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)

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)

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)

I consider James Hamilton’s discussion of what I term the complete autonomy thesis, according to which no theatrical performance is a performance of some other work. While agreeing with Hamilton that theatrical performances are often artworks in their own right and that theatrical performance is not a derivative or subsidiary art form, I argue that the complete autonomy thesis overshoots the evidence. Some theatrical performances are autonomous, but many belong to an established tradition of close adherence to the texts of (...) dramatic literature. In such cases, we should say both that the performance itself is an artwork and that it is a performance of some literary work. I suggest that this way of understanding things promotes appreciation of both performances themselves and the dramatic works of literature that are employed in their creation. (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)

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)

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)

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)

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)

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.

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.

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)

I clarify the arguments of my paper “Scratching an Itch” in response to a discussion piece by Brian Soucek. I also offer a new argument that objectivity is possible for aesthetic judgments about private phenomena such as somatic experiences.

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)

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)

This paper argues for several claims about the moral relevance of the aesthetic: that attention to aesthetic values may promote moral motivation; that aesthetic values should be regarded as constraining moral demands; and that the pursuit of aesthetic satisfactions may itself have positive moral value. These arguments suggest that moral thinking should be aesthetically informed to a much greater degree than has been typical. The aesthetic is a central dimension of a good life, and a life’s being good for the (...) person living it has considerable moral weight, both in itself and because of the positive consequences for others that stem from it. Moral thinking that neglects aesthetic considerations, then, is likely to result in theories that are deficient not only from an aesthetic but from a moral point of view. (shrink)

In his book Art and Knowledge, James O. Young suggests that avant-garde and contemporary art, because it tends to eschew the resources of illustrative representation, lacks cognitive value. Because he regards cognitive value as a necessary condition for a high degree of aesthetic value, he concludes that contemporary works tend to have little aesthetic value and thus do not deserve to be regarded as valuable artworks (or, in many cases, as artworks at all). In this paper, I mount a defense (...) of contemporary art against Young’s criticisms. I examine particular artworks to show that the use of exemplification in many contemporary works is sufficient to allow them to make the kind of cognitive contribution Young requires. And I show that even a work that uses virtually none of the resources of illustrative representation makes available an experience that is a valuable source of knowledge. There is, thus, nothing about contemporary art that prevents it from having, or makes it especially unlikely to have, cognitive value. (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)

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)

In this chapter we argue that our concept of time is a functional concept. We argue that our concept of time is such that time is whatever it is that plays the time role, and we spell out what we take the time role to consist in. We evaluate this proposal against a number of other analyses of our concept of time, and argue that it better explains various features of our dispositions as speakers and our practices as agents.

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)

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)

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)

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)

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

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)

We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...) occurrences are physical particulars. And nontraditional techniques and materials employed in contemporary art violate the boundaries of conventional media, prompting a rethinking of what artistic medium might be. (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)

A sustained challenge to the view that artworks are physical objects relates to the alleged inability of physical objects to possess representational properties, which some artworks clearly do possess. I argue that the challenge is subject to confusions about representational properties and aesthetic experience. I show that a challenge to artwork-object identity put forward by Danto is vulnerable to a similar criticism. I conclude by noting that the identity of artworks and physical objects is consistent with the insight that attending (...) exclusively to the object’s individual physical properties may prevent us from grasping the nature of the work. // Contre l’opinion voulant que les œuvres d’art soient des objets physiques, d’aucuns font régulièrement valoir la présumée incapacité des objets physiques à possedér des propriétés représentationnelles, propriétés que certaines œuvres d’art possèdent a l’evidence. Je fais valoir que cette remise en question est sujette à des confusions à propos des propriétés représentationnelles et de l’experience esthétique. Je montre que de même, la remise en question par Danto de l’identité œuvre d’art-objet prête le flanc à une critique similaire. Je conclus pour finir que l’identité entre œuvres d’art et objets physiques est compatible avec l’intuition voulant que prêter attention exclusivement aux propriétés physiques d’un certain objet peut nous empêcher de saisir la nature de l’œuvre. (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)

What makes a photograph an artwork, as opposed to a mere document? I defend a cluster account such that aesthetic value, aptness to interpretation, the artist’s intention and institutional uptake may contribute to the arthood of a body of photographs, with no single condition being necessary. With regard to Lawler’s works, I suggest that Lawler’s intention that they be art plays a definitive role because of the works’ resemblance to non-art photography. For some of her photographs, however, it appears that (...) such an intention is absent; and if this is correct, then, given their other features, those photographs are not artworks. (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)

Panpsychism is an eminently sensible view of the world and its relation to mind. If God is a metaphysician, and regardless of the actual truth or falsity of panpsychism, it is certain that he regards the theory as an honest and elegant competitor on the field of ontologies. And if God didn’t create a panpsychist world, then there’s a fair chance that he wishes he had done so, or will do next time around. The difficulties panpsychism faces, then, are not (...) metaphysical ones. They are, instead, difficulties of understanding, and of acceptance by philosophers. The main difficulty of this sort the theory faces is that its ontology – with consciousness in some sense at the heart of all that exists1 – is deemed too bizarre, frankly, too humano-centric to be taken seriously. Why should anyone think that consciousness, widely held to be the preserve only of ourselves, plus the most recently evolved organisms, infuses the basement level of all existence? Such a thought seems to many – especially, to scientifically scrupled philosophers of mind – a narcissistic (or at best hopelessly anti-realist) folly, which doesn’t even deserve its day in court. Panpsychism.. (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)

This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...) sufficient to avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon. (shrink)

Chalmers has provided a dilemmatic master argument against all forms of the phenomenal concept strategy. This paper explores a position that evades Chalmers's argument, dubbed Type Bb: it is for Type B physicalists who embrace horn b of Chalmers's dilemma. The discussion concludes that Chalmers fails to show any incoherence in the position of a Type B physicalist who depends on the phenomenal concept strategy.

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

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)

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)

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)

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)

Strong non-maximalism holds that some truths require no ontological ground of any sort. Strong non-maximalism allows one to accept that some propositions are true without being forced to endorse any corresponding ontological commitments. We show that there is a version of truthmaker theory available—anti-aboutness truthmaking—that enjoys the dialectical benefits of the strong non-maximalist’s position. According to anti-aboutness truthmaking, all truths require grounds, but a proposition need not be grounded in the very thing(s) that the proposition is about. We argue that (...) if strong non-maximalism can be defended, then so can anti-aboutness truthmaking on the very same basis; one can enjoy the benefits of strong non-maximalism without giving up on the idea that truth is always grounded in being. (shrink)

A number of approaches to quantum gravity (QG) seem to imply that spacetime does not exist. Philosophers are quick to point out, however, that the loss of spacetime should not be regarded as total. Rather, we should interpret these approaches as ones that threaten the fundamentality but not the existence of spacetime. In this paper, I argue for two claims. First, I argue that spacetime realism is not forced by QG; spacetime eliminativism remains an option. Second, I argue that eliminativism (...) provides a useful framework for developing two existing approaches to the metaphysics of QG, involving functionalism and mereology respectively. (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)

Skow ([2007]), and much more recently Callender ([2017]), argue that time can be distinguished from space due to the special role it plays in our laws of nature: our laws determine the behaviour of physical systems across time, but not across space. In this work we assess the claim that the laws of nature might provide the basis for distinguishing time from space. We find that there is an obvious reason to be sceptical of the argument Skow submits for distinguishing (...) time from space: Skow fails to pay sufficient attention to the relationship between the dynamical laws and the antecedent conditions required to establish a complete solution from the laws. Callender’s more sophisticated arguments in favour of distinguishing time from space by virtue of the laws of nature presents a much stronger basis to draw the distinction. By developing a radical reading of Callender’s view we propose a novel approach to differentiating time and space that we call temporal perspectivalism. This is the view according to which the difference between time and space is a function of the agentive perspective. (shrink)

The anglophone philosophy profession has a well-known problem with gender equity. A sig-nificant aspect of the problem is the fact that there are simply so many more male philoso-phers than female philosophers among students and faculty alike. The problem is at its stark-est at the faculty level, where only 22% - 24% of philosophers are female in the United States (Van Camp 2014), the United Kingdom (Beebee & Saul 2011) and Australia (Goddard 2008).<1> While this is a result of the (...) percentage of women declining at each point through-out the standard career trajectory, recent large-scale studies in the United States (Paxton et al. 2012) and Australia (Goddard et al. 2008) have identified a key drop-off point as the transi-tion between taking introductory classes and majoring in philosophy. So why do dispropor-tionately few female students choose to major in philosophy? (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)

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)

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.