purpose of the (...) present paper is to address the main objections raised by McDaniel, and to show that none of them poses a serious threat to MaxCon. (shrink)

In this paper, I attempt to look at the differential (as in interventionist) readings undertaken by speculative realists (A school of contemporary thought reacting against post-Kantian 'Correlationism') Iain Hamilton Grant and Ray Brassier, with the former concentrating on reading Schelling's naturalism relating to reason, while the latter claiming the constancy of thought's connection to thought. For Brassier, thought must be transcendentally separate from nature, or what he calls 'exteriority', and Grant insists on nature's thinking as plain nature. This doesn't (...) mean 'interiority' is given weight in Grant's thought, but, on the contrary isn't a concern, as for him, the limiting factor of thinking (dichotomy in subject-object relationality) is the regionality of a particular identity attempting to grasp nature's infintude. Brassier maintains scientific statements as capable of supplying reasons for believing in the possibilities of determining thought's tracking and missing nature. He accomplishes this by clarifying notions of concept and distinguishing objects from concepts. This alien-ness of thought generates the possibilities of questioning the human production as against nature. This cardinal issue tries to answer the repercussions probably generated in the wake of either apathetic aspects of mind or the deepest powers of speculation. Not only that, a simultaneous questioning of the legitimacy of ontology and epistemology in the natural world is encountered. Grant advocates the objectifying of the self to grasp the productivity of self's thinking, but at the same time considering objectifying as an ongoing process, a kind of 'becoming'. In other words, it is the questioning of the limits of 'being' in the creation of episteme that takes precedence in Grant. Brassier on the other hand is concerned with the doing away of the dichotomy of being and thinking of meaning. This tension raises the issue of nature philosophy in a duel of 'eliminativism' and 'materialism', between the extent that calls for grounding nature without reliance on a structure undermining the discovery of contemporary science or supporting an anthropic view. (shrink)

Peran dunia pendidikan menjadi penting dalam membangun peradaban bangsa yang didasarkan atas jati diri dan karakter bangsa. Tema Hari Pendidikan Nasional Tahun 2012 ini adalah “Bangkitnya Generasi Emas Indonesia”. Tema ini sejalan dengan hakikat pendidikan yang telah ditekankan oleh Bapak Pendidikan Nasional yaitu Ki Hajar Dewantoro. Melalui pembangunan karakter bangsa, diharapkan dapat menciptakan manusia Indonesia yang unggul. Dalam penelitian ini, mengembangkan 6 (enam) nilai karakteristik yang wajib tertanam pada setiap diri mahasiswa. Karakteristik tersebut ditanamkan melalui proses perkuliahan yang diselenggarakan selama (...) 1 semester pada Mata Kuliah Matematika 1 di Jurusan PGMI Fakultas Tarbiyah Tahun Pelajaran 2011-2012. Pada mata kuliah ini, pendidikan karakter didekati melalui pemecahan masalah, yang merupakan bagian penting yang harus diajarkan kepada peserta didik. Pendekatan yang dilakukan adalah dengan metode inkulkasi (penanaman), yang ditempuh dengan memperhatikan perbedaan pada masing-masing peserta didik. Di sinilah penggolongan tipe kepribadian akan bermanfaat untuk menghargai perbedaan, sehingga bermanfaat bagi penunjang keberhasilan pembelajaran. Hasil yang diharapkan dari pembelajaran ini adalah peserta didik mampu memecahkan masalah dalam kehidupannya, dengan didasari oleh nilai yang sekaligus akan dapat mendukung pembangunan karakternya, sehingga pada akhirnya pendidikan karakter dapat tertanam. (shrink)

Review of Iain McGilchrist, 'The Master and His Emissary'.

This thesis articulates a novel interpretation of Heidegger’s explication of the being (Seins) of gear (Zeugs) in §15 of his masterwork Being and Time (1927/2006) and develops and applies the position attributed to Heidegger to explain three phenomena of unreflective action discussed in recent literature and articulate a partial Heideggerian ecological metaphysics. Since §15 of BT explicates the being of gear, Part 1 expounds Heidegger’s concept of the ‘being’ (Seins) of beings (Seienden) and two issues raised in the ‘preliminary methodological (...) remark’ in §15 of BT regarding explicating being. §1.1 interprets the being (Sein) or synonymously constitution of being (Seinsverfassung) of a being (Seienden) as a regional essence: a property unifying a region (Region), district (Bezirk), or subject-area (Sachgebiet) – a highly general (‘regional’) class of entities. Although Heidegger posits two components of the being of a being, viz. material-content (Sachhaltigkeit, Sachgehalt) and mode-of-being (Seinsart) or way-of-being (Seinsweise, Weise des Seins, Weise zu sein) (1927/1975, 321), the unclarity of this distinction means that it does not figure prominently herein. §1.2 addresses Heidegger’s distinction between ontological and ontic investigations and his notion of ‘modes of access’ (Zugangsarten, Zugangsweisen). Part 2 expounds §15 of BT’s explication of the being of gear. §2.1 analyses Heidegger’s two necessary and sufficient conditions for being gear and three core basic concepts (Grundbegriffe) enabling comprehension of these conditions and therewith a foundational comprehension of gear. Heidegger explicates the being of gear through content of unreflectively purposeful, non-intersubjective intentional states. I term such states ‘mundane concern’, which is almost synonymous with Hubert Dreyfus’s term ‘absorbed coping’ (1991, 69). Heidegger’s explication highlights around-for references (Um-zu-Verweisungen) as the peculiar species of property figuring in mundanely concernful intentional content. §2.2 clarifies Heidegger’s position on the relationship between to-hand-ness (Zuhandenheit) and extantness (Vorhandenheit) in the narrow sense: two of Heidegger’s most widely discussed concepts. I reject Kris McDaniel’s recent reading of Heidegger as affirming that nothing could be both to-hand and extant simultaneously (McDaniel 2012). Part 3 develops and applies Heidegger’s phenomenology of mundane concern. §3.1 explains the phenomena of situational holism, situated normativity, and mundanely concernful prospective control. §3.2 undertakes the metaphysical accommodation of around-for references, which §3.1 posited as featuring prominently within mundanely concernful intentional content. This thesis thus contributes not only to Heidegger scholarship, but also to contemporary debates within the philosophy of action and cognitive science. (shrink)

This article aims to provide a new ontological argument for the existence of God. A specific ‘modal’ version of the ontological argument—termed the Modal Realist Ontological Argument—is formulated within the modal realist metaphysical framework of David K. Lewis, Kris McDaniel and Philip Bricker. Formulating this argument within this specific framework will enable the plausibility of its central premise (i.e., the ‘Possibility Premise’) to be established, and allow one to affirm the soundness of the argument—whilst warding off two oft-raised objections (...) against this type of natural theological argument. (shrink)

This article aims to provide a defense of the coherence of the doctrine of middle knowledge against the Grounding Objection. A solution to the Grounding Objection is provided by utilising the metaphysical thesis of Modal Realism proposed by David K. Lewis (as further developed by Kris McDaniel and Philip Bricker). Utilising this metaphysical thesis will enable the Counterfactuals of Creaturely Freedom, that are part of God’s middle knowledge, to have pre-volitional truthmakers, and thus, ultimately, we will have a means (...) to finally deal with this problematic issue that has often been raised against this doctrine. (shrink)

Impossible worlds are representations of impossible things and impossible happenings. They earn their keep in a semantic or metaphysical theory if they do the right theoretical work for us. As it happens, a worlds-based account provides the best philosophical story about semantic content, knowledge and belief states, cognitive significance and cognitive information, and informative deductive reasoning. A worlds-based story may also provide the best semantics for counterfactuals. But to function well, all these accounts need use of impossible and as well (...) as possible worlds. So what are impossible worlds? Graham Priest claims that any of the usual stories about possible worlds can be told about impossible worlds, too. But far from it. I'll argue that impossible worlds cannot be genuine worlds, of the kind proposed by Lewis, McDaniel or Yagisawa. Nor can they be ersatz worlds on the model proposed by Melia or Sider. Constructing impossible worlds, it turns out, requires novel metaphysical resources. (shrink)

Reply to Stephanie Leary’s, Kris McDaniel’s, Tristram McPherson’s and David Plunkett’s articles on Choosing Normative Concepts (OUP, 2017) in book symposium in Inquiry.

Desire satisfaction has not received detailed philosophical examination. Yet intuitive judgments about the satisfaction of desires have been used as data points guiding theories of desire, desire content, and the semantics of ‘desire’. This paper examines desire satisfaction and the standard propositional view of desire. Firstly, I argue that there are several distinct concepts of satisfaction. Secondly, I argue that separating them defuses a difficulty for the standard view in accommodating desires that Derek Parfit described as ‘implicitly conditional on their (...) own persistence’, a problem posed by Shieva Kleinschmidt, Kris McDaniel, and Ben Bradley. The solution undercuts a key motivation for rejecting the standard view in favour of more radical accounts proposed in the literature. (shrink)

In ‘Moral case for legal age change’, I argue that sometimes people should be allowed to change their age. I refute six immediate objections against the view that age change is permissible. I argue that the objections cannot show that legal age change should always be prohibited. In this paper, I consider some further objections against legal age change raised by Iain Brassington, Toni Saad and William Simkulet. I argue that the objections fail to show that age change should (...) never be allowed. (shrink)

Mereological challenges have recently been raised against the endurantist. For instance, Barker and Dowe (2003) have argued that eternalist endurantism entails (1) persisting objects are both 3D and 4D, and that (2) the lives of persisting objects last longer than they actually do. They also argue that presentist endurantism also entails, albeit in a tensed way, that (3) the lives of persisting objects last longer than they actually do. While they’ve further argued (2005) that the objections raised by McDaniel (...) (2003) and Beebee and Rush (2003) fail, here I show that such objections are tenable without requiring further significant metaphysical commitments; I argue that such endurantist defences are tenable, contra to prior analyses. (shrink)

This article aims to provide a new solution to the Logical Problem of the Incarnation by proposing a novel metaphysical reconstrual of the method of reduplicative predication. This reconstrual will be grounded upon the metaphysical thesis of ‘Ontological Pluralism, proposed by Kris McDaniel and Jason Turner, and the notion of an ‘aspect’ proposed by Donald L. M. Baxter. Utilising this thesis and notion will enable the method of reduplicative predication to be further clarified, and the central objection that is (...) often raised against this approach can be successfully answered. (shrink)