Despite distinguishing two very different notions of what time may be, the A and B theories of time inherently share an assumption in definition which has excluded a third field of possible explanation from being recognised and explored. In order to prove this rather grandiose proposition I will introduce a distinction between theories of resulting time and theories of non-resulting time. The clear articulation of why of this distinction is valid will be established by the method of reduction with regards (...) to the construction and evolution of the definition of time in the physics of Aristotle and Einstein. This method reveals precisely the assumption in definition that has been made and carried forth in the defining of time in B theory, and also what has been forgone, being non-resulting theories of time. After such analysis and illustration of the proposed distinction with regards to B theory, it will be obvious that A theories of time dually share the assumption in definition. Thus having established that this distinction is very much real and that nearly all work in the philosophy and physics of time has thus far fallen into theories of resulting time, I will then demonstrate why new theories of non-resulting time could at the very least ‘quasi-solve’ some of the irreconcilable conflictions that have arisen within opposing theories of resulting time, using as example the A theorists/Presentist’s conflict with Special Relativity. (shrink)

A collection of articles on the the principles of social justice from an Australian Catholic perspective. Contents: Forward (Archbishop Philip Wilson), Introduction (James Franklin), The right to life (James Franklin), The right to serve and worship God in public and private (John Sharpe), The right to religious formation (Richard Rymarz), The right to personal liberty under just law (Michael Casey), The right to equal protection of just law regardless of sex, nationality, colour or creed (Sam Gregg), The right (...) to freedom of expression (Damian Grace), The right to choose and freely maintain a state of life, married or single, lay or religious (Marita Winters), The right to education (Anthony Cleary), The right to petition government for the redress of grievances (Paul Russell), The right to a nationality (Andrew Hamilton), The right to have access to the means of livelihood, by migration when necessary (Brenda Hubber), The right of association and peaceful assembly (Michael Hogan), The right to work and choose one's occupation (Ian Blandthorn), The right to personal ownership, use and disposal of property subject to the right of others (Brian Coman), The right to a living wage (Garrick Small), The right to collective bargaining (Keith Harvey), The right to associate by industries and professions to obtain economic justice (Henrik Jurisevic), The right to assistance from society, if necessary from the State, in distress of persons and family (Catherine Althaus), Afterword (James Franklin). (shrink)

Heralded as the “Father of the Constitution,” James Madison was, besides one of the most influential architects of the U.S. Constitution, a man of letters, a politician, a scientist and a diplomat who left an enduring legacy for American philosophical thought. As a tireless advocate for the ratification of the Constitution, Madison advanced his most groundbreaking ideas in his jointly authoring The Federalist Papers with John Jay and Andrew Hamilton. Indeed, two of his most enduring ideas—the large republic (...) thesis and the argument for government separation-of-powers/checks-and-balances—are contained in there. In his life’s work, Madison fused together the three dominant philosophies in post-revolutionary, antebellum America: Lockean liberalism, classical republicanism and Christian Protestantism. (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)

As British and American idealism waned, new realisms displaced them. The common background of these new realisms emphasized the problem of the external world and the mind-body problem, as bequeathed by Reid, Hamilton, and Mill. During this same period, academics on both sides of the Atlantic recognized that the natural sciences were making great strides. Responses varied. In the United States, philosophical response focused particularly on functional psychology and Darwinian adaptedness. This article examines differing versions of that response in (...) William James and Roy Wood Sellars. James viewed the mind as a “fighter for ends.” His neutral monism, by taming the mind-body problem and the problem of the external world, provided a secure metaphysics of mind as functional activity. In contrast, Sellars ’s scientific realism endorsed physical reality but was not mechanistic or reductionist. His critical realism and evolutionary naturalism offered novel metaphysical and epistemological positions in comparison with other American and British realisms. James and Sellars are distinguished from British philosophy in 1890–1918 in the types of realism they endorsed and in their success at introducing Darwinian evolutionary considerations and functional psychology into mainstream philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

It is discerned what light can bring the recent historical reconstructions of maxwellian optics and electromagnetism unification on the following philosophical/methodological questions. I. Why should one believe that Nature is ultimately simple and that unified theories are more likely to be true? II. What does it mean to say that a theory is unified? III. Why theory unification should be an epistemic virtue? To answer the questions posed genesis and development of Maxwellian electrodynamics are elucidated. It is enunciated that the (...) Maxwellian Revolution is a far more complicated phenomenon than it may be seen in the light of Kuhnian and Lakatosian epistemological models. Correspondingly it is maintained that maxwellian electrodynamics was elaborated in the course of the old pre-maxwellian programmes’ reconciliation: the electrodynamics of Ampére-Weber, the wave theory of Young-Fresnel and Faraday’s programme. To compare the different theoretical schemes springing from the different language games James Maxwell had constructed a peculiar neutral language. Initially it had encompassed the incompressible fluid models; eventually – the vortices ones. The three programmes’ encounter engendered the construction of the hybrid theory at first with an irregular set of theoretical schemes. However, step by step, on revealing and gradual eliminating the contradictions between the programmes involved, the hybrid set is “put into order” (Maxwell’s term). A hierarchy of theoretical schemes starting from ingenious crossbreeds (the displacement current) and up to usual hybrids is set up. After the displacement current construction the interpenetration of the pre-maxwellian programmes begins that marks the commencement of theoretical schemes of optics, electricity and magnetism real unification. Maxwell’s programme surpassed that of Ampére-Weber because it did absorb the ideas of the Ampére-Weber programme, as well as the presuppositions of the programmes of Young-Fresnel and Faraday properly co-ordinating them with each other. But the opposite statement is not true. The Ampére-Weber programme did not assimilate the propositions of the Maxwellian programme. Maxwell’s victory over his rivals became possible because the gist of Maxwell’s unification strategy was formed by Kantian epistemology looked in the light of William Whewell and such representatives of Scottish Enlightenment as Thomas Reid and Sir William Hamilton. Maxwell did put forward as basic synthetic principles the ideas that radically differed from that of Ampére-Weber approach by their open, flexible and contra-ontological, genuinly epistemological, Kantian character. For Maxwell, ether was not the ultimate building block of physical reality, from which all the charges and fields should be constructed. “Action at a distance”, “incompressible fluid”, “molecular vortices”, etc. were contrived analogies for Maxwell, capable only to direct the researcher at the “right” mathematical relations. Key words: J.C. Maxwell, unification of optics and electromagnetism, I. Kant, T. Reid, W. Hamilton . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why Gaia?Massimo Pigliucci (bio)The Gaia Hypothesis: Science on a Pagan Planet, Michael Ruse, Chicago: University of Chicago Press, 2013. 272 pages.“The Gaia Hypothesis: Science on a Pagan Planet tells a story that comes out of the 1960s, a story that reflects all of the beliefs and enthusiasms and tensions of that decade.” So begins Michael Ruse’s fascinating, if at times puzzling, exploration of James Lovelock’s famous idea that (...) our planet is, in a serious scientific sense, a living organism with a tendency of taking care of (her)self. But why tell this particular story, especially considering that Gaia hardly makes an appearance in today’s scientific or philosophical publications, and doesn’t even seem quite that popular with the lay public as it used to be? Because, as Ruse tells us near the end of the book, at the onset of chapter seven: “the paradox that set us on our path [is] why the scientific community reacted so negatively to the Gaia hypothesis, whereas the public reaction was so positive.”As it turns out, there is a good answer to that conundrum, one that Ruse himself lays out clearly in the last chapter of the book, and which makes the reader wonder why this should count a paradox at all. But we will get there in due time. First, the basics: the so-called Gaia hypothesis is the brainchild of iconoclastic inventor-turned-independent-scientist James Lovelock, who later got significant help in elaborating (and promoting) his ideas from another iconoclast, biologist Lynn Margulis. By the time you get to the end of Ruse’s engaging book, however, you won’t have gained a particularly good understanding of what the hypothesis actually consists. But that’s not Ruse’s fault, it is Lovelock’s (and Margulis’). At times it sounds like the entirely uncontroversial claim that the Earth’s [End Page 117] biosphere is a somewhat homeostatic system—i.e., a biophysical system that is resistant to major changes, at the least within a certain range (the planet’s atmosphere, after all, did change dramatically early on, increasing its oxygen content as a result of the evolution of photosynthetic organisms—the anaerobic life forms that had up to that point been dominant did not appreciate the novelty). At other times the claim is downright preposterous: the Earth literally is a living organism (according to Lovelock) (Chapter 7),1 a finding that allegedly puts in question the whole Darwinian view of biological evolution (according to Margulis) (Chapter 7), a position that can only be characterized as nonsense on stilts. At yet other moments, Gaia is presented as just a metaphor to help us wrap our minds around the complexities (and homeostatic properties) of the world’s ecosystems (Chapter 8). It is this never-ending oscillation between the trivial and the bizarre that has led the majority of scientists to write off Gaia, to the chagrin of Lovelock, Margulis, and a large number of New Age tree huggers from the 1960s.Indeed, the scientific reaction to Gaia was swift and ranging from the condescending to the unforgiving. Evolutionary biologist John Maynard Smith—never one to mince words—called it “an evil religion” (Chapter 2). Another evolutionary biologist, Stephen Jay Gould (whose own disagreements with Maynard Smith became legendary) said that “Gaia strikes me as a metaphor, not a mechanism” (Chapter 2). Ecologist Robert May, who eventually became president of the Royal Society, called Lovelock “a holy fool” (Chapter 2). The highly respected theoretical biologist W.D. Hamilton said that in order for the hypothesis to work, it would require “treaties between Neptune and Zeus, a Gaian Interpol, conventions about bills of lading for chemical transport by air and water, and so on” (Chapter 7). Finally, Richard Dawkins accused Lovelock of committing the fallacy of “the BBC theorem,” assuming (or wishfully thinking) that the world is a harmonious place, just like in naive BBC nature documentaries (Chapter 2).You get the gist: pretty much from the beginning, and with very few exceptions, the scientific establishment rejected Gaia on the grounds that it is not a scientific hypothesis at all, and that its main tenets actually go against pretty... (shrink)

The turn of the last century saw an explosion of philosophical realisms, both in the United States and in the United Kingdom. Gary Hatfield helpfully asks whether we can impose order on this chaotic scene by portraying these diverse actors as responding to a common philosophical problem—the so-called problem of the external world, as articulated by William Hamilton. I argue that we should not place the American realism that grows out of James’s neutral monism in this problem space. (...) James first articulated his position in response to critical attacks on the methodology he had employed in his psychological research. The direct topic of these criticisms was James’s earlier claim that a scientific psychology must treat knowledge as an inexplicable theoretical primitive. If I am right, then we ought to hesitate about Hatfield’s suggestion that American realism operated inside the same problem space as the early realism of British figures like Russell and Moore. James’s neutral monism first emerged as a conception of knowledge by a psychologist, and it was designed to meet concerns about his scientific research that had been raised by other psychologists. (shrink)

Radical moral encroachment is the view that belief itself is morally evaluable, and that some moral properties of belief itself make a difference to epistemic rationality. To date, almost all proponents of radical moral encroachment hold to an asymmetry thesis: the moral encroaches on rational belief, but not on rational credence. In this paper, we argue against the asymmetry thesis; we show that, insofar as one accepts the most prominent arguments for radical moral encroachment on belief, one should likewise accept (...) radical moral encroachment on credence. We outline and reject potential attempts to establish a basis for asymmetry between the attitude types. Then, we explore the merits and demerits of the two available responses to our symmetry claim: (i) embracing moral encroachment on credence and (ii) denying moral encroachment on belief. (shrink)

In this essay, I review two earlier anti-Semitic propaganda films of 1939, to wit, Robert and Bertram, and Linen from Ireland. I begin by rehearsing some of Abram de Swann’s analysis of genocide and then discuss in greater detail a classic sociological analysis written during WWII by Hans Speier. Speier distinguished three broad kinds of war of increasing ferocity: instrumental war, agonistic war, and absolute war. While the first two sorts of war are relatively constrained, in absolute war the in-group (...) regards the out-group as inherently evil, and consequently the goal of such a war is to exterminate the out-group, with no limitation on methods. I suggest in the piece that the focus of these films is precisely to get the audience to view Jews as three different things: different (not Germans as “Aryans” are supposed to be); disgusting (loathsome, somehow degenerate); and dangerous (a threat to Aryan Germans by their very nature). I cover both films, pointing to the scenes that are crafted to engender in the audience exactly these feelings. To help explain how the various scenes manipulate the audience to push the regime’s Anti-Semitic narrative, I use Robert Cialdini’s theory of the use of psychological mechanisms in marketing. (shrink)

This essay is my review of Erwin Leiser’s excellent documentary film Germany Awake. This classic film first aired in Germany in 1968, and remains to this day one of the best surveys of major Nazi-era movies and exactly what messages they were meant to convey. The film underscores the emphasis the regime put on film as one of the premier mechanisms of propaganda, though Leiser’s film points out that most of the cinema produced by the Nazi regime was not pure (...) propaganda, but mainly entertainment. In the review, I put forward a list of criteria for evaluating the degree of the deceptiveness of propaganda, and why cinema is so apt to exploit those criteria. (shrink)

Christopher Johnson has put forward in this journal the view that ad hominem reasoning may be more generally reasonable than is allowed by writers such as myself, basing his view on virtue epistemology. I review his account, as well as the standard account, of ad hominem reasoning, and show how the standard account would handle the cases he sketches in defense of his own view. I then give four criticisms of his view generally: the problems of virtue conflict, vagueness, conflation (...) of speech acts, and self-defeating counsel. I then discuss four reasons why the standard account is superior: it better fits legal reality, the account of other fallacies, psychological science, and political reality. (shrink)

In this essay, I look at two negative portrayals of egoism. I summarize in detail the superb All About Eve—which won six Academy Awards, including Best Picture. The movie is about the rise of a ruthlessly ambitious actress, and how she treats her main competitor. Eve Harrington worms her way into top theatrical actress Margo Channing’s inner circle by pretending to be an admirer, but she is really a schemer who wants to eclipse Margo’s star in the theater universe. However, (...) Eve runs into trouble when she attempts to manipulate tart-tongued theater critic, Addison de Witt. The movie portrays the New York theater industry as being full of narcissists. I then review the classic film noir The Third Man (1949), rated by the prestigious British Film Institute as the greatest film of the 20th century. The film centers around a charismatic, handsome criminal mastermind Harry Lime living in bombed-out post-War Vienna. Lime is a man of no conscience or empathy—a true psychopath. He cripples children by selling hospitals adulterated penicillin. But we (the audience) still feel sympathy for him. I end the piece by explaining the psychological mechanisms at work that give rise to our paradoxical sympathy. (shrink)

In this essay, I review in great detail Ian Garden’s outstanding book, The Third Reich’s Celluloid War. Garden begins by discussing propaganda theory and then discusses not just Nazi feature films and documentaries, but television as well. (The Nazis had the earliest TV network). All in all, the regime produced over 1,300 feature films during its time in power. Garden also compares Nazi propaganda films to British and American ones.

This essay is my extended review of Eamonn Butler’s outstanding primer, Classical Liberalism. In his book, Butler notes that the phrase “classical liberal” encompasses a wide spectrum of views, from conservatism to libertarianism. Butler lays out 10 principles that characterize classical liberalism, sketches its history, and discusses the value classical liberals place on freedom and toleration. He also examines the classical liberal views of politics, government, and society, and some useful compendia for the reader.

This paper, "The Ecological Pathology of Man," is an expanded excerpt from the author's book, "The Pathology of Man: A Study of Human Evil." ¶¶¶¶¶¶¶¶ When taken as a serious and dispassionate object of study from the standpoint of the science of pathology, the human species is easily recognized as a global pathogen. Incontrovertible evidence on all sides tells us this, and yet we have steadfastly avoided an honest look in the mirror. We so often choose—willfully and with strong convictions (...) sustained by homocentric prejudice—to hide the facts from ourselves, and to proceed with untroubled ignorance to overlook the worldwide human and natural devastation for which our species is responsible. (shrink)

In this essay I take up the later major anti-Semitic propaganda pieces, all of them released in 1940. They were produced under Goebbels explicit orders to each of the three Nazi-controlled studios to produce an anti-Semitic film. The three films produced were: The Rothschilds Share at Waterloo; Jud Suss; and The Eternal Jew. These films were much more powerful propaganda pieces in intensifying anti-Semitic feelings—those feelings of difference, disgust, and danger. For each film, I point to the scenes that arouse (...) the feelings even more profoundly than did the earlier films. The Rothschilds’ Shares at Waterloo put forward the conspiracy theory (widespread to this day) that Jewish bankers form a conspiratorial cabal bent upon world domination. Jew Suss (which was presented as historically true) pushes the narrative of Jews using money to take power, and of their boundless lust for young Christian women (hence the danger of “racial pollution”). Of all the anti-Semitic propaganda films the regime produced, the top regime figures considered this to be the most powerful—about 40% of German adults of the time saw this film. It is banned in Germany to this day. Finally, The Eternal Jew—perhaps the most infamous of the group—is presented as a truthful documentary. While this sham documentary was a comparative box office flop, it was widely used as a training film. (shrink)

This is a review of the biopic of the great mathematician Ramanujan, 'The Man Who Knew Infinity'(2016).

Many philosophers in the analytic tradition have recently sought to explore the question of the meaning of life. In the first part of this paper I subject two important approaches from this tradition – those of John Cottingham and Susan Wolf - to criticism. I then suggest that Cottingham and Wolf articulate certain assumptions about the meaning of life that are widely shared amongst analytic philosophers. I go on to subject those assumptions to criticism and seek to develop an alternative (...) approach to the question, one that is largely overlooked in the contemporary literature. (shrink)

In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It is the only French-produced (...) movie to win Best Picture, and the only (almost entirely) silent movie to win Best Picture since the start of the Academy Awards in 1929. (shrink)

In this essay, I take up the question of why so many of the movies made by Hollywood are endless sequels, “prequels,” and remakes of prior blockbuster hits and so many are based on comic books (X-men, Superman, Batman, and so on). I tie the explanation in part to the aforementioned 1950 Supreme Court ruling prohibiting production companies, and in part to broader cultural changes. In particular, I argue that precisely because film producers can no longer make money from the (...) concessions (i.e., the purchases within the theater), but only of the ticket sales, the producers keep producing remakes of known popular movies, rather than make deeply original movies. (shrink)

In this essay, I review the movie Good. Good tells the story of the moral corruption of its protagonist, a writer, who is seduced by blandishments and material rewards given to him by the Nazi regime. It is a nice illustration of corruption—the degradation of character wrought by the desire for wealth and fame—what Aristotle would call “pleonexia.”.

ABSTRACT: Central to both James’s earlier psychology and his later philosophical views was a recurring distinction between percepts and concepts. The distinction evolved and remained fundamental to his thinking throughout his career as he sought to come to grips with its fundamental nature and significance. In this chapter, I focus initially on James’s early attempt to articulate the distinction in his 1885 article “The Function of Cognition.” This will highlight a key problem to which James continued to (...) return throughout his later philosophical work on the nature of our cognition, including in his famous “radical empiricist” metaphysics of “pure experience” around the turn of the century. We shall find that James grappled insightfully but ambivalently with the perceptual and conceptual dimensions of the “knowledge relation” or the “cognitive relation,” as he called it—or what, following Franz Brentano, philosophers would later call our object-directed thought or intentionality more generally. Some philosophers have once again returned to James’s work for crucial insights on this pivotal topic, while others continue to find certain aspects of his account to be problematic. What is beyond dispute is that James’s inquiries in this domain were both innovative and of lasting significance. (shrink)

Considers Goethe's Italienische Reise in regard to Adorno's notion of "late style," with especial focus on the role of Ovid's poetry in the work.

This essay is my review of Philip Booth’s Wellbeing and the Role of Government. The book is an anthology of original articles by eminent researchers in modern happiness economics, such as: Booth himself; Paul Omerod; David Sacks, Betsey Stephenson, and Justin Wolfers; Christopher Snowden; J. R. Shackleton; Christian Bjornskov; Peter Boettke and Christopher Coyne; and Pedro Schwartz. I conclude by offering several criticisms of the work.

This project has been supported by the Australian Government through the Australian Research Council (project number CS170100008); the Department of Industry, Innovation and Science; and the Department of Prime Minister and Cabinet. ACOLA collaborates with the Australian Academy of Health and Medical Sciences and the New Zealand Royal Society Te Apārangi to deliver the interdisciplinary Horizon Scanning reports to government. The aims of the project which produced this report are: 1. Examine the transformative role that artificial intelligence may play in (...) different sectors of the economy, including the opportunities, risks and challenges that advancement presents. 2. Examine the ethical, legal and social considerations and frameworks required to enable and support broad development and uptake of artificial intelligence. 3. Assess the future education, skills and infrastructure requirements to manage workforce transition and support thriving and internationally competitive artificial intelligence industries. (shrink)

If, as Richard Wollheim says, the Acquaintance Principle is ‘a well-entrenched principle in aesthetics,’ it would be surprising if there were not something true at which those who have asserted it have been aiming. I argue that the Acquaintance Principle cannot be true on any traditional epistemic interpretation, nor on any usability interpretation of the sort Robert Hopkins has recently suggested. I then argue for an interpretation of the principle that treats acquaintance as the end to which judgments of aesthetic (...) value are the means as opposed to the other way around. (shrink)

Catalan translation, introductory study and notes on W. K. Clifford’s “The Ethics of Belief”. Published in Clifford, W.K. “L’ètica de la creença”. Quaderns de Filosofia, vol. III, n. 2 (2016), pp. 129–150. // Catalan translation, introductory study and notes on William James’s “The Will to Believe”. Published in James, William. “La voluntat de creure”. Quaderns de Filosofia, vol. III, n. 2 (2016), pp. 151–172. [Introductory study published in Oya, Alberto. “Introducció. El debat entre W. K. Clifford i William (...) James”. Quaderns de Filosofia, vol. III, n. 2 (2016), pp. 123–127]. (shrink)

I argue that religion knows rapture and philosophy doesn't.

A number of theistic philosophers have recently denied that God is subject to moral and rational norms. At the same time, many theists employ epistemological and inductive arguments for the existence of God. I will argue that ‘no-norms’ theists cannot make use of such arguments: if God is not subject to norms – particularly rational norms – then we can say nothing substantive about what kind of worlds God would be likely to create, and as such, we cannot predict the (...) likelihood of any particular evidence given theism. What is more, I argue that this lack of constraint on God's creative act raises a serious sceptical challenge for no-norms theism. (shrink)

Scepticism about ought simpliciter is the view that there is no such thing as what one ought simpliciter to do. Instead, practical deliberation is governed by a plurality of normative standpoints, each authoritative from their own perspective but none authoritative simpliciter. This paper aims to resist such scepticism. After setting out the challenge in general terms, I argue that scepticism can be resisted by rejecting a key assumption in the sceptic’s argument. This is the assumption that standpoint-relative ought judgments bring (...) with them a commitment to act in accordance with those judgments. Instead, I propose an alternative account of our normative concepts according to which only ought simpliciter judgments commit one to acting in accordance with those judgments. In addition to answering the sceptical challenge, the proposal offers an independently motivated account of what makes a concept normatively authoritative. (shrink)

Modal epistemologists parse modal conditions on knowledge in terms of metaphysical possibilities or ways the world might have been. This is problematic. Understanding modal conditions on knowledge this way has made modal epistemology, as currently worked out, unable to account for epistemic luck in the case of necessary truths, and unable to characterise widely discussed issues such as the problem of religious diversity and the perceived epistemological problem with knowledge of abstract objects. Moreover, there is reason to think that this (...) is a congenital defect of orthodox modal epistemology. This way of characterising modal epistemology is however optional. It is shown that one can non-circularly characterise modal conditions on knowledge in terms of epistemic possibilities, or ways the world might be for the target agent. Characterising the anti-luck condition in terms of epistemic possibilities removes the impediment to understanding epistemic luck in the case of necessary truths and opens the door to using these conditions to shed new light on some longstanding epistemological problems. (shrink)

Sometimes, the fact that an attitude is fitting seems like a demand to have that attitude. But in other cases, the fact that an attitude is fitting seems more like a permission to have the attitude. I defend a proposal that can accommodate both of these appearances. I argue that there is a kind of emotionlessness, which I call apathy, that can be fitting or unfitting in just the same way that emotion can. I further argue that, in some cases, (...) it can be fitting to respond a single object either with emotion or with apathy. When both apathy and emotion are fitting options, the fittingness of the emotion is a permission-like status; failures to have the fitting emotion are not failures of fit. But when an emotion is fitting and apathy is unfitting, the fittingness of the emotion is a demand-like status; failures to have the emotion are failures of fit. (shrink)

If there is pragmatic encroachment in epistemology, whether a person knows that p can vary with normative facts about her actions—including facts that do not bear on the truth or likelihood of p. This paper raises an underappreciated question for defenders of pragmatic encroachment: which of the many norms on action are distinctively connected to knowledge? To the extent that contemporary defenders of pragmatic encroachment address this question, they do so by citing norms of ‘practical rationality.’ I show that this (...) approach can only be made to work on the assumption that all immorality involves some form of incoherence. I then suggest a pluralist strategy for pragmatic encroachers who seek to answer my question without making this heavyweight metaethical assumption: they should agree that multiple distinct norms on action play a difference-making role in epistemology. I close the paper by sketching three ways in which pragmatic encroachers might pursue this strategy. (shrink)

The default theory of aesthetic value combines hedonism about aesthetic value with strict perceptual formalism about aesthetic value, holding the aesthetic value of an object to be the value it has in virtue of the pleasure it gives strictly in virtue of its perceptual properties. A standard theory of aesthetic value is any theory of aesthetic value that takes the default theory as its theoretical point of departure. This paper argues that standard theories fail because they theorize from the default (...) theory. (shrink)

In some cases, a group of people can bring about a morally bad outcome despite each person’s individual act making no difference with respect to bringing that outcome about. Since each person’s act makes no difference, it seems the effects of the act cannot provide a reason not to perform it. This is problematic, because if each person acts in accordance with their reasons, each will presumably perform the act—and thus, the bad outcome will be brought about. Recently, Julia Nefsky (...) has argued that this problem is solved by rejecting the assumption that if an act makes no difference with respect to an outcome, then the act cannot do anything non-superfluous toward bringing that outcome about. Nefsky suggests that, even if an act makes no difference, the act may nevertheless help: it may make a non-superfluous causal contribution. If this is right, it means that the potential effects of an act may give us a reason to perform the act, even if the act wouldn’t make a difference. In this paper, I offer some reasons to be wary of Nefsky’s approach. I first argue that her account generates problematic results in a certain range of cases, and thus that we may have no reason to help in any case. I then argue that, even if we do sometimes have a reason to act when it seems we cannot make a difference, this reason cannot be the one that Nefsky identifies. (shrink)

What responsibilities do audiences have in engaging with artworks? Certain audience responses seem quite clear: for example, audiences should not vandalize or destroy artworks; they should not disrupt performances. This paper examines other kinds of resisting responses that audiences sometimes engage in, including petitioning the artist to change their works, altering copies of artworks, and creating new artworks in another artist’s fictional world. I argue for five claims: (1) while these actions can sometimes infringe on the rights of artists, the (...) rights of artists are not absolute; (2) the fact that such actions are based on mistaken interpretations of the artworks has no normative weight; (3) there can be reason to object to additions and alterations whose conception of the artwork is morally worse than the original (and so, there can be reason to support additions and alterations whose conception is morally better); (4) petitioning raises special moral problems; and, most important, (5) some of these actions are valuable because they involve creative and aesthetic activity. Those acts of audience resistance that are creative, morally improve on the original work, and that minimize the infringement of the artists’ rights are good, and should be encouraged. (shrink)

Subject-sensitive invariantism posits surprising connections between a person’s knowledge and features of her environment that are not paradigmatically epistemic features. But which features of a person’s environment have this distinctive connection to knowledge? Traditional defenses of subject-sensitive invariantism emphasize features that matter to the subject of the knowledge-attribution. Call this pragmatic encroachment. A more radical thesis usually goes ignored: knowledge is sensitive to moral facts, whether or not those moral facts matter to the subject. Call this moral encroachment. This paper (...) argues that, insofar as there are good arguments for pragmatic encroachment, there are also good arguments for moral encroachment. (shrink)

This essay provides a novel argument for impurism, the view that certain non-truth-relevant factors can make a difference to a belief's epistemic standing. I argue that purists, unlike impurists, are forced to claim that certain ‘high-stakes’ cases rationally require agents to be akratic. Akrasia is one of the paradigmatic forms of irrationality. So purists, in virtue of calling akrasia rationally mandatory in a range of cases with no obvious precedent, take on a serious theoretical cost. By focusing on akrasia, and (...) on the nature of the normative judgments involved therein, impurists gain a powerful new way to frame a core challenge for purism. They also gain insight about the way in which impurism is true: my argument motivates the claim that there is moral encroachment in epistemology. (shrink)