According to epistemic two-dimensionalism, every expression is associated with two kinds of meaning: a primary intension (a “Fregean” component) and a secondary intension (a “Russellian” component). While the rst kind of meaning lines up with the speaker’s abilities to pick out referents of correctly employed expressions in hypothetical scenarios, the second kind of meaning is a version of what standard semanticists call “semantic content”—a kind of content which does not pivot on speaker abilities. Despite its conciliatory temperament, epistemic two-dimensionalism has (...) come under recent attack. It has been alleged that it is bound to attribute to speakers a priori identifying knowledge of the referents of correctly employed terms, and bound also to reject valid rules of inference such as exportation: P(a) → λx[P(x)](a) (see, e.g., Soames 2005. (shrink)

With the aid of some results from current linguistic theory I examine a recent anti-Fregean line with respect to hybrid talk of numbers and ordinary things, such as ‘the number of moons of Jupiter is four’. I conclude that the anti-Fregean line with respect to these sentences is indefensible.

Number words seemingly function both as adjectives attributing cardinality properties to collections, as in Frege’s ‘Jupiter has four moons’, and as names referring to numbers, as in Frege’s ‘The number of Jupiter’s moons is four’. This leads to what Thomas Hofweber calls Frege’s Other Puzzle: How can number words function as modifiers and as singular terms if neither adjectives nor names can serve multiple semantic functions? Whereas most philosophers deny that one of these uses is genuine, we instead argue that (...) number words, like many related expressions, are polymorphic, having multiple uses whose meanings are systematically related via type shifting. (shrink)

Frege famously held that numbers play the role of objects in our language and thought, and that this role is on display when we use sentences like "The number of Jupiter's moons is four". I argue that this role is an example of a general pattern that also encompasses persons, times, locations, reasons, causes, and ways of appearing or acting. These things are 'objects' simply in the sense that they are answers to questions: they are the sort of thing we (...) search for and specify during investigation or inquiry. I support this epistemological conception of objects by studying specificational sentences, a class of sentences which includes Frege's original example. I defend an analysis of such sentences as question-answer pairs, and show how to formally represent this analysis using game-theoretical semantics. (shrink)

In this article, I offer a new philosophical interpretation of Virgil’s Aeneid, dually centered on the queens of Olympus and Carthage. More specifically, I show how the philosopher-poet Virgil deploys Dido’s Junonian furor as the Aristotelian matter of the unjust Roman imperium, the feminist counterforce to the patriarchal force disguised as peaceful order. The first section explores Virgil’s political and biographical background for the raw materials for a feminist, anti-imperial political philosophy. The second section, following Marilynn Desmond, situates the continuing (...) misogynist condemnation of Virgil’s two goddess-queens in the context of their honored centrality in Roman and Carthaginian culture. The third section reinterprets Virgil’s goddess-queens as agents of furor as (apparently mad) feminist counterforce to the (actually mad) unjust force of the Roman empire and its agents Jupiter and Aeneas. The fourth section translates these poetic philosophical interpretations into prose, arguing that Dido’s Junonian furor is the Aristotelian matter constituting the unjust forms of Roman imperium. And the conclusion applies the latter analysis to Hardt and Negri’s Empire, suggesting Dido as a model for the “multitude” in the fight against the imperial injustice of today’s globalized empire. (shrink)

● Un emplazamiento cualquiera (v. gr. sol en Tauro; Marte en Capricornio; Mercurio en la tercera casa) es necesariamente común a decenas de miles de personas. Saturno hospedado en la novena casa, por ejemplo, no se comportará de la misma manera o no producirá los mismos efectos en las veinte o cien cartas en que allí lo encontremos, sino en concordancia con el resto de la composición astrográfica (como hospedarnos en el mismo hotel en diferentes épocas o diferentes personas haber (...) contraído la misma enfermedad; nuestra estadía será diferente cada vez, según la época, y no todos los enfermos presentarán los mismos síntomas, según su metabolismo; por no mencionar que cada astrografía, como cada código o secuencia genética, es irrepetible). Ciertamente, “ningún planeta puede, por sí solo, producir lo que solamente la acción mancomunada o conjunta de todos puede” (BUSTAMANTE, 2023, revista SPICA, págs. 93-111). He aquí la naturaleza o condición sinérgica del ejercicio interpretativo (i.e., el todo es poco más que la suma de todas sus partes). ● El componente fundamental de la expresión matemática del ejercicio interpretativo lo constituye la triangulación astrológica, denominación funcional de lo que conocemos como síntesis (WEISS, 1946; LEO, 1983; HAND, 1981). ● Con el fin de demostrar su utilidad, así como la conveniencia de su expresión matemática, hemos escogido dos individuos (JEFFREY DAHMER, STEVEN SPIELBERG) cuyas astrografías no explican, según la comunidad, sus vidas. El resto de las astrografías corresponden a las de los asesinos en serie JOHN WAYNE GACY, DAVID CARPENTER y TED BUNDY. ● A través de notaciones algebraicas, explicamos la síntesis y los valores funcionales que la componen. ● Tomamos la luna y Neptuno como planetas relevantes a propósito del diagnóstico o el estudio de asuntos endocrinos o neurohormonales y a Marte, Plutón y Saturno como planetas relevantes a los fines de inferir violencia o comportamiento siniestro, según el caso, y las cuadraturas u oposiciones —y conjunciones— entre Venus y la luna, la luna y Neptuno o entre el sol o Venus y Neptuno o Urano como indicadores de desórdenes neurohormonales y/o de desviación sexual (definición APA) . ● Consideramos las cuadraturas u oposiciones —y conjunciones— entre: Mercurio o la luna y Saturno, o entre Marte o la luna y Saturno, Urano, Neptuno y/o Plutón como poderosos indicios de violencia o de desequilibrio, según el caso. ● También hemos considerado a Sagitario como un signo tan expansivo y abundante como su regente, Júpiter, según la mejor de sus caracterizaciones (o excepcionalmente raudo y salvaje, según otras), y a la quinta región de un mapa natal como una estrechamente relacionada con la fortuna en sentido amplio (material e inmaterial). ● Debido a que defendemos la idea según la cual los orbes deben predicarse del planeta (tamaño, velocidad), no del aspecto, a los gigantes gaseosos (Júpiter, Saturno, Urano y Neptuno) y al sol les hemos concedido hasta 10º de orbe (o 12º, en el caso de la influencia amplia ). ● Entendemos las relaciones aspectuales como relaciones angulares sostenidas entre dos o más cuerpos celestes emplazados en signos con al menos una propiedad en común (según nuestra teoría molecular de la eclíptica, compatible con la teoría óptica de los aspectos de la tradición helenística). (shrink)

● Any given placement (e.g. Sun in Taurus; Mars in Capricorn; Mercury in the third house) is necessarily common to tens of thousands of people. Saturn in the ninth house, for example, will not behave the same or produce the same effects in the twenty or one hundred charts in which we find it there. In each case Saturn will behave in accordance with the rest of the astrographic/chart composition (as if we stayed in the same hotel in different epochs (...) or different people contracted the same disease; our stay will be different each time, according to the epoch, and each person’s symptoms will too, be different, according to their individual biochemistry; not to mention that each chart or astrography, like each genetic code or sequence, is unrepeatable). Certainly, “no planet can produce, on its own, what only the combined or concerted action of all can” (BUSTAMANTE, 2023, SPICA magazine, pp. 93-111). Hence the synergistic nature of the interpretative exercise (i.e., the whole is greater than all its parts). The fundamental component of the mathematical expression of the interpretive exercise is: astrological triangulation, the functional denomination for what we know as synthesis (WEISS, 1946; LEO, 1983, HAND, 1981). In order to demonstrate its usefulness, as well as the convenience of its mathematical expression, we have chosen two individuals (JEFFREY DAHMER, STEVEN SPIELBERG) whose astrographies do not—according to the community—explain their lives. The rest of the astrographies correspond to those of serial killers JOHN WAYNE GACY, DAVID CARPENTER, and TED BUNDY. ● We explain, by means of algebraic notations, the synthesis and the functional values that make up the synthesis. ● We take the Moon and Neptune as relevant bodies for the purpose of diagnosing or studying endocrine or neurohormonal issues, and Mars, Pluto, and Saturn as relevant planets for the purpose of inferring violence or sinister behaviour, upon the case, and quadratures or oppositions—and conjunctions—between Venus and the Moon, the Moon and Neptune, and the Sun or Venus and Neptune or Uranus as indicators of neurohormonal disorders and/or sexual deviance (APA definition) . ● We consider quadratures (90º) or oppositions (180º)—and conjunctions—between Mercury or the Moon and Saturn, or between Mars or the Moon and Saturn, Uranus, Neptune, and/or Pluto as powerful indications of violence or mental disorders, upon the case. ● We have also regarded Sagittarius as a sign as expansive and abundant as its ruler, Jupiter, according to the best of its characterisations (or as an exceptionally swift and wild sign, according to other characterisations), and the fifth region of a natal chart as one closely related to fortune in a broad sense (material and immaterial). ● Because we advocate the idea that orbs should be predicated of the planet (size, speed), not the aspect itself, the gas giants (Jupiter, Saturn, Uranus, and Neptune) and the Sun have been granted up to 10º of orb (or 12º, in the case of broad influence ). We understand aspectual relationships as angular relationships held between two or more celestial bodies placed in signs with at least one property in common (according to our molecular theory of the ecliptic, compatible with the optical theory of the aspects from the Hellenistic tradition). (shrink)

This article had its start with another article, concerned with measuring the speed of gravitational waves - "The Measurement of the Light Deflection from Jupiter: Experimental Results" by Ed Fomalont and Sergei Kopeikin (2003) - The Astrophysical Journal 598 (1): 704–711. This starting-point led to many other topics that required explanation or naturally seemed to follow on – Unification of gravity with electromagnetism and the 2 nuclear forces, Speed of electromagnetic waves, Energy of cosmic rays and UHECRs, Digital string theory, (...) Dark energy+gravity+binary digits, Cosmic strings and wormholes from Figure-8 Klein bottles, Massless and massive photons and gravitons, Inverse square+quantum entanglement = God+evolution, Binary digits projected to make Prof. Greene’s cosmic holographic movie, Renormalization of infinity, Colliding subuniverses, Unifying cosmic inflation, TOE (emphasizing “EVERYthing”) = Bose-Einstein renormalized. The text also addresses (in a nonmathematical way) the wavelength of electromagnetic waves, the frequency of gravitational waves, gravitational and electromagnetic waves having identical speed, the gamma-ray burst designated GRB 090510, the smoothness of space, and includes these words – “Gravity produces electromagnetism. Retrocausally (by means of humans travelling into the past of this subuniverse with their electronics); this “Cosmic EM Background” produces base-2 mathematics, which produces gravity. EM interacts with gravity to produce particles, mass – gravity/EM could be termed “the Higgs field” - and the nuclear forces associated with those particles. It makes gravity using BITS that copy the principle of magnetism attracting and repelling, before pasting it into what we call the strong force and dark energy.” . (shrink)

The Iliad is a work of great poetic temperament, and by analyzing its content we can see how, through the development of the theme of the Trojan War, cultural categories are created that have acquired an immeasurable value in the life of the human being. For this reason, it is worth pausing to analyze the text from different points of view, from which one can begin to understand how those categories are created that, without being aware of it, manifest themselves (...) in one way or another in daily life, such as the love for a child and the close friendship between two people, to name just a few. In this paper we have studied epithets, which have a certain importance in the composition of the Iliad. Therefore, we began by analyzing the genesis of this literary resource and its repercussions on the style of the work, all of this organized into four short sections. In this research, special emphasis was placed on answering whether the use of epithets contributes to the configuration of Zeus as an Olympian god. In order to answer this question, the value of the epithet as a literary resource was first taken into account, and then the epithets of the god Zeus were analyzed, observing if there is any relationship between the times they are mentioned, who uses them, and the location of this god at the top of Olympus. This specific case in the Iliad allowed us to draw conclusions that could perhaps be applied to epithets in general. -/- La Ilíada es una obra de un gran temple poético que al analizar su contenido se puede entrever cómo a través del desarrollo del tema de la guerra de Troya, se van creando categorías culturales, que han tomado un valor inconmensurable en la vida del ser humano. Por esto vale la pena detenerse a analizar el texto bajo diferentes puntos de vista, a partir de los cuales se pueda ir adentrándose a conocer cómo se van originando esas categorías que sin darse cuenta se manifiestan, de una u otra forma en la vida diaria, como lo es el amor por un hijo y la amistad entrañable entre dos personas, como para mencionar algunas. En este trabajo se estudiaron los epítetos, los cuales tienen una cierta importancia en la composición de la Ilíada. Por consiguiente se empezó analizando cómo fue surgiendo este recurso literario y su repercusión en el estilo de la obra; todo esto, organizado en cuatro cortas secciones. En esta investigación se hizo un énfasis especial en responder la pregunta de si el uso de los epítetos ayuda a configurar a Zeus como un dios olímpico. Para responderla, se tomó inicialmente el valor del epíteto como recurso literario, para luego analizar los epítetos del dios Zeus, observando si existe alguna relación entre las veces en que son mencionados, quién hace uso de ellos, y la ubicación de este dios en la cima del Olimpo. Este caso específico en la Ilíada permitió llegar a conclusiones que tal vez se puedan aplicar a los epítetos en general. (shrink)