In this paper we argue that there is a large class of expressions, typified by ‘plastic flower’, ‘stuffed animal’ and ‘kosher bacon’, that have a unique semantics combining compositional, idiomatic and decompositional interpretation. These expressions are compositional because their constituents contribute their meanings to the meanings of the wholes; they are idiomatic because their interpretation involves assigning dictionary entries to non-terminal elements in their syntactic structure; and they are decompositional because their meanings have proper parts that are not the meanings (...) of any of their syntactic constituents. We argue that extensionalist semantics, on which the meaning of an expression is a function from domains to extensions in those domains, cannot provide an adequate account of the semantics of these expressions, and that supplementation with a theory of pragmatic interpretation does not improve the situation. We show how our account explains the intensionality and the productivity of these expressions. (shrink)

Jerrold J. Katz often explained his semantic theory by way of an analogy with physical atomism and an attendant analogy with chemistry. In this chapter, I track the origin and uses of these analogies by Katz, both in explaining and defending his decompositional semantic theory, through the various phases of his work throughout his career.

Noam Chomsky’s well-known claim that linguistics is a “branch of cognitive psychology” has generated a great deal of dissent—not from linguists or psychologists, but from philosophers. Jerrold Katz, Scott Soames, Michael Devitt, and Kim Sterelny have presented a number of arguments, intended to show that this Chomskian hypothesis is incorrect. On both sides of this debate, two distinct issues are often conflated: (1) the ontological status of language and (2) the relation between psychology and linguistics. The ontological issue (...) is, I will argue, not the relevant issue in the debate. Even if this Chomskian position on the ontology of language is false, linguistics may still be a subfield of psychology if the relevant methods in linguistic theory construction are psychological. Two options are open to the philosopher who denies Chomskian conceptualism: linguistic nominalism or linguistic platonism. The former position holds that syntactic, semantic, and phonological properties are primarily properties, not of mental representations, but rather of public languagesentence tokens; The latter position holds that the linguistic properties are properties of public language sentence types. I will argue that both of these positions are compatible with Chomsky’s claim that linguistics is a branch of psychology, and the arguments that have been given for nominalism and platonism do not establish that linguistics and psychology are distinct disciplines. (shrink)

This paper discusses knowledge of opposites. In particular, attention is given to the linguistic notion of antonymy and how it represents oppositional relations that are commonly found in perception. The paper draws upon the long history of work on the formalisation of antonymy in linguistics and formal semantics, and also upon work on the perception of opposites in psychology, and an assessment is made of the main approaches. Treatments of these phenomena in linguistics and psychology posit that the principles of (...) minimal difference and invariance are centrally important. It will be suggested that the standard approach employing meaning postulates fails to capture the relevant notion of antonymy, in part because it is not informed by these principles, and in part due to a number of other problems with this kind of approach, many of which may be overcome by building in the central principles from the beginning. The paper also discusses the issue of whether we can know that opposites necessarily exclude each other and, if so, how. This issue is intertwined with what is known as the colour incompatibility problem that Wittgenstein wrangled with at various times during his life. The paper assesses various solutions to these problems including an approach that was first put forward by Jerrold J. Katz. The relation between this approach and the theory of determinables and determinates is also examined. A further development upon this approach is proposed and then applied to the case of the formalisation of antonymy. It is argued that this approach avoids the problems suffered by the main approaches discussed earlier in the paper. (shrink)

Book reviewed:;Jerrold J. Katz, Sense, Reference, and Philosophy.

A point charge accelerating under the influence of an external force emits electromagnetic radiation that reduces the increase in its mechanical energy. This causes a reduction in the particle's acceleration. We derive the decrease in acceleration due to radiation reaction for a particle accelerating parallel to its velocity, and show that it has a negligible effect.

The meaning of Lorentz contraction in special relativity and its connection with Bell’s spaceships parable is discussed. The motion of Bell’s spaceships is then compared with the accelerated motion of a rigid body. We have tried to write this in a simple form that could be used to correct students’ misconceptions due to conflicting earlier treatments.

We study the acceleration and collisions of rigid bodies in special relativity. After a brief historical review, we give a physical definition of the term ‘rigid body’ in relativistic straight line motion. We show that the definition of ‘rigid body’ in relativity differs from the usual classical definition, so there is no difficulty in dealing with rigid bodies in relativistic motion. We then describe The motion of a rigid body undergoing constant acceleration to a given velocity.The acceleration of a rigid (...) body due to an applied impulse.Collisions between rigid bodies. (shrink)

Significant disagreement remains in ethics about the duties we have towards wild animals. This paper aims to mediate those disagreements by exploring how they are supported by, or diverge from, the common-sense ethical principles of non-maleficence, beneficence, autonomy and justice popular in medical ethics. We argue that these principles do not clearly justify traditional conservation or a ‘hands-off ’ approach to wild-animal welfare; instead, they support natural negative duties to reduce the harms that we cause as well as natural positive (...) duties to promote the welfare of wild animals. (shrink)

Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art and (...) philosophy and in the claim that aesthetics is a central area of philosophy. First of all, it is worth noting that, even if the philosophy of art has not played a role in the systems of all the indisputably great philosophers, or even of most of them, it has occupied an important place in the thought of quite a few, among them Plato, Aristotle, Hume, Kant, Schopenhauer, Nietzsche, Hegel and Sartre. And a good number of philosophers of lesser rank—including Croce, Collingwood, Dewey, Bergson, Santayana, Gadamer and, evidently, Schelling, also had a philosophy of art; one finds them perhaps more interested in it than in, say, ethics. Why this natural, even if not inevitable, link between philosophy and art? (shrink)

We seek to elucidate the philosophical context in which one of the most important conceptual transformations of modern mathematics took place, namely the so-called revolution in rigor in infinitesimal calculus and mathematical analysis. Some of the protagonists of the said revolution were Cauchy, Cantor, Dedekind,and Weierstrass. The dominant current of philosophy in Germany at the time was neo-Kantianism. Among its various currents, the Marburg school (Cohen, Natorp, Cassirer, and others) was the one most interested in matters scientific and mathematical. Our (...) main thesis is that Marburg neo-Kantian philosophy formulated a sophisticated position towards the problems raised by the concepts of limits and infinitesimals. The Marburg school neither clung to the traditional approach of logically and metaphysically dubious infinitesimals, nor whiggishly subscribed to the new orthodoxy of the “great triumvirate” of Cantor, Dedekind, and Weierstrass that declared infinitesimals conceptus nongrati in mathematical discourse. Rather, following Cohen’s lead, the Marburg philosophers sought to clarify Leibniz’s principle of continuity, and to exploit it in making sense of infinitesimals and related concepts. (shrink)

When blame is understood to be emotion-based or affective, its emotional tone is standardly identified as one of anger. We argue that this conception of affective blame is overly restrictive. By attending to cases of blame that emerge against a background of a particular kind of hope invested in others, we identify a blaming response characterized not by anger but by sadness: reactive disappointment. We develop an account of reactive disappointment as affective blame, maintaining that while angry blame and disappointed (...) blame are both condemnatory responses, they have distinct evaluative foci and occupy different but complementary roles in our accountability practices. (shrink)

A single-blind experiment was conducted on free-responsive spatially non-local perception of free-selective simple photographic targets. One author (the tasker) chose a photographic target not subjected to a priori compiling, and the other author (the perceiver) attempted to unconventionally perceive the target. Feedback was expected prior to a new target being selected. A hundred trials were completed over 11 months. Thirteen judges offered gradings that collectively projected an apparent information requisition yield (AIRY). The AIRY refers to two aspects of the matching (...) of a taskette (a target’s counterpart) with respect to the target based on fuzzy scales from 0% to 100%, graded with an increment of 10%. The type-I or “tangibility” aspect of matching assessed the extent of the resemblance of a taskette to the target in terms of the shape or structural details of the primary physical entity/event. The type-II or “intangibility” aspect of the matching assessed the degree of the reconstruction of a taskette to the target in terms of the feature or functionality of the predominant physical entity/event. A total of 6 taskettes received >50% grades in both type-I and type-II aspects of matching with their respective targets. This outcome may correspond to an effect size of 1.47 if the chance-expectation may give a benchmark proportion of 3 out of 100 trials producing >50% grades in both type-I and type-II aspects of matching. Patterns indicating target interference associated with two trials entail further investigation. The approaches offer new insights to quantifying the band-limited information throughputs of spatially non-local perception. (shrink)

La créativité est une valeur aujourd’hui abondamment conférée à des objets fort divers. Ainsi, bien qu’elle soit principalement discutée dans le domaine de l’art, on en parle souvent à propos des sciences, du sport, de l’entrepreneuriat, de la politique, de la pédagogie ou encore de situations plus ordinaires, telles que la créativité culinaire ou humoristique. En quoi ces diverses formes de créativité se ressemblent-elles ? Qu’est-ce qui fait leur valeur et en quoi se distinguent-elles de proches parentes comme l’originalité, l’inventivité (...) ou l’intelligence ? (shrink)

We examine some of Connes’ criticisms of Robinson’s infinitesimals starting in 1995. Connes sought to exploit the Solovay model S as ammunition against non-standard analysis, but the model tends to boomerang, undercutting Connes’ own earlier work in functional analysis. Connes described the hyperreals as both a “virtual theory” and a “chimera”, yet acknowledged that his argument relies on the transfer principle. We analyze Connes’ “dart-throwing” thought experiment, but reach an opposite conclusion. In S , all definable sets of reals are (...) Lebesgue measurable, suggesting that Connes views a theory as being “virtual” if it is not definable in a suitable model of ZFC. If so, Connes’ claim that a theory of the hyperreals is “virtual” is refuted by the existence of a definable model of the hyperreal field due to Kanovei and Shelah. Free ultrafilters aren’t definable, yet Connes exploited such ultrafilters both in his own earlier work on the classification of factors in the 1970s and 80s, and in Noncommutative Geometry, raising the question whether the latter may not be vulnerable to Connes’ criticism of virtuality. We analyze the philosophical underpinnings of Connes’ argument based on Gödel’s incompleteness theorem, and detect an apparent circularity in Connes’ logic. We document the reliance on non-constructive foundational material, and specifically on the Dixmier trace −∫ (featured on the front cover of Connes’ magnum opus) and the Hahn–Banach theorem, in Connes’ own framework. We also note an inaccuracy in Machover’s critique of infinitesimal-based pedagogy. (shrink)

To explore the extent of embeddability of Leibnizian infinitesimal calculus in first-order logic (FOL) and modern frameworks, we propose to set aside ontological issues and focus on pro- cedural questions. This would enable an account of Leibnizian procedures in a framework limited to FOL with a small number of additional ingredients such as the relation of infinite proximity. If, as we argue here, first order logic is indeed suitable for developing modern proxies for the inferential moves found in Leibnizian infinitesimal (...) calculus, then modern infinitesimal frameworks are more appropriate to interpreting Leibnizian infinitesimal calculus than modern Weierstrassian ones. (shrink)

Collection of essays, literature and first-person accounts on death, dying and bereavement.

Translation based on: Y. Katz, Noam Chomsky on Where Artificial Intelligence Went Wrong, The Atlantic, November 1, 2012.

A number of theorists have argued that Scanlon's contractualist theory both "gets around" and "solves" the non-identity problem. They argue that it gets around the problem because hypothetical deliberation on general moral principles excludes the considerations that lead to the problem. They argue that it solves the problem because violating a contractualist moral principle in one's treatment of another wrongs that particular other, grounding a person-affecting moral claim. In this paper, I agree with the first claim but note that all (...) it shows is that the act is impersonally wrong. I then dispute the second claim. On Scanlon's contractualist view, one wrongs a particular other if one treats the other in a way that is unjustifiable to that other on reasons she could not reasonably reject. We should think of person-affecting wronging in terms of the reasons had by the actual agent and the actual person affected by the agent's action. In non-identity cases, interpersonal justifiability is therefore shaped both by the reason to reject the treatment provided by the bad suffered and the reason to affirm the treatment provided by the goods had as a result of existing. I argue it would be reasonable for the actual person to find the treatment justifiable, and so I conclude that Scanlon's contractualist metaethics does not provide a narrow person-affecting solution to the non-identity problem on its own terms. I conclude that the two claims represent a tension within Scanlon's contractualist theory itself. (shrink)

Felix Klein and Abraham Fraenkel each formulated a criterion for a theory of infinitesimals to be successful, in terms of the feasibility of implementation of the Mean Value Theorem. We explore the evolution of the idea over the past century, and the role of Abraham Robinson's framework therein.

Katz denies that organisms created in a lab as part of a de-extinction attempt will be authentic members of the extinct species, on the basis that they will lack the original species’ defining biological and evolutionary history. Against Katz, I note that an evolutionary lineage is conferred on an organism through its inheriting genes from forebears already possessed of such a lineage, and that de-extinction amounts to a delayed, human-assisted reproductive process, in which genes are inherited from forebears (...) long dead. My conclusion is that de-extinct organisms can perfectly well have an ancient evolutionary history, contrary to what Katz claims. (shrink)

Quine's holistic empiricist account of scientific inquiry can be characterized by three constitutive principles: *noncontradiction*, *universal revisability* and *pragmatic ordering*. We show that these constitutive principles cannot be regarded as statements within a holistic empiricist's scientific theory of the world. This claim is a corollary of our refutation of Katz's [1998, 2002] argument that holistic empiricism suffers from what he calls the Revisability Paradox. According to Katz, Quine's empiricism is incoherent because its constitutive principles cannot themselves be rationally (...) revised. Using Gärdenfors and Makinson's logic of belief revision based on epistemic entrenchment, we argue that Katz wrongly assumes that the constitutive principles are *statements* within a holistic empiricist's theory of the world. Instead, we show that constitutive principles are best seen as *properties* of a holistic empiricist's theory of scientific inquiry and we submit that, without Katz's mistaken assumption, the paradox cannot be formulated. We argue that our perspective on the status of constitutive principles is perfectly in line with Quinean orthodoxy. In conclusion, we compare our findings with van Fraassen's [2002] argument that we should think of empiricism as a stance, rather than as a doctrine. (shrink)

In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in (...) expression this message should be comprehensible and certainly not incoherent. The author of this paper draws on Levinson's “Messages in Art” as well as his “Music as Narrative and Music as Drama” to explore further the issues mentioned above. In particular the author argues that seeing musical works through the message it may generate is somewhat reductive and that musical work as well as other artworks are prone to abiding by an aesthetic code and therefore even when they allow for interpretation in terms of messages or morals these messages are incoherent or vague at best. (shrink)

Katz (2022) provides a range of arguments drawn from the environmental philosophy literature to criticize the conceptualisation and practice of de-extinction. The discussion is almost completely de...

Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic (...) art and pornography; or at the least, nothing can be coherently projected as both erotic art and pornography.1I have argued elsewhere .. (shrink)

Disagreeing with Jerrold Levinson's claim that being conscious of broad-span musical form is not essential to understanding music, I will argue that our awareness of musical architecture is significant to achieve comprehension. I will show that the experiential model is not incompatible with the analytic model. My main goal is to show that these two models can be reconciled through the identification of a broader notion of understanding. After accomplishing this reconciliation by means of my new conception, I will (...) close the paper by discussing some reasons to accept an enhancing notion of musical understanding that includes levels and degrees of understanding. /// En desacuerdo con la afirmación de Jerrold Levinson: que ser consciente de la forma musical a gran escala no es esencial para comprender la música, sostendré que nuestra conciencia de la estructura musical es significante para alcanzar comprensión. Mostraré que el modelo experiencial no es incompatible con el modelo analítico y que ambos pueden ser reconciliados mediante una noción de comprensión más amplia. Después de llevar a cabo está reconciliación mediante la nueva concepción que propongo, concluiré discutiendo algunas razones para aceptar una noción de comprensión musical enriquecida que incluye niveles y grados de comprensión. (shrink)

My aim in this chapter is to extend the Realist account of the foundations of linguistics offered by Postal, Katz and others. I first argue against the idea that naive Platonism can capture the necessary requirements on what I call a ‘mixed realist’ view of linguistics, which takes aspects of Platonism, Nominalism and Mentalism into consideration. I then advocate three desiderata for an appropriate ‘mixed realist’ account of linguistic ontology and foundations, namely (1) linguistic creativity and infinity, (2) linguistics (...) as a theory of types (and not tokens) and (3) independence but structural respect between language and the linguistic competence thereof. My own brand of mixed realism, what I call ante rem realism, is defended along the lines of an ante rem or non-eliminative structuralism, the likes of which has been offered for mathematics by Resnik (1997) and Shapiro (1997). In other words, grammars describe a mind-independent (but not necessarily unconnected) linguistic reality in terms of linguistic patterns or structures also known as natural languages. I further amend this picture to allow for the possibility of a naturalistic account of language acquisition and evolution by arguing against a particular view of the type-token distinction. (shrink)

The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word “expressiveness” (...) is used for the audience-centered aspect, and I shall keep to this usage. In this paper I shall argue that although expression is closely related to expressiveness, the two concepts are distinct and, in particular, expressiveness cannot be analyzed in terms of expression, as has been recently suggested by Stephen Davies and Jerrold Levinson. Nonetheless, the richest examples of expression in the arts involve both expression and expressiveness. (shrink)

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an (...) instance of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (shrink)

Richard Wollheim claimed that twofoldness is a necessary condition for the perception of pictorial representations and it is also a necessary condition for the aesthetic appreciation of pictures. Jerrold Levinson pointed out that these two questions are different and argued that though twofoldness may be a necessary condition for the aesthetic appreciation of pictures, it cannot be a necessary condition for the perception of pictorial representations. I argue that Wollheim's use of the term ‘twofoldness’ alternates between two concepts: the (...) simultaneous visual awareness of the surface and of the represented object on the one hand and the simultaneous visual awareness of the represented object and the way it is represented on the other. Finally, I argue that twofoldness in the first sense is a necessary condition for the perception of pictorial representations, whereas twofoldness in the second sense is a necessary condition for the aesthetic appreciation of pictures. (shrink)

The main goal of this paper is to show that there are many phenomena that pertain to the construction of truth-conditional compounds that follow characteristic patterns, and whose explanation requires appealing to knowledge structures organized in specific ways. We review a number of phenomena, ranging from non-homogenous modification and privative modification to polysemy and co-predication that indicate that knowledge structures do play a role in obtaining truth-conditions. After that, we show that several extant accounts that invoke rich lexical meanings to (...) explain such phenomena face problems related to inflexibility and lack of predictive power. We review different ways in which one might react to such problems as regards lexical meanings: go richer, go moderately richer, go thinner, and go moderately thinner. On the face of it, it looks like moderate positions are unstable, given the apparent lack of a clear cutoff point between the semantic and the conceptual, but also that a very thin view and a very rich view may turn out to be indistinguishable in the long run. As far as we can see, the most pressing open questions concern this last issue: can there be a principled semantic/world knowledge distinction? Where could it be drawn: at some upper level (e.g. enriched qualia structures) or at some basic level (e.g. constraints)? How do parsimony considerations affect these two different approaches? A thin meanings approach postulates intermediate representations whose role is not clear in the interpretive process, while a rich meanings approach to lexical meaning seems to duplicate representations: the same representations that are stored in the lexicon would form part of conceptual representations. Both types of parsimony problems would be solved by assuming a direct relation between word forms and (parts of) conceptual or world knowledge, leading to a view that has been attributed to Chomsky (e.g. by Katz 1980) in which there is just syntax and encyclopedic knowledge. (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)

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage (...) of the term “pornographic art.”. (shrink)

Music presents itself as a process, a continuation, following through. Musical works and music experience is perceived as development, succession, dialogical reaching out and harmonizing. Not one process but many. Among those various processes that make music the author focuses on a specific process of human development, which occurs during listening as much as during performing music. This is a process of growing and self-realization. In the course of the paper following the processual character of music, author turns to Maurice (...) Merleau-Ponty and Mikel Dufrenne in the phenomenological tradition, to Jerrold Levinson and his understanding of music through a listening moment to moment process and also to Theodor Adorno and his way of explaining music as a process of dialectical development. (shrink)

This paper is an extended critical discussion of Jerrold Levinson's historical definition of art. I try out various different avenues of attack; it is not clear whether any of them is ultimately successful.

What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...) On the other hand, Jerrold Levinson’s intentional-historical definition and Dominic Lopes’s approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation. (shrink)

In “Artistic Worth and Personal Taste,” Jerrold Levinson develops a problem for those who think we should strive to be “ideal critics” in our aesthetic lives. He then offers several solutions to this problem. I argue that his solutions miss the mark and that the problem he characterizes may not be genuine after all.

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)

Nelson Goodman notoriously distinguished between autographic works, whose instances should be identified by taking history of production into account, and allographic works, whose instances can be identified independently of history of production. Scholars such as Jerrold Levinson, Flint Schier, and Gregory Currie have criticized Goodman’s autographic/allographic distinction arguing that all works are such that their instances should be identified by taking history of production into account. I will address this objection by exploiting David Davies’ distinction between e-instances and p-instances (...) of a work, thereby restating the autographic/allographic distinction. Then, I will show that this way of restating this distinction leads us to effective accounts of relevant related phenomena such as forgery, plagiarism, and digital technologies. Finally, I will show the theoretical advantages of my account of the autographic/allographic distinction in comparison with an alternative account recently proposed by Jason D’Cruz and P.D. Magnus. (shrink)

Recently, the debate on the ubiquity of fictional narrators – whether every fictional narrative has a fictional narrator – has spread from film to literature. George Wilson reacted to Noël Carroll’s and Andrew Kania’s claims that no fictional narrators but 1 explicit ones such as Ishmael from Herman Melville’s Moby-Dick exist. a near-ubiquity position claiming that almost every fictional novel, except those consisting exclusively of dialogue, has at least a minimal narrating agency or a fictional narrator. Yet, he disassociated himself (...) from the usual ontological-gap argument made to support such claims. In other words, he denied the main tenet of an argument made by Jerrold Levinson; the claim that only fictional entities are able of presenting fictional events to the reader or viewer. (shrink)

“Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...) and different ways of para-textual activation, entitle and unable us to such an operation and to live an aesthetic relation? This issue of “Aisthesis” explores the conditions under which it could be useful to distinguish between aesthetic objects and artworks–visual, musical, literary, performing arts– and to admit that the existence of the latter depends on a marginal and basic component of them: tags. The issue contains articles by Jerrold Levinson, Bernard Sève, Filippo Focosi, Alberto Voltolini, Giulia Alberti, Pietro Kobau, Jean-Pierre Cometti, Isabelle Thomas-Fogiel, Filippo Fimiani, Bertrand Rougé, Leardo Botti, Michel Déguy, Jean-Marie Klinkenberg, Micla Petrelli, Andrea Olivieri, Alessandro Ottaviani. (shrink)

Over the decades, the claim that everything is revisable (defended by Quine and others) has played an important role in Epistemology and Philosophy of Science. Some time ago, Katz (1988) argued that this claim is paradoxical. This paper does not discuss this objection but rather argues that the claim of universal revisability allows for two different readings but in each case leads to a contradiction and is false.

En este trabajo intentamos hacer una aproximación a la problemática de la llamada singularidad del Holocausto. Tomamos como disparador inicial un suceso alusivo relativamente reciente que acaba de causar revuelo en la opinión pública, en el que una política Africana (Helen Zille) se declaró defensora de la singularidad del genocidio perpetrado por el régimen nazi. Desde allí intentamos aproximarnos a distintas articulaciones en favor y en contra de la tesis singularista ¿Fue el Holocausto un hecho único, sin precedentes, o apenas (...) otra manifestación de la violencia occidental, o quizás un poco las dos cosas? ¿Tiene la discusión sólo un sentido “objetivo” o también uno “subjetivo”, y en este último caso, cuál de los dos es más fundamental? En este sentido abordamos de manera sucinta las articulaciones elaboradas tanto por los defensores de la formulación extrema de la tesis singularista (específicamente Goldhagen, Katz, y Genwarth) como de sus objetores relativos (como, a nuestro entender, E. Traverso) y absolutos (por ejemplo Stannard). Intentamos mostrar que la aproximación a la problemática no resiste satisfactoriamente la adopción de posturas binarias a diferencia de lo que ocurre con acercamientos más tendientes a la conciliación como el de E. Traverso, cuyo acento en el estatus doble del Holocausto (como emergente histórico en el plano fáctico-objetivo e irrupción sin precedentes en términos del proceso de comprensión y auto-comprensión occidental del ejercicio de violencia) podría suponer antes que una resignificación del debate reciente, la inauguración, casi, de todo un nuevo horizonte de investigación. (shrink)

Tarlac State University (TSU) is a multi-ethnic and multicultural institution with a student population that is predominated by the Kapampangan, Ilocano, and Tagalog ethnolinguistic groups. Using a modified Katz and Braly trait checklist, a comparative study was able to: 1) profile the stereotypes of these three ethnolinguistic groups, 2) determine their uniformity indices, 3) determine their positivity/negativity indices, 4) compare and contrast their profiled stereotypes, 5) compare and contrast their uniformity indices, and 6) compare and contrast their positivity/negativity indices. (...) This paper was able to establish that (1) the salient traits of the Kapampangan ethnic stereotype are mayabang, masarap magluto, and galante/magastos; those of the Ilocano ethnic stereotype are kuripot, baduy, and madiskarte; and those of the Tagalog ethnic stereotype are maka-Diyos, maganda/guwapo, (2) the Ilocano and the Tagalog ethnic stereotypes shared the most number of traits, while the Kapampangan and Ilocano ethnic stereotypes shared the least number of traits, (3) the Ilocano ethnic stereotype is the sharpest, while the Tagalog ethnic stereotype is the blurriest, and (4) the Tagalog ethnic stereotype is the most positive, while the Kapampangan ethnic stereotype is the most negative. Understanding the dynamics among these ethnolinguistic groups would hopefully lead towards building a more cohesive student body in TSU, or citizens of Tarlac City, or inhabitants of Tarlac Province. This paper is also important in providing a model study that can be replicated in other multicultural institutions and locations in the country. (shrink)

[first paragraph]: Robert Forman's theory outlined in `Mysticism, language and the via negativa' reacts against an earlier account of mysticism which he calls constructivism'. Constructivism grew from a book of collected papers, Mysticism and philosophical analysis , contributed to and edited by Steven Katz. According to Forman, `the constructivist approach is, roughly, that of the historian [of ideas]' . But this characterization is much too generous.

This paper discusses the idea of "pure experience" within the context of the Buddhist tradition and in connection with the notions of emptiness and dependent origination via a reading of Dale Wright's reading of 'Huangbo' in his 'Philosophical Meditations on Zen Buddhism'. The purpose is to appropriate Wright's text in order to engender a response to Steven Katz's contextualist-constructivist thesis that there are no "pure" (i.e., unmediated) experiences. In light of the Mahayana claim that everything is empty of substance, (...) i.e., originates dependently through conditions, contingencies, and contexts, what does the "purity" of the Enlightenment experience mean for Chan/Zen Buddhism? (shrink)