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)

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)

I consider statistical criteria of algorithmic fairness from the perspective of the _ideals_ of fairness to which these criteria are committed. I distinguish and describe three theoretical roles such ideals might play. The usefulness of this program is illustrated by taking Base Rate Tracking and its ratio variant as a case study. I identify and compare the ideals of these two criteria, then consider them in each of the aforementioned three roles for ideals. This ideals program may present a way (...) forward in the normative evaluation of candidate statistical criteria of algorithmic fairness. (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)

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

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

Guthrie contends that religion can best be understood as systematic anthropomorphism - the attribution of human characteristics to nonhuman things and events. Religion, he says, consists of seeing the world as human like. He offers a fascinating array of examples to show how this strategy pervades secular life and how it characterizes religious experience.

Draft for the Oxford Handbook of Margaret Cavendish (edited by Julie Crawford with Jacqueline Broad). -/- This chapter looks at Margaret Cavendish's treatment of the supernatural, beginning by asking how she distinguishes the natural from the supernatural, and then by examining her treatment of a series of alleged supernatural beings: fairies, ghosts, witches, the human supernatural soul, angels, and God. Throughout, it argues that Cavendish's approach to the supernatural is often similar to Thomas Hobbes's.

Supra-Bayesianism is the Bayesian response to learning the opinions of others. Probability pooling constitutes an alternative response. One natural question is whether there are cases where probability pooling gives the supra-Bayesian result. This has been called the problem of Bayes-compatibility for pooling functions. It is known that in a common prior setting, under standard assumptions, linear pooling cannot be nontrivially Bayes-compatible. We show by contrast that geometric pooling can be nontrivially Bayes-compatible. Indeed, we show that, under certain assumptions, geometric and (...) Bayes-compatible pooling are equivalent. Granting supra-Bayesianism its usual normative status, one upshot of our study is thus that, in a certain class of epistemic contexts, geometric pooling enjoys a normative advantage over linear pooling as a social learning mechanism. We discuss the philosophical ramifications of this advantage, which we show to be robust to variations in our statement of the Bayes-compatibility problem. (shrink)

This chapter considers Ralph Cudworth as a philosophical critic of Hobbes. Cudworth saw Hobbes as a representative of the three views he was attacking: atheism, determinism, and the denial that morality is eternal and immutable. Moreover, he did not just criticize Hobbes by assuming that a general critique of those views applied to Hobbes’s particular case. Rather, he singled out Hobbes, often by quoting him, and argued against the distinctively Hobbesian positions he had identified. In this chapter I look at (...) Cudworth as a critic of Hobbes in two of the three central areas, atheism and ethics, focusing on passages where we see him explicitly picking out Hobbes. (shrink)

In the early years of the eighteenth century Leibniz had several interactions with John Toland. These included, from 1702 to 1704, discussions of materialism. Those discussions culminated with the consideration of Toland's 1704 Letters to Serena, where Toland argued that matter is necessarily active. In this paper I argue for two main theses about this exchange and its consequences for our wider understanding. The first is that, despite many claims that Toland was at the time of Letters to Serena a (...) Spinozist, we can make better sense of him as a sort of Hobbesian materialist. The second main point concerns reasons for materialism, and in particular a story Locke tells in the Essay about materialists' motives. Toland defends his materialism by arguing that matter is active, and argues that matter is active by using a conceivability argument. But this is not the crude conceivability argument that Locke suggests motivates materialists. This (together with reflecting on some of Hobbes's arguments) suggests that we might well tell a Lockean story about reasons for early modern materialism, but not Locke's story. (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)

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 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.

Timothy Williamson has fruitfully exploited formal resources to shed considerable light on the nature of knowledge. In the paper under examination, Williamson turns his attention to Gettier cases, showing how they can be motivated formally. At the same time, he disparages the kind of justification he thinks gives rise to these cases. He favors instead his own notion of justification for which Gettier cases cannot arise. We take issue both with his disparagement of the kind of justification that figures in (...) Gettier cases and the specifics of the formal motivation. (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)

In the _True Intellectual System_, Cudworth attacks types of atheist position—atomic atheism, hylozoic atheism, etc. He generally uses ancient examples to illustrate those types, but also criticizes some of his contemporaries. We can identify direct criticisms of contemporaries by finding quotations, paraphrases, and accounts of their views in the text. My primary question in this paper is, 'how much of the _True Intellectual System_ is directly about or aimed at Spinoza?' My ultimate answer, contrary to some prominent voices in the (...) existing literature, is 'not very much at all'. (shrink)

Thomas Hobbes often includes powers and abilities in his descriptions of the world. Meanwhile, Hobbes’s philosophical picture of the world appears quite reductive, and he seems sometimes to say that nothing exists but bodies in motion. In more extreme versions of such a picture, there would be no room for powers. Hobbes is not an eliminativist about powers, but his view does tend toward ontological minimalism. It would be good to have an account of what Hobbes thinks powers are, and (...) how they fit into his understanding of the world. In this chapter, I investigate Hobbes’s account of the metaphysics of powers and abilities. Section 1 considers three important aspects of Hobbes’s account of powers: the connection between powers and causes; the modal aspects of powers; and the connection between powers and motions. Sections 2 and 3 then consider interpretive arguments about whether Hobbes identifies powers with underlying corporeal features. (shrink)

Language was central to Hobbes's understanding of human beings and their mental abilities, and criticism of other philosophers' uses of language became a favorite critical tool for him. This paper connects Hobbes's theories about language to his criticisms of others' language, examining Hobbes's theories of propositions and truth, and how they relate to his claims that various sorts of proposition are absurd. It considers whether Hobbes in fact means anything more by 'absurd' than 'false'. And it pays particular attention to (...) Hobbes's categorization of causes of absurdity and of types of incoherent proposition, arguing that Hobbes's approach is only loosely related to later discussions of category mistakes. (shrink)

This chapter looks at the discussion of materialism in John Locke’s Essay concerning Human Understanding, and then at parts of the Anglophone reaction to those discussions. It considers the early criticisms of Locke by Edward Stillingfleet and the anonymous author of three sets of Remarks on Locke’s Essay. It then looks at some other ways in which readers reacted to Locke’s discussions: the views of Anthony Collins and John Toland, which one might be tempted to think of as Lockean materialism; (...) William Carroll’s reading of Locke as a Spinozistic materialist; and the dualistic Lockeanism of William Duncan’s Lockean logic textbook. (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 his Enquiry concerning the Principles of Morals David Hume said that a group of earlier modern philosophers, beginning with Malebranche, held that morality was founded on relations. In this paper I follow up on that suggestion by investigating pre-Humean views in moral philosophy according to which morality is founded on relations. I do that by looking at the work of Nicolas Malebranche, John Locke, and Samuel Clarke. Each of them talked prominently about relations in their accounts of basic aspects (...) of morality. Beyond that, each of them turns out to have held both metaphysical and epistemological views that might be described as founding morality on relations. Despite the definite differences between the three philosophers’ approaches, Hume does seem to have noticed a genuine connection here—even though he himself tended to ignore significant versions of this approach when criticizing it. (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 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)

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

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

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)

Gassendi and Hobbes knew each other, and their approaches to philosophy often seem similar. They both criticized the Cartesian epistemology of clear and distinct perception. Gassendi engaged at length with skepticism, and also rejected the Aristotelian notion of scientia, arguing instead for a probabilistic view that shows us how we can move on in the absence of certain and evident knowledge. Hobbes, in contrast, retained the notion of scientia, which is the best sort of knowledge and involves causal explanation. He (...) thought, however, that this sort of knowledge was only available in geometry and political philosophy. (shrink)

Alvin Plantinga’s theory of knowledge, as developed in his Warrant trilogy, has shaped the debates surrounding many areas in epistemology in profound ways. Plantinga has received his share of criticism, however, particularly in his treatment of belief in God as being “properly basic”. There has also been much confusion surrounding his notions of warrant and proper function, to which Plantinga has responded numerous times. Many critics remain unsatisfied, while others have developed alternative understandings of warrant in order to rescue Plantinga’s (...) theory from certain objections. The most promising of such attempts fall under the broad category of “virtue epistemology” or a “virtue-theoretic” approach. The work being done in virtue epistemology is still in its early stages and a consensus on what actually constitutes virtue epistemology has yet to be reached. While some have attempted to structure an entire theory of knowledge based on the virtues possessed by the knower, others have focused more on the role of epistemic virtues as an attempt to supplement existing theories, including Plantinga’s. In this paper, I will offer an analysis of what such an attempt might look like and evaluate the potential success of broadening Plantinga’s original model. -/- My proposal is that certain features of a virtue-theoretic approach (also referred to as “agent-reliabilism”) could improve Plantinga’s model in significant ways. Not only would such a broadened approach be better equipped to handle common objections, but it would also be better suited to contribute an enhanced understanding of the task of epistemology, one that seeks to discover multiple epistemic goods other than what has been traditionally confined to the realm of knowledge. I conclude by applying this approach to Plantinga’s treatment of theistic belief in Warranted Christian Belief and by articulating a few of the ways in which epistemic virtues can increase the degree of warrant enjoyed by such belief. (shrink)

The traditional view in epistemology is that we must distinguish between being rational and being right (that is also, by the way, the traditional view about practical rationality). In his paper in this volume, Williamson proposes an alternative view according to which only beliefs that amount to knowledge are rational (and, thus, no false belief is rational). It is healthy to challenge tradition, in philosophy as much as elsewhere. But, in this instance, we think that tradition has it right. In (...) this paper we defend our version of the traditional view and argue against Williamson’s alternative. (shrink)

This paper discusses the materialist views of Margaret Cavendish, focusing on the relationships between her views and those of two of her contemporaries, Thomas Hobbes and Henry More. It argues for two main claims. First, Cavendish's views sit, often rather neatly, between those of Hobbes and More. She agreed with Hobbes on some issues and More on others, while carving out a distinctive alternative view. Secondly, the exchange between Hobbes, More, and Cavendish illustrates a more general puzzle about just what (...) divided materialists from their opponents. Seemingly straightforward disagreements about whether incorporeal substances exist turn out to be more complex ones in which the nature of those things is disputed at the same time as their existence. (shrink)

We introduce a fairness criterion that we call Spanning. Spanning i) is implied by Calibration, ii) retains interesting properties of Calibration that some other ways of relaxing that criterion do not, and iii) unlike Calibration and other prominent ways of weakening it, is consistent with Equalized Odds outside of trivial cases.

Leibniz's correspondence with Thomas Burnett of Kemnay is probably best known for Leibniz's attempts to communicate with Locke via Burnett. But Burnett was also, more generally a source of English intellectual news for Leibniz. As such, Burnett provided an important part of the context in which Locke was presented to and understood by Leibniz. This paper examines the Leibniz-Burnett correspondence, and argues against Jolley's suggestion that "the context in which Leibniz learned about Locke was primarily a theological one". That said, (...) in thinking about Locke's Reasonableness of Christianity, and his subsequent defenses of it, Leibniz does offer an argument against Locke's book -- but not one that's closely related to Locke's theological views, or to any accusation of Socinianism. The paper also considers, by way of contrast, the way Leibniz and Burnett talk about the more obviously controversial figure John Toland. (shrink)

I argue that Hobbes isn't really a materialist in the early 1640s (in, e.g., the Third Objections to Descartes's Meditations). That is, he doesn't assert that bodies are the only substances. However, he does think that bodies are the only substances we can think about using imagistic ideas.

Hobbes denies in Leviathan that we have an idea of God. He does think, though, that God exists, and does not even deny that we can think about God, even though he says we have no idea of God. There is, Hobbes thinks, another cognitive mechanism by means of which we can think about God. That mechanism allows us only to think a few things about God though. This constrains what Hobbes can say about our knowledge of God, and grounds (...) his belief in a fairly strong version of the thesis that God is incomprehensible. (shrink)

The Evolutionary Manifesto shows that evolution is directional and demonstrates that this has major implications for humanity. The Manifesto shows that humanity must align its social systems and behaviour with the trajectory of evolution if we are to survive and thrive into the future. The Manifesto goes on to demonstrate that humanity has an essential role to play in the future evolution of life on this planet. It demonstrates that life on Earth has reached a critical stage in evolution’s trajectory. (...) Up to now evolution has moved along its trajectory blindly and unconsciously. But if evolution on Earth is to continue to advance successfully in the future, the process will have to be driven intentionally and consciously by humanity. In this way, a proper understanding of evolution shows us how we can live a life that matters in a larger scheme of things. An evolutionary worldview answers the fundamental existential question that faces us all: “What should I do with my life?” The Manifesto outlines in broad terms what humanity must do to advance the evolutionary process—how we will intentionally have to re-make our political, social and economic systems, and how we will need to develop our cognition and consciousness. As such, the Manifesto presents a detailed case for evolutionary activism--coordinated action directed at advancing the evolutionary process intentionally. (shrink)

I discuss Hume's views about whether simplicity and generality are positive features of explanations. In criticizing Hobbes and others who base their systems of morality on self interest, Hume diagnoses their errors as resulting from a "love of simplicity". These worries about whether simplicity is a positive feature of explanations emerge in Hume's thinking over time. But Hume does not completely reject the idea that it's good to seek simple explanations. What Hume thinks we need is good judgment about when (...) we are going too far in our search for simple explanations. These worries about simplicity are not unique to Hume. We can see versions of them in the work of Hutcheson, Smith, and Reid. (shrink)

When trust is broken, how should we determine who is at fault? Previous discus- sions of broken trust typically attribute the fault to trusters who place trust foolishly or trustees who act in an untrustworthy manner. These discussions take for granted the ability of the truster and trustee to communicate and understand the boundaries of what is being entrusted, that is, the domain of trust. However, the boundaries of entrusted domains are not always clear to either party which can result (...) in broken trust despite the best efforts of both truster and trustee. In this paper, I argue that deter- mining who to blame when trust is broken is a messy affair in which disagreements over fault regularly arise. I introduce three features of trust domains that take center stage in negotiations regarding who is at fault when trust is broken: scope, rigidity and ordering. (shrink)

There is a theorem that shows that it is impossible for an algorithm to jointly satisfy the statistical fairness criteria of Calibration and Equalised Odds non-trivially. But what about the recently advocated alternative to Calibration, Base Rate Tracking? Here, we show that Base Rate Tracking is strictly weaker than Calibration, and then take up the question of whether it is possible to jointly satisfy Base Rate Tracking and Equalised Odds in non-trivial scenarios. We show that it is not, thereby establishing (...) an even more general impossibility theorem. (shrink)

Leibniz's mill argument in 'Monadology' 17 is a well-known but puzzling argument against materialism about the mind. I approach the mill argument by considering other places where Leibniz gave similar arguments, using the same example of the machinery of a mill and reaching the same anti-materialist conclusion. In a 1702 letter to Bayle, Leibniz gave a mill argument that moves from his definition of perception (as the expression of a multitude by a simple) to the anti-materialist conclusion. Soon afterwards, in (...) the Preface to the New Essays, Leibniz gave a different mill argument. That argument depends upon there being no arbitrary and inexplicable connections in nature, because God would not create such things. Later, in the 'Monadology', Leibniz again used the mill example in arguing against materialism. That passage too, I argue, uses an argument from inexplicability rather than from Leibniz's definition of perception. (shrink)

The evolution of life on Earth has produced an organism that is beginning to model and understand its own evolution and the possible future evolution of life in the universe. These models and associated evidence show that evolution on Earth has a trajectory. The scale over which living processes are organized cooperatively has increased progressively, as has its evolvability. Recent theoretical advances raise the possibility that this trajectory is itself part of a wider developmental process. According to these theories, the (...) developmental process has been shaped by a yet larger evolutionary dynamic that involves the reproduction of universes. This evolutionary dynamic has tuned the key parameters of the universe to increase the likelihood that life will emerge and produce outcomes that are successful in the larger process (e.g. a key outcome may be to produce life and intelligence that intentionally reproduces the universe and tunes the parameters of ‘offspring’ universes). Theory suggests that when life emerges on a planet, it moves along this trajectory of its own accord. However, at a particular point evolution will continue to advance only if organisms emerge that decide to advance the developmental process intentionally. The organisms must be prepared to make this commitment even though the ultimate nature and destination of the process is uncertain, and may forever remain unknown. Organisms that complete this transition to intentional evolution will drive the further development of life and intelligence in the universe. Humanity’s increasing understanding of the evolution of life in the universe is rapidly bringing it to the threshold of this major evolutionary transition. (shrink)

Merging of opinions results underwrite Bayesian rejoinders to complaints about the subjective nature of personal probability. Such results establish that sufficiently similar priors achieve consensus in the long run when fed the same increasing stream of evidence. Initial subjectivity, the line goes, is of mere transient significance, giving way to intersubjective agreement eventually. Here, we establish a merging result for sets of probability measures that are updated by Jeffrey conditioning. This generalizes a number of different merging results in the literature. (...) We also show that such sets converge to a shared, maximally informed opinion. Convergence to a maximally informed opinion is a (weak) Jeffrey conditioning analogue of Bayesian “convergence to the truth” for conditional probabilities. Finally, we demonstrate the philosophical significance of our study by detailing applications to the topics of dynamic coherence, imprecise probabilities, and probabilistic opinion pooling. (shrink)

The notion of signification is an important part of Hobbes's philosophy of language. It also has broader relevance, as Hobbes argues that key terms used by his opponents are insignificant. However Hobbes's talk about names' signification is puzzling, as he appears to have advocated conflicting views. This paper argues that Hobbes endorsed two different views of names' signification in two different contexts. When stating his theoretical views about signification, Hobbes claimed that names signify ideas. Elsewhere he talked as if words (...) signified the things they named. Seeing this does not just resolve a puzzle about Hobbes's statements about signification. It also helps us to understand how Hobbes's arguments about insignificant speech work. With one important exception, they depend on the view that names signify things, not on Hobbes's stated theory that words signify ideas. The paper concludes by discussing whether arguments about insignificant speech can provide independent support for Hobbes's views about other issues, such as materialism. (shrink)

This paper investigates Locke’s views about materialism, by looking at the discussion in Essay IV.x. There Locke---after giving a cosmological argument for the existence of God---argues that God could not be material, and that matter alone could never produce thought. In discussing the chapter, I pay particular attention to some comparisons between Locke’s position and those of two other seventeenth-century philosophers, René Descartes and Ralph Cudworth. -/- Making use of those comparisons, I argue for two main claims. The first is (...) that the important argument of Essay IV.x.10 is fundamentally an argument about the causation of perfections. Indeed, Locke gives multiple such arguments in the chapter. My second main claim is that my proposed reading of IV.x is not merely consistent with what Locke says elsewhere about superaddition, but also provides reasons to favor a particular understanding of what superaddition is. (shrink)

Humans are able to construct mental representations and models of possible interactions with their environment. They can use these mental models to identify actions that will enable them to achieve their adaptive goals. But humans do not use this capacity to identify and implement the actions that would contribute most to the evolutionary success of humanity. In general, humans do not find motivation or satisfaction in doing so, no matter how effective such actions might be in evolutionary terms. From an (...) evolutionary perspective, this is a significant limitation in the psychological adaptability of humans. This paper sets out to identify the new psychological capacity that would be needed to overcome this limitation and how the new capacity might be acquired. Humans that develop this capacity will become self-evolving organisms - organisms that are able to adapt in whatever ways are necessary for future evolutionary success, largely unfettered by their biological and social past. (shrink)