Based on a crowdsourced truth value judgment experiment, we provide empirical evidence challenging two classical views in semantics, and we develop a novel account of counterfactuals that combines ideas from inquisitive semantics and causal reasoning. First, we show that two truth-conditionally equivalent clauses can make different semantic contributions when embedded in a counterfactual antecedent. Assuming compositionality, this means that the meaning of these clauses is not fully determined by their truth conditions. This finding has a clear explanation in inquisitive semantics: (...) truth-conditionally equivalent clauses may be associated with different propositional alternatives, each of which counts as a separate counterfactual assumption. Second, we show that our results contradict the common idea that the interpretation of a counterfactual involves minimizing change with respect to the actual state of affairs. We propose to replace the idea of minimal change by a distinction between foreground and background for a given counterfactual assumption: the background is held fixed in the counterfactual situation, while the foreground can be varied without any minimality constraint. (shrink)

The problem of probabilities of conditionals is one of the long-standing puzzles in philosophy of language. We defend and update Adams' solution to the puzzle: the probability of an epistemic conditional is not the probability of a proposition, but a probability under a supposition. -/- Close inspection of how a triviality result unfolds in a concrete scenario does not provide counterexamples to the view that probabilities of conditionals are conditional probabilities: instead, it supports the conclusion that probabilities of conditionals violate (...) standard probability theory. -/- This does not call into question probability theory per se; rather, it calls for a more careful understanding of its role: probability theory is a theory of probabilities of propositions; but as conditionals do not express propositions, their probabilities are not subject to the standard laws. -/- We argue that both conditional probabilities and probabilities of conditionals are best understood in terms of the dynamics of supposing, modeled as a restriction operation on a probability space. This version of the suppositionalist view allows us to connect Adams' Thesis to the widely held restrictor view of the semantics of conditionals. -/- We address two common objections to Adams' view: that the relevant probabilities are ‘probabilities only in name’, and that giving up conditional propositions puts us at a disadvantage when it comes to interpreting compounds. -/- Finally, we argue that some putative counterexamples to Adams' Thesis can be diagnosed as fallacies of probabilistic reasoning: they arise from applying to conditionals laws of standard probability theory which are invalid for them. (shrink)

The connection between science and mathematics is often considered necessary and insoluble. Therefore, a relationship between mathematics and humanities or arts is deemed exceptional or sometimes unnatural. Nevertheless, on the basis of historical, ontological and epistemological researches it can be noted that it’s impossible to warrant the immediate identification between mathematics and sciences on a deeper level than the practical one. Given the instrumentality and then the unnecessity of this connection, the relationship between mathematics and not-scientific disciplines is undeniable, even (...) if the mathematics in the explicit formalisms which we know doesn’t appear in them. It’s possible to demonstrate this relationship not only with philosophical argumentations, but also whit empirical verifications, e.g. in the music and in particular in the music of J. S. Bach. Such an epistemological thought finally leads to the question on the possibility of knowledge in the art in comparison to the epistemological characteristics of the Galilean and Post-Galilean science. (shrink)

We bring together two ideas that are widely accepted in the literature: (i) conditionals with modal consequents are systematically ambiguous between a reading on which the if-clause restricts the modal, and a reading on which the if-clause introduces an epistemic supposition and the modal is unrestricted; (ii) ‘will’ is a modal. Together, (i) and (ii) imply that ‘will’-conditionals are systematically ambiguous between a reading as restricted historical claims, and one as unrestricted historical claims made under a supposition. We argue that (...) this prediction is correct and that the existence of the relevant ambiguity has far-reaching repercussions for several important debates concerning conditionals. (shrink)

This essay aims to inquiry into the main factors responsible for the growth of modern acoustics, which basically have to be traced back to the empirical turn occurred in science of music around 1600. Helmholtz’s theory of sound will be regarded as most scientifically significant archetype of modern acoustics. In Section 1 a general historical overview of the science of music will be given and its importance for the development of modern science and mathematics considered. In Section 2 the internal (...) historical roots of modern acoustics, thus of Helmholtz’s theory of sound will be analyzed. Finally, in Section 3 positive and negative elements of Helmholtz’s acoustic will be discussed and its external historical roots as well as its actual epistemological relevance examined. (shrink)

The main goal of this paper is to investigate the relation between the meaning of a sentence and its truth conditions. We report on a comprehension experiment on counterfactual conditionals, based on a context in which a light is controlled by two switches. Our main finding is that the truth-conditionally equivalent clauses (i) "switch A or switch B is down" and (ii) "switch A and switch B are not both up" make different semantic contributions when embedded in a conditional antecedent. (...) Assuming compositionality, this means that (i) and (ii) differ in meaning, which implies that the meaning of a sentential clause cannot be identified with its truth conditions. We show that our data have a clear explanation in inquisitive semantics: in a conditional antecedent, (i) introduces two distinct assumptions, while (ii) introduces only one. Independently of the complications stemming from disjunctive antecedents, our results also challenge analyses of counterfactuals in terms of minimal change from the actual state of affairs: we show that such analyses cannot account for our findings, regardless of what changes are considered minimal. (shrink)

Originally appeared in the field of thermodynamics, the concept of entropy, especially in its statistical acceptation, has found applications in many different disciplines, both inside and outside science. In this work we focus on the possibility of drawing an isomorphism between the entropy of Boltzmann’s statistical mechanics and that of Xenakis’s stochastic music theory. We expose the major technical aspects of the two entropies and then consider affinities and differences between them, both at syntactic and at semantic level, hereto particularly (...) referring to the philosophical problem of the asymmetry of time. (shrink)

Because of its non-representational nature, music has always had familiarity with computational and algorithmic methodologies for automatic composition and performance. Today, AI and computer technology are transforming systems of automatic music production from passive means within musical creative processes into ever more autonomous active collaborators of human musicians. This raises a large number of interrelated questions both about the theoretical problems of artificial musical creativity and about its ethical consequences. Considering two of the most urgent ethical problems of Musical AI (...) (music job replacement and machine musical authorship), we show in this essay the strict dependence of every form of acknowledgment of a moral and legal status to systems of automatic music production from the theoretical account of musical creativity by turns implicitly or explicitly adopted, arguing, on the basis of pragmatic reasons, for the necessity and the desirability of this acknowledgment. (shrink)

In the present paper the philosophical and mathematical continuity alleged by A. Robinson in Nonstandard Analysis (1966) between his theory and Leibniz’s calculus is investigated. In Section 1, after a brief overview of the history of analysis, we expose the historical, mathematical and philosophical aspects of Leibniz’s calculus. In Section 2 the main technical aspects of nonstandard analysis are presented, and Robinson’s philosophy is discussed. In Section 2.1 we claim the absence of a complete and direct continuity and the only (...) possibility of a conceptual similarity between Leibniz’s and Robinson’s theories, both at the philosophical and at the mathematical level. (shrink)

Abstract The Greek composer and architect Iannis Xenakis has shown in Formalized Music (1963) how it is possible to compose or describe music and sound by means of probabilistic laws from mathematics, information theory and statistical mechanics. In his theory, scientific concepts and properties such as entropy take on a musical meaning in that they become also properties structurally instantiable by music. Philosophically speaking, this raises many important questions about the relation between science and the arts. One of these questions (...) concerns in particular the possibility for aesthetic symbols (like musical compositions) to convey scientific understanding, and understanding in general. In the present work, I claim that this question can be answered positively. In general, understanding does not necessarily depend on truth, explanation and propositionality (non-factualism, non-reductivism). Understanding can be conveyed also in non-propositional domains, in particular by means of exemplification. Since aesthetic and musical symbols are non-propositional, they can advance understanding possibly by exemplification, and in particular scientific understanding as long as they exemplify scientific concepts and properties. I moreover substantiate my claim by taking a case study: the concept of entropy in music. On the basis of Xenakis’ stochastic theory of music, I show how by exemplifying this concept, music can advance understanding of it. (shrink)