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)

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)

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)

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)

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.

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)

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)

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)

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)

Is perception cognitively penetrable, and what are the epistemological consequences if it is? I address the latter of these two questions, partly by reference to recent work by Athanassios Raftopoulos and Susanna Seigel. Against the usual, circularity, readings of cognitive penetrability, I argue that cognitive penetration can be epistemically virtuous, when---and only when---it increases the reliability of perception.

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)

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)

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

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.

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)

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)

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.

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)

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)

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)

This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

“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)

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)

In May 2017, my book ‘Conversations on Art and Aesthetics’ appeared. It contains conversations with, and photographic portraits of, ten prominent philosophers of art. They are Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. The book has two main aims. One is to provide a broad and accessible overview of what aesthetics as a subfield of philosophy has to offer. The other is to stimulate new work (...) in this area of research. In this brief paper I’d like to say a bit more about this second objective. Current research is rarely conducted or communicated in the form of conversations, so the question arises: how can a book like mine fit with and feed into a research culture which is very much dominated by the format of the journal article? (shrink)

Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. There is an important distinction to be made (...) between critical and performative interpretation, but its source lies in a difference between the authority of critical and performative interpretations. (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)

The relationship of the author’s intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author’s private diaries and life story of committing the ‘fallacy’ of equating the work’s meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are not (...) sufficient to determine a unique meaning for a text; to avoid radical ambiguity we must appeal to the author’s intention, which actualizes one of the candidate meanings. Subsequent writers have defended refined versions of these views, and a variety of positions on the spectrum between them, in a debate that remains central to philosophical aesthetics. This Teaching and Learning Guide lists key readings and suggests how they might be incorporated within a syllabus. It also offers focus questions related to the readings. See also the companion article, Sherri Irvin, “Authors, Intentions and Literary Meaning.” Philosophy Compass 1 (2006), 114-128. (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)