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

As central as the method of forcing is within set theory, it has yet to be incorporated into the philosopher's toolbox. That strikes me as a shame, since it may well have important applications within philosophy. One barrier is that typical presentations of forcing are overly dry and technical and make it seem inherently bound up with its applications within set theory. The purpose of this note is to try to rectify this. In particular, I will explain how the method (...) of forcing can be seen as a way of constructing a certain kind of intensional model that philosophers are already interested in: namely, possibility models. (shrink)

As aesthetic beings, we are receptive to and engaged with the sensuous phenomena of life while also knowing that we are targets of others’ awareness: we are both aesthetic agents and aesthetic objects. Our psychological health, our standing within our communities, and our overall wellbeing can be profoundly affected by our aesthetic surroundings and by whether and how we receive aesthetic recognition from others. When our embodied selves and our cultural products are valued, and when we have rich opportunities for (...) aesthetic experience and for the exercise of aesthetic agency, the aesthetic can foster and sustain wellbeing and help to make our lives worthwhile. But when we are subjected to aesthetic blight, restriction of our aesthetic agency, and aesthetic devaluing of our embodied selves and our communities’ cultural products, the aesthetic can do great harm: such aesthetic maneuvers play a significant role in oppression and social hierarchy related to race, gender, fatness, and disability. This essay explores the notions of aesthetic objects and aesthetic agents, their relations with each other, and the unique affordances of persons’ status as simultaneously aesthetic objects and aesthetic agents. It examines the prospects for bodily aesthetic experience to promote wellbeing and, at the end, considers how the aesthetic might play a role in establishing forms of mutual vulnerability and recognition to combat oppressive social hierarchies. (shrink)

The curriculum design, faculty characteristics, and experience of implementing masters' level international research ethics training programs supported by the Fogarty International Center was investigated. Multiple pedagogical approaches were employed to adapt to the learning needs of the trainees. While no generally agreed set of core competencies exists for advanced research ethics training, more than 75% of the curricula examined included international issues in research ethics, responsible conduct of research, human rights, philosophical foundations of research ethics, and research regulation and ethical (...) review process. Common skills taught included critical thinking, research methodology and statistics, writing, and presentation proficiency. Curricula also addressed the cultural, social, and religious context of the trainees related to research ethics. Programs surveyed noted trainee interest in Western concepts of research ethics and the value of the transnational exchange of ideas. Similar faculty expertise profiles existed in all programs. Approximately 40% of faculty were female. Collaboration between faculty from low- and middleincome countries (LMICs) and high-income countries (HICs) occurred in most programs and at least 50% of HIC faculty had previous LMIC experience. This paper is part of a collection of papers analyzing the Fogarty International Research Ethics Education and Curriculum Development program. (shrink)

Philosophy and Phenomenological Research, Volume 104, Issue 1, Page 19-49, January 2022.

Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...) But considering it in relation to conceptual art sheds light on its achievements and one notable limitation. In the realm of appropriation, the fact that the re-recordings exhibit both close resemblance to and subtle differences from the originals has prompted an intensity of close listening by audience members, with distinctive aesthetic experiences in the realm of the uncanny. In the realm of participation, Swift has creatively motivated her fans to abandon her beloved original albums, and the fans have in turn evolved a variety of strategies to shift their allegiance to the new versions and hold each other accountable. When it comes to institutional critique—the movement in conceptual art that highlights and challenges the power structures governing art institutions—Swift’s project has raised awareness of troubling and exploitative power dynamics in the music industry. However, consideration of historical precursors of Swift’s institutional critique may lead us to question some elements of her self-presentation as a victim of gendered exploitation. (shrink)

On a now orthodox view, humans and many other animals possess a “number sense,” or approximate number system, that represents number. Recently, this orthodox view has been subject to numerous critiques that question whether the ANS genuinely represents number. We distinguish three lines of critique – the arguments from congruency, confounds, and imprecision – and show that none succeed. We then provide positive reasons to think that the ANS genuinely represents numbers, and not just non-numerical confounds or exotic substitutes for (...) number, such as “numerosities” or “quanticals,” as critics propose. In so doing, we raise a neglected question: numbers of what kind? Proponents of the orthodox view have been remarkably coy on this issue. But this is unsatisfactory since the predictions of the orthodox view, including the situations in which the ANS is expected to succeed or fail, turn on the kind of number being represented. In response, we propose that the ANS represents not only natural numbers, but also non-natural rational numbers. It does not represent irrational numbers, however, and thereby fails to represent the real numbers more generally. This distances our proposal from existing conjectures, refines our understanding of the ANS, and paves the way for future research. (shrink)

It has been hypothesized that our believing that, or its seeming to us as though, the world is in some way dynamical partially explains (and perhaps rationalizes) future-bias. Recent work has, in turn, found a correlation between future-bias and near-bias, suggesting that there is a common explanation for both. Call the claim that what partially explains our being both future- and near-biased is our believing/it seeming to us as though the world is dynamical, the dynamical explanation. We empirically test two (...) versions of the dynamical explanation. The first is the moving ego explanation—according to which it is our belief that the ego moves, or our phenomenology as of the ego moving, that jointly (partially) explains future- and near-bias. The second is the moving time explanation—according to which it is our belief that time robustly passes, or our phenomenology as of robust passage, which jointly (partially) explain future- and near-bias. We found no evidence in favour of either explanation. (shrink)

Formal models of appearance and reality have proved fruitful for investigating structural properties of perceptual knowledge. This paper applies the same approach to epistemic justification. Our central goal is to give a simple account of The Preface, in which justified belief fails to agglomerate. Following recent work by a number of authors, we understand knowledge in terms of normality. An agent knows p iff p is true throughout all relevant normal worlds. To model The Preface, we appeal to the normality (...) of error. Sometimes, it is more normal for reality and appearance to diverge than to match. We show that this simple idea has dramatic consequences for the theory of knowledge and justification. Among other things, we argue that a proper treatment of The Preface requires a departure from the internalist idea that epistemic justification supervenes on the appearances and the widespread idea that one knows most when free from error. (shrink)

It has been claimed that naïve realism predicts phenomenological similarities where there are none and, thereby, mischaracterises the phenomenal character of perceptual experience. If true, this undercuts a key motivation for the view. Here, we defend naïve realism against this charge, proposing that such arguments fail (three times over). In so doing, we highlight a more general problem with critiques of naïve realism that target the purported phenomenological predictions of the view. The problem is: naïve realism, broadly construed, doesn’t make (...) phenomenological predictions of the required sort. So, as a result, opponents must resign themselves to attacking specific incarnations of naïve realism, or approach matters quite differently. (shrink)

Jerry Fodor deemed informational encapsulation ‘the essence’ of a system’s modularity and argued that human perceptual processing comprises modular systems, thus construed. Nowadays, his conclusion is widely challenged. Often, this is because experimental work is seen to somehow demonstrate the cognitive penetrability of perceptual processing, where this is assumed to conflict with the informational encapsulation of perceptual systems. Here, I deny the conflict, proposing that cognitive penetration need not have any straightforward bearing on the conjecture that perceptual processing is composed (...) of nothing but informationally encapsulated modules, the conjecture that each and every perceptual computation is performed by an informationally encapsulated module, and the consequences perceptual encapsulation was traditionally expected to have for a perception-cognition border, the epistemology of perception and cognitive science. With these points in view, I propose that particularly plausible cases of cognitive penetration would actually seem to evince the encapsulation of perceptual systems rather than refute/problematize this conjecture. (shrink)

This paper refines a controversial proposal: that core systems belong to a perceptual kind, marked out by the format of its representational outputs. Following Susan Carey, this proposal has been understood in terms of core representations having an iconic format, like certain paradigmatically perceptual outputs. I argue that they don’t, but suggest that the proposal may be better formulated in terms of a broader analogue format type. Formulated in this way, the proposal accommodates the existence of genuine icons in perception, (...) and avoids otherwise troubling objections. (shrink)

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

Call an explanation in which a non-mathematical fact is explained—in part or in whole—by mathematical facts: an extra-mathematical explanation. Such explanations have attracted a great deal of interest recently in arguments over mathematical realism. In this article, a theory of extra-mathematical explanation is developed. The theory is modelled on a deductive-nomological theory of scientific explanation. A basic DN account of extra-mathematical explanation is proposed and then redeveloped in the light of two difficulties that the basic theory faces. The final view (...) appeals to relevance logic and uses resources in information theory to understand the explanatory relationship between mathematical and physical facts. 1Introduction2Anchoring3The Basic Deductive-Mathematical Account4The Genuineness Problem5Irrelevance6Relevance and Information7Objections and Replies 7.1Against relevance logic7.2Too epistemic7.3Informational containment8Conclusion. (shrink)

It is often claimed that pre-attentive vision has an ‘iconic’ format. This is seen to explain pre-attentive vision's characteristically high processing capacity and to make sense of an overlap in the mechanisms of early vision and mental imagery. But what does the iconicity of pre-attentive vision amount to? This paper considers two prominent ways of characterising pre-attentive visual icons and argues that neither is adequate: one approach renders the claim ‘pre-attentive vision is iconic’ empirically false while the other obscures its (...) ability to do the explanatory work, which motivates positing pre-attentive visual icons in the first place. With this noted, I introduce the notion of an ‘Analogue Map’ and argue that it provides a superior characterisation of pre-attentive vision's iconicity. I then argue that this forces a reassessment of debates which have traditionally presupposed the iconicity of pre-attentive vision, emphasising ramifications for the viability of a format-based perception-thought border. (shrink)

Joint actions often require agents to track others’ actions while planning and executing physically incongruent actions of their own. Previous research has indicated that this can lead to visuomotor interference effects when it occurs outside of joint action. How is this avoided or overcome in joint actions? We hypothesized that when joint action partners represent their actions as interrelated components of a plan to bring about a joint action goal, each partner’s movements need not be represented in relation to distinct, (...) incongruent proximal goals. Instead they can be represented in relation to a single proximal goal – especially if the movements are, or appear to be, mechanically linked to a more distal joint action goal. To test this, we implemented a paradigm in which participants produced finger movements that were either congruent or incongruent with those of a virtual partner, and either with or without a joint action goal (the joint flipping of a switch, which turned on two light bulbs). Our findings provide partial support for the hypothesis that visuomotor interference effects can be reduced when two physically incongruent actions are represented as mechanically interdependent contributions to a joint action goal. (shrink)

What distinguishes causation from grounding? One suggestion is that causation, but not grounding, occurs over time. Recently, however, counterexamples to this simple temporal criterion have been offered. In this paper, we situate the temporal criterion within a broader framework that focuses on two aspects: locational overlapping in space and time and the presence of intermediaries in space and time. We consider, and reject, the idea that the difference between grounding and causation is that grounding can occur without intermediaries. We go (...) on to use the fact that grounding and causation both involve intermediaries to develop a better temporal criterion for distinguishing causation from grounding. The criterion is this: when a cause and effect are spatially disjoint, there is always a chain of causal intermediaries between the cause and the effect that are extended in time. By contrast, when the grounds and the grounded are spatially disjoint, there is always a chain of grounding intermediaries, but the chain need not be extended in time, it can be purely spatial. The difference between grounding and causation, then, is that causation requires time for chaining in a way that grounding does not. (shrink)

I give a new argument for the moral difference between lying and misleading. First, following David Lewis, I hold that conventions of truthfulness and trust fix the meanings of our language. These conventions generate fair play obligations. Thus, to fail to conform to the conventions of truthfulness and trust is unfair. Second, I argue that the liar, but not the misleader, fails to conform to truthfulness. So the liar, but not the misleader, does something unfair. This account entails that bald-faced (...) lies are wrong, that we can lie nonlinguistically, and that linguistic innovation is morally significant. (shrink)

I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...) experience of itches and scratches can be appropriate. I argue that attention to the domain of somatic experience is worthwhile, in that it offers the prospects of significant aesthetic satisfaction, and I suggest that even attention to unpleasant experiences like itches and pains may be aesthetically rewarding. (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

We develop a new version of the causal theory of spacetime. Whereas traditional versions of the theory seek to identify spatiotemporal relations with causal relations, the version we develop takes causal relations to be the grounds for spatiotemporal relations. Causation is thus distinct from, and more basic than, spacetime. We argue that this non-identity theory, suitably developed, avoids the challenges facing the traditional identity theory.

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...) stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.

Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their (...) work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

Surface presentism is the combination of a general relativistic physics with a presentist metaphysics. In this paper, we provide an argument against this combination based on black holes. The problem focuses on the notion of an event horizon. We argue that the present locations of event horizons are ontologically dependent on future black hole regions, and that this dependence is incompatible with presentism. We consider five responses to the problem available to the surface presentist, and argue that none succeed. Surface (...) presentism thus faces the prospect of refutation based on evidence that confirms the existence of black holes. (shrink)

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

Suppositional theories of conditionals take apparent similarities between supposition and conditionals as a starting point, appealing to features of the former to provide an account of the latter. This paper develops a novel form of suppositional theory, one which characterizes the relationship at the level of semantics rather than at the level of speech acts. In the course of doing so, it considers a range of novel data which shed additional light on how conditionals and supposition interact.

Current debate in the metaphysics of time ordinarily assumes that we should be realists about time. Recently, however, a number of physicists and philosophers of physics have proposed that time will play no role in a completed theory of quantum gravity. This paper defends fictionalism about temporal thought, on the supposition that our world is timeless. We argue that, in the face of timeless physical theories, realism about temporal thought is unsustainable: some kind of anti-realism must be adopted. We go (...) on to provide an argument against eliminativism about temporal thought. While it doesn't follow from this argument that fictionalism about temporal thought is true, we suggest that this nonetheless shows that fictionalism should be regarded as the preferred view. (shrink)

According to a number of approaches in theoretical physics, spacetime does not exist fundamentally. Rather, spacetime exists by depending on another, more fundamental, non-spatiotemporal structure. A prevalent opinion in the literature is that this dependence should not be analyzed in terms of composition. We should not say, that is, that spacetime depends on an ontology of non-spatiotemporal entities in virtue of having them as parts. But is that really right? On the contrary, we argue that a mereological approach to dependent (...) spacetime is not only viable, but promises to enhance our understanding of the physical situation. (shrink)

I argue that analogue mental representations possess a canonical decomposition into privileged constituents from which they compose. I motivate this suggestion, and rebut arguments to the contrary, through reflection on the approximate number system, whose representations are widely expected to have an analogue format. I then argue that arguments for the compositionality and constituent structure of these analogue representations generalize to other analogue mental representations posited in the human mind, such as those in early vision and visual imagery.

In non‐literal uses of language, the content an utterance communicates differs from its literal truth conditions. Loose talk is one example of non‐literal language use (amongst many others). For example, what a loose utterance of (1) communicates differs from what it literally expresses: (1) Lena arrived at 9 o'clock. Loose talk is interesting (or so I will argue). It has certain distinctive features which raise important questions about the connection between literal and non‐literal language use. This paper aims to (i.) (...) introduce a range of novel data demonstrating certain overlooked features of loose talk, and (ii.) develop a new theory of the phenomenon which accounts for these data. In particular, this theory is motivated by the need to explain minimal pairs such as (2)-(3): (2) Lena arrived at 9 o'clock, but she did not arrive at 9 o'clock exactly. (3) ?? Lena did not arrive at 9 o'clock exactly, but she arrived at 9 o'clock. (2) and (3) agree in their truth conditions. Yet they differ in felicity. As such, they constitute a problem for any account which hopes to predict the acceptability of the loose use of a sentence from its truth conditions and the context of utterance alone. Instead, it will be argued, to explain loose talk phenomena we must posit an additional layer of meaning outstripping truth conditions. This layer of meaning is shown to exhibit a range of properties, all of which point to its being semantically encoded. Thus, if correct, the theory provides a new example of how semantic meaning must extend beyond literal, truth‐conditional content. (shrink)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...) what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

This paper offers a new account of metaphysical explanation. The account is modelled on Kitcher’s unificationist approach to scientific explanation. We begin, in Sect. 2, by briefly introducing the notion of metaphysical explanation and outlining the target of analysis. After that, we introduce a unificationist account of metaphysical explanation before arguing that such an account is capable of capturing four core features of metaphysical explanations: irreflexivity, non-monotonicity, asymmetry and relevance. Since the unificationist theory of metaphysical explanation inherits irreflexivity and non-monotonicity (...) directly from the unificationist theory of scientific explanation that underwrites it, we focus on demonstrating how the account can secure asymmetry and relevance. (shrink)

The distinction between perception and cognition frames countless debates in philosophy and cognitive science. But what, if anything, does this distinction actually amount to? In this introductory article, we summarize recent work on this question. We first briefly consider the possibility that a perception-cognition border should be eliminated from our scientific ontology, and then introduce and critically examine five positive approaches to marking a perception–cognition border, framed in terms of phenomenology, revisability, modularity, format, and stimulus-dependence.

Visual illusions of number provide a means of investigating the rules and principles through which approximate number representations are formed. Here, we investigated the developmental trajectory of an important numerical illusion – the connectedness illusion, wherein connecting pairs of items with thin lines reduces their perceived number without altering continuous attributes of the collections. We found that children as young as 5 years of age are affected by the illusion and that the magnitude of the effect increased into adulthood. Moreover, (...) individuals with greater numerical acuity exhibited stronger connectedness illusions after controlling for age. Overall, these results suggest the approximate number system expects to enumerate over bounded wholes and doing so is a signature of its optimal functioning. (shrink)

Indicative and subjunctive conditionals are in non-complimentary distribution: there are conversational contexts at which both are licensed (Stalnaker 1975; Karttunen and Peters 1979; von Fintel 1998). This means we can ask an important, but under-explored, question: in contexts which license both, what relations hold between the two? In this paper, I’ll argue for an initially surprising conclusion: when attention is restricted to the relevant contexts, indicatives and subjunctives are co-entailing. §1 introduces the indicative/subjunctive distinction, along with a discussion of the (...) relevant notion of entailment; §2 presents the main argument of the paper, and §3 considers some of the philosophical implications of the argument in §2. Finally, §4 argues that we can reconcile the equivalence of indicatives and subjunctives with apparently conflicting judgements. (shrink)

Several years ago, the poet & critic Joan Houlihan offered a scathing and hilarious indictment of a lot of postmodern poetry for using words in a way that treats them as meaningless (or, perhaps, renders them meaningless). She suggested that word choice in such poems doesn’t really matter, and that the poet could just as well have substituted in other words without any change in meaning or aesthetic qualities. I argue that she’s wrong about this. I offer an account of (...) how interpretation and meaning function in poems that use words in highly non-standard ways. In such poems, there are associations and implicatures that one can reasonably expect a suitably backgrounded reader to grasp, rescuing interpretation from being a purely subjective and arbitrary activity. (shrink)

A number of philosophers have argued in favour of extended simples on the grounds that they are needed by fundamental physics. The arguments typically appeal to theories of quantum gravity. To date, the argument in favour of extended simples has ignored the fact that the very existence of spacetime is put under pressure by quantum gravity. We thus consider the case for extended simples in the context of different views on the existence of spacetime. We show that the case for (...) extended simples based on physics is far more complex than has been previously thought. We present and then map this complexity, in order to present a much more textured picture of the argument for extended simples. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...) significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

Philosophical accounts denying that temporal passage is an objective feature of reality face an explanatory challenge with respect to why it appears to us as though time passes. Recently, two solutions have surfaced. Cognitive illusionism claims that people experience the passage of time due to their belief that time passes. Cognitive error theory claims that we do not experience the passage of time, but hold the belief that we do, which we have acquired through making an inference from the prior (...) belief that time passes. These approaches suppose that belief and passage experience are explanatorily connected, and they depend on the claims that people who experience the passage of time or at least believe that they do also believe that time passes. To test these claims, we probed the beliefs of populations of individuals with depression and schizotypy, thus conditions that are strongly associated with alterations in temporal phenomenology. Depression was assessed with the Beck Depression Inventory (BDI) and schizotypy with the short Oxford-Liverpool Inventory of Feelings and Experiences (O-LIFE). While cognitive illusionism and inferentialist cognitive error theory would predict a strong association between BDI and O-LIFE scores and beliefs about time passage, our study found no such association. The experience of passage does not seem to be explanatorily connected to beliefs about the passage of time. (shrink)

The relationship of the author’s intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author’s private diaries and life story of committing the ‘fallacy’ of equating the work’s meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are not (...) sufficient to determine a unique meaning for a text; to avoid radical ambiguity we must appeal to the author’s intention, which actualizes one of the candidate meanings. Subsequent writers have defended refined versions of these views, and a variety of positions on the spectrum between them, in a debate that remains central to philosophical aesthetics. This Teaching and Learning Guide lists key readings and suggests how they might be incorporated within a syllabus. It also offers focus questions related to the readings. See also the companion article, Sherri Irvin, “Authors, Intentions and Literary Meaning.” Philosophy Compass 1 (2006), 114-128. (shrink)

Inquiry aims at knowledge. Your inquiry into a question succeeds just in case you come to know the answer. However, combined with a common picture on which misleading evidence can lead knowledge to be lost, this view threatens to recommend a novel form of dogmatism. At least in some cases, individuals who know the answer to a question appear required to avoid evidence bearing on it. In this paper, we’ll aim to do two things. First, we’ll present an argument for (...) this novel form of dogmatism and show that it presents a substantive challenge. Second, we’ll consider a way those who take knowledge to be the aim of inquiry can mount a response. In the course of doing so, we’ll try to get clearer on the normative connections between inquiry, knowledge and evidence gathering. (shrink)

Recent attempts to resolve the truthmaker objection to presentism employ a fundamentally tensed account of the relationship between truth and being. On this view, the truth of a proposition concerning the past supervenes on how things are, in the present, along with how things were, in the past. This tensed approach to truthmaking arises in response to pressure placed on presentists to abandon the standard response to the truthmaker objection, whereby one invokes presently existing entities as the supervenience base for (...) the truth of past-directed propositions. In this paper, I argue that a fundamentally tensed approach to truthmaking is implausible because it requires the existence of cross-temporal supervenience relations, which are anathema to presentism. (shrink)

Mereological realism holds that the world has a mereological structure – i.e. a distribution of mereological properties and relations. In this article, I defend Eleaticism about properties, according to which there are no causally inert non-logical properties. I then present an Eleatic argument for mereological anti-realism, which denies the existence of both mereological composites and mereological simples. After defending Eleaticism and mereological anti-realism, I argue that mereological anti-realism is preferable to mereological nihilism. I then conclude by examining the thesis that (...) composition is identity and noting its consequences for the question of mereological structure. (shrink)

Though feminists are correct to note that conventional standards of sexiness are oppressive, we argue that feminism should reclaim sexiness rather than reject it. We argue for an aesthetic and ethical practice of working to shift from conventional attributions of sexiness to respectful attributions, in which embodied sexual subjects are appreciated in their full individual magnificence. We argue that undertaking this practice is an ethical obligation, since it contributes to the full recognition of others’ humanity. We discuss the relationship of (...) ethical to aesthetic considerations and argue that the respectful notion of sexiness is a genuinely aesthetic one, even though it does not involve assessment in relation to standards. (shrink)

This reference essay surveys recent work in the emerging sub-discipline of everyday aesthetics, which builds on the work of John Dewey to resist sharp distinctions between art and non-art domains and argue that aesthetic concepts are properly applied to ordinary domains of experience.

Potentialism is the view that the universe of sets is inherently potential. It comes in two main flavours: height-potentialism and width-potentialism. It is natural to think that height and width potentialism are just aspects of a broader phenomenon of potentialism, that they might both be true. The main result of this paper is that this is mistaken: height and width potentialism are jointly inconsistent. Indeed, I will argue that height potentialism is independently committed to an ultimate background universe of sets, (...) an ultimate V, up to its height. (shrink)