In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop (...) a path between conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

Where does agency lie in musical performance? How is it expressed? Recent music scholarship has highlighted an increasingly prominent tendency to conceive of agency as not confined to any one individual or type of individual, instead being distributed across diverse individuals that can be found occupying performance situations. . This article uses two ‘percussion’ works from the 1970s by the composer John Cage, Child of Tree (1975) and its multi-performer elaboration Branches (1976), as a foil for engaging with (...) these practical and theoretical musical concerns, and for suggesting some heretofore underappreciated distinctions within the ongoing work on multi-agential performance. (shrink)

The paper is focused on the intedermination in compositive processes. In particular on John Cage. The art and the thought of Cage were a response to the growing complexity of the world through a practice and a reflection that focuses heavily on the concept of emptiness, understood as technical decentralization of: the author of the musical structure and the individual and of the same identification of sounds. This complexity results from a network of independent nodes, subjects, activities (...) and institutions that interact in no particular order. You can no longer assume the existence of an ultimate subject for whose wisdom assumes all sense. There is no longer any author. Events happen randomly. Relinquishing control is one of the main themes running through the compositional work of Cage. (shrink)

In December 2013, the Nonhuman Rights Project (NhRP) filed a petition for a common law writ of habeas corpus in the New York State Supreme Court on behalf of Tommy, a chimpanzee living alone in a cage in a shed in rural New York (Barlow, 2017). Under animal welfare laws, Tommy’s owners, the Laverys, were doing nothing illegal by keeping him in those conditions. Nonetheless, the NhRP argued that given the cognitive, social, and emotional capacities of chimpanzees, Tommy’s confinement (...) constituted a profound wrong that demanded remedy by the courts. Soon thereafter, the NhRP filed habeas corpus petitions on behalf of Kiko, another chimpanzee housed alone in Niagara Falls, and Hercules and Leo, two chimpanzees held in research facilities at Stony Brook University. Thus began the legal struggle to move these chimpanzees from captivity to a sanctuary, an effort that has led the NhRP to argue in multiple courts before multiple judges. The central point of contention has been whether Tommy, Kiko, Hercules, and Leo have legal rights. To date, no judge has been willing to issue a writ of habeas corpus on their behalf. Such a ruling would mean that these chimpanzees have rights that confinement might violate. Instead, the judges have argued that chimpanzees cannot be bearers of legal rights because they are not, and cannot be persons. In this book we argue that chimpanzees are persons because they are autonomous. (shrink)

Review of Gerhard Richter's work on randomness in his recent abstract art paintings, compared with John Cage's work on randomness; the review asks about what randomness in representation qua art amounts to.

In this paper I argue that composer John Cage’s so-called ‘silent piece’, 4’33”, is music. I first defend it against the charge that it does not involve the organization of sound, which has been taken to be a necessary feature of music. I then argue that 4’33” satisfies the only other condition that must be met for it to be music: it bears the right socio-historical connections to its predecessors within its tradition (Western art music). I argue further (...) that one cannot understand the organized sound condition and the socio-historical condition separately and that understanding their interaction has theoretical benefits—not least of which is providing a groundwork for a more culturally inclusive philosophy of music. Finally, I consider a number of outstanding questions concerning the content of the organized sound condition for Western art music in the wake of 4’33”. (shrink)

In this paper I argue that a reimagining of the notion of silence as more than a sonic phenomenon is needed to address the dominant structural apparati of Western discourse. Silence as an existential medium is where the Foucauldian apparatuses that power the status-quo of the world operate. They forge connections between things like ideology and social organization where one falls into the wake of the other and is shaped in a way that is nearly invisible to the passing glance. (...) It is the indeterminacy within silence as explored by John Cage that that allows this to happen, but it also offers the potential to have an active role in the shaping of these apparatuses toward a more beneficial and culturally aware form of society. This new approach is crucial in helping one learn to embrace the indeterminacy of life and the hazy relational structures that drive our existence. (shrink)

This essay examines the cultural phenomena of noise in its perceived social constructions and demonstrates its emergence as a form of resistance against prevailing dominant hegemonic codes of culture. In particular, the paper explores the ability of noise to be enacted as a tool to escape the shackles of heteronormative constructions of sexuality and gender in the cultural landscape of the United States. Examined to support this argument are the contrasting works of two American artists: John Cage and (...) Emilie Autumn. Through Cage and his avant-garde articulations of sound, covert acts of resistance against the dominant heteronormative constructions of masculinity are explored, and through Autumn’s classical crossover work, a more overt and explicit form of resistance to subvert gender stereotypes and structures of normality and patriarchy are illuminated. Additionally, the paper explores possibilities for artists to engage with other movements, such as disability activism to create new possibilities for change. -/- . (shrink)

In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities (...) conjunction. After discussing some criticisms of ontological and materialist approaches to sound, I consider the Actor-Network Theory (ANT) of Bruno Latour, posed as offering an alternative to these approaches. Following an examination of some limitations to ANT based around the themes of critique and abstraction, I draw from the work of Gilles Deleuze and Georgina Born to suggest that work on improvisation and the posthumanities may be fruitful, but must be part of a pluralistic mode of inquiry that does not reject critique and abstraction, as some work in the posthumanities has done. (shrink)

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, however, is (...) not as transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...) “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

I argue that silence is replete with aesthetic character and that it can be a rewarding object of aesthetic appreciation, assessment, and appraisal. The appreciation of silence might initially seem impossible, for, it might seem, there is nothing there to behold. Taking up this challenge, I attempt to dispel the sense of paradox. I contend that, despite our never actually experiencing absolute silence, there is much to enjoy in the silences that we do experience. I go on to argue that (...) proper appreciation of silence is a two-way street, involving quiet on the outside and stillness on the inside. I conclude by offering some suggestions for how to make the aesthetic appreciation of silence part of a flourishing life. (shrink)

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

This study examines problems related to the representation of music. It constructs the sender/message/perceiver/result model, a prototype broad enough to incorporate a large variety of music and other notation systems, including those having to do with computers. The work defines music notation itself, describes various models for studying the subject--including the binary types prescriptive/descriptive, and symbolic/iconic--and assesses music notation as a contemporary practice. It encompasses a review of the actions and intentions of composers, performers, and audiences, and a consideration of (...) the message and how it is affected by media , reference systems , and meanings. Finally, through an examination of the possibilities of the self acting as a notation system within models posited by feminist and queer theory, I attempt to demonstrate the power of notation to affect other systems and worlds, including the worlds of music, art, and politics. ;The consideration of these topics draws on theories from linguistics, semiotics, structuralism, post-structuralism, cybernetics, and music, as well as the philosophies of John Cage, Jean-Jacques Nattiez, Nelson Goodman, and others. The work examines various languages and applications used to program computers for musical purposes, though this examination does not incorporate programs dedicated exclusively to printing music. Nor does the study focus on non-Western notations, suggestions for reforms of notation, or encyclopedic lists of notation devices. ;The expository writing is augmented by excerpts from material I gathered in numerous interviews. There are separate sections containing interviews of Leonard Meyer, Allan Kaprow, John Cage, Earle Brown, Roger Reynolds, and Heidi von Gunden. There is also a large, partially-annotated bibliography. ;My hope is that an inclusive, interdisciplinary exploration of music notation will be useful in broadening the theoretical and creative boundaries of the field, as well as bridging gaps among musicians using various music technologies, and artists and theorists from diverse fields and perspectives. (shrink)

In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.

In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the possibilities of understanding (...) experimentation as a transdisciplinary concept and/or method. I develop a notion of experimentation as open, fluid, and non-hierarchical, but also consider points where such an idea is short-circuited by the reassertion of disciplinary closure and more top-down forms of method. My frame for discussing this question is a commonly posited distinction between the experiment and the experimental. Here the experiment is something like a controlled and closed environment in which a privileged observer tests predefined hypotheses, while the experimental concerns attempts to relinquish such control and to produce contexts in which the unknown and the unexpected can arise. By turning to Bachelard’s studies of the practice of science, I will question the common conception of a disciplinary split between the experiments of science and experimental art, showing both how such a distinction cannot be so neat and how these terms are often not easily separable. Putting this notion into conjunction with recent critical discourse on experimentation in music, namely regarding the kinds of exclusions and closures that the term ‘experimental music’ has produced, and with Deleuze’s criticisms of scientific method as well as the apparent disciplinary closure of his transdisciplinary project that is present and his and Félix Guattari’s final work, What is Philosophy?, I argue that refining our understanding of experimentation as a pluralistic and fragile concept will help us engage with the difficulties raised in these fields. More generally I point towards a project of mapping out the diverse and divergent relations that a transdisciplinary understanding of experimentation may draw between philosophy, science, and art. (shrink)

This paper discusses the history of the confusion and controversies over whether the definition of consequence presented in the 11-page 1936 Tarski consequence-definition paper is based on a monistic fixed-universe framework?like Begriffsschrift and Principia Mathematica. Monistic fixed-universe frameworks, common in pre-WWII logic, keep the range of the individual variables fixed as the class of all individuals. The contrary alternative is that the definition is predicated on a pluralistic multiple-universe framework?like the 1931 Gödel incompleteness paper. A pluralistic multiple-universe framework recognizes multiple (...) universes of discourse serving as different ranges of the individual variables in different interpretations?as in post-WWII model theory. In the early 1960s, many logicians?mistakenly, as we show?held the ?contrary alternative? that Tarski 1936 had already adopted a Gödel-type, pluralistic, multiple-universe framework. We explain that Tarski had not yet shifted out of the monistic, Frege?Russell, fixed-universe paradigm. We further argue that between his Principia-influenced pre-WWII Warsaw period and his model-theoretic post-WWII Berkeley period, Tarski's philosophy underwent many other radical changes. (shrink)

The imagery we adopt when recalling the personal past may involve different perspectives. In many cases, we remember the past event from our original point of view. In some cases, however, we remember the past event from an external “observer” perspective and view ourselves in the remembered scene. Are such observer perspective images genuine memories? Are they accurate representations of the personal past? This chapter focuses on such observer perspectives in memory, and outlines and examines proposals about the nature of (...) such imagery. (shrink)

The Metaphysics of Free Will provides a through statement of the major grounds for skepticism about the reality of free will and moral responsibility. The author identifies and explains the sort of control that is associated with personhood and accountability, and shows how it is consistent with causal determinism. In so doing, out view of ourselves as morally responsible agents is protected against the disturbing changes posed by science and religion.

I argue against the orthodox view of the relationship between propositional and doxastic justification. The view under criticism is: if p is propositionally justified for S in virtue of S's having reason R, and S believes p on the basis of R, then S's belief that p is doxastically justified. I then propose and evaluate alternative accounts of the relationship between propositional and doxastic justification, and conclude that we should explain propositional justification in terms of doxastic justification. If correct, this (...) proposal would constitute a significant advance in our understanding of the sources of epistemic justification. (shrink)

This article argues that Rousseau's endorsement of male domination and his illiberal views of rape, punishment and the education of women have been seriously underestimated by twentieth century commentators who tend to produce expoisitions of his work that evade, ignore or marginalise this 'darker side' of his educational philosophy.

This study sought to create a digital game-based physics lesson for seventh-grade students. It sought answers to respondents' least mastered competencies in physics by identifying their preferred game-based learning activity and determining their level of critical thinking, creative thinking, and problem-solving. A descriptive-developmental design was used in the study of selected learners from 129 grade 7 students, carried out at Bukal Sur National High School in Candelaria, Quezon, during the academic year 2022-2023. The study's findings revealed that the respondents' least (...) mastered competency in Physics was describing an object's motion in terms of distance or displacement, speed or velocity, and acceleration, as well as creating and interpreting visual representations of object motion such as tape charts and motion graphs and inferring that waves carry energy. Respondents prefer to play digital games, particularly puzzle games, on their mobile devices. The respondents' mean pre-test score indicated low critical thinking, creative thinking, and problem-solving, whereas the mean post-test score was very satisfactory. Finally, there is a significant difference between the respondents' pre-test and post-test scores for critical thinking, creative thinking, and problem-solving. (shrink)

Nearly all success is due to some mix of ability and luck. But some successes we attribute to the agent’s ability, whereas others we attribute to luck. To better understand the criteria distinguishing credit from luck, we conducted a series of four studies on knowledge attributions. Knowledge is an achievement that involves reaching the truth. But many factors affecting the truth are beyond our control and reaching the truth is often partly due to luck. Which sorts of luck are compatible (...) with knowledge? We find that knowledge attributions are highly sensitive to lucky events that change the explanation for why a belief is true. By contrast, knowledge attributions are surprisingly insensitive to lucky events that threaten but ultimately fail to change the explanation for why a belief is true. These results shed light on our concept of knowledge, help explain apparent inconsistencies in prior work on knowledge attributions, and constitute progress toward a general understanding of the relation between success and luck. (shrink)

This paper introduces a new, expanded range of relevant cognitive psychological research on collaborative recall and social memory to the philosophical debate on extended and distributed cognition. We start by examining the case for extended cognition based on the complementarity of inner and outer resources, by which neural, bodily, social, and environmental resources with disparate but complementary properties are integrated into hybrid cognitive systems, transforming or augmenting the nature of remembering or decision-making. Adams and Aizawa, noting this distinctive complementarity argument, (...) say that they agree with it completely: but they describe it as “a non-revolutionary approach” which leaves “the cognitive psychology of memory as the study of processes that take place, essentially without exception, within nervous systems.” In response, we carve out, on distinct conceptual and empirical grounds, a rich middle ground between internalist forms of cognitivism and radical anti-cognitivism. Drawing both on extended cognition literature and on Sterelny’s account of the “scaffolded mind” (this issue), we develop a multidimensional framework for understanding varying relations between agents and external resources, both technological and social. On this basis we argue that, independent of any more “revolutionary” metaphysical claims about the partial constitution of cognitive processes by external resources, a thesis of scaffolded or distributed cognition can substantially influence or transform explanatory practice in cognitive science. Critics also cite various empirical results as evidence against the idea that remembering can extend beyond skull and skin. We respond with a more principled, representative survey of the scientific psychology of memory, focussing in particular on robust recent empirical traditions for the study of collaborative recall and transactive social memory. We describe our own empirical research on socially distributed remembering, aimed at identifying conditions for mnemonic emergence in collaborative groups. Philosophical debates about extended, embedded, and distributed cognition can thus make richer, mutually beneficial contact with independently motivated research programs in the cognitive psychology of memory. (shrink)

Soon there will be sex robots. The creation of such devices raises a host of social, legal and ethical questions. In this article, I focus in on one of them. What if these sex robots are deliberately designed and used to replicate acts of rape and child sexual abuse? Should the creation and use of such robots be criminalised, even if no person is harmed by the acts performed? I offer an argument for thinking that they should be. The argument (...) consists of two premises. The first claims that it can be a proper object of the criminal law to regulate wrongful conduct with no extrinsically harmful effects on others. The second claims that the use of robots that replicate acts of rape and child sexual abuse would be wrongful, even if such usage had no extrinsically harmful effects on others. I defend both premises of this argument and consider its implications for the criminal law. I do not offer a conclusive argument for criminalisation, nor would I wish to be interpreted as doing so; instead, I offer a tentative argument and a framework for future debate. This framework may also lead one to question the proposed rationales for criminalisation. (shrink)

Can judging that an agent blamelessly broke a rule lead us to claim, paradoxically, that no rule was broken at all? Surprisingly, it can. Across seven experiments, we document and explain the phenomenon of excuse validation. We found when an agent blamelessly breaks a rule, it significantly distorts people’s description of the agent’s conduct. Roughly half of people deny that a rule was broken. The results suggest that people engage in excuse validation in order to avoid indirectly blaming others for (...) blameless transgressions. Excuse validation has implications for recent debates in normative ethics, epistemology and the philosophy of language. These debates have featured thought experiments perfectly designed to trigger excuse validation, inhibiting progress in these areas. (shrink)

Upon its release in 1968, George Romero's Night of the Living Dead was attacked by many critics as an exploitative low budget film of questionable moral value. I argue in this paper that Night of the Living Dead is indeed nihilistic, but in a deeper philosophical sense than the critics had in mind.

‘There is no place in the phenomenology of fully absorbed coping’, writes Hubert Dreyfus, ‘for mindfulness. In flow, as Sartre sees, there are only attractive and repulsive forces drawing appropriate activity out of an active body’1. Among the many ways in which history animates dynamical systems at a range of distinctive timescales, the phenomena of embodied human habit, skilful movement, and absorbed coping are among the most pervasive and mundane, and the most philosophically puzzling. In this essay we examine both (...) habitual and skilled movement, sketching the outlines of a multidimensional framework within which the many differences across distinctive cases and domains might be fruitfully understood. Both the range of movement phenomena which can plausibly be seen as instances of habit or skill, and the space of possible theories of such phenomena are richer and more disparate than philosophy easily encompasses. We seek to bring phenomenology into contact with relevant movements in psychological theories of skilful action, in the belief that phenomenological philosophy and cognitive science can be allies rather than antagonists. (shrink)

Many philosophers favour the simple knowledge account of assertion, which says you may assert something only if you know it. The simple account is true but importantly incomplete. I defend a more informative thesis, namely, that you may assert something only if your assertion expresses knowledge. I call this 'the express knowledge account of assertion', which I argue better handles a wider range of cases while at the same time explaining the simple knowledge account's appeal. §1 introduces some new data (...) that a knowledge account of assertion well explains. §2 explains the simple knowledge account's advantage over two of its main competitors. §3 presents a problem for the simple account and offers a solution, which is to adopt the express knowledge account. §4 encapsulates the case for the express knowledge account, and offers a unifying vision for the epistemology of belief and assertion. §5 answers an objection. §6 briefly sums up. Even those who ultimately reject my conclusion can still benefit from the new data presented in §1, and learn an important lesson from the problem discussed in §3, which demonstrates a general constraint on an acceptable account of the norm of assertion. (shrink)

Is knowledge justified true belief? Most philosophers believe that the answer is clearly ‘no’, as demonstrated by Gettier cases. But Gettier cases don’t obviously refute the traditional view that knowledge is justified true belief (JTB). There are ways of resisting Gettier cases, at least one of which is partly successful. Nevertheless, when properly understood, Gettier cases point to a flaw in JTB, though it takes some work to appreciate just what it is. The nature of the flaw helps us better (...) understand the nature of knowledge and epistemic justification. I propose a crucial improvement to the traditional view, relying on an intuitive and independently plausible metaphysical distinction pertaining to the manifestation of intellectual powers, which supplements the traditional components of justification, truth and belief. (shrink)

In this essay I show how to reconcile epistemic invariantism with the knowledge account of assertion. My basic proposal is that we can comfortably combine invariantism with the knowledge account of assertion by endorsing contextualism about speech acts. My demonstration takes place against the backdrop of recent contextualist attempts to usurp the knowledge account of assertion, most notably Keith DeRose's influential argument that the knowledge account of assertion spells doom for invariantism and enables contextualism's ascendancy.

The concept of practical knowledge is central to G.E.M. Anscombe's argument in Intention, yet its meaning is little understood. There are several reasons for this, including a lack of attention to Anscombe's ancient and medieval sources for the concept, and an emphasis on the more straightforward concept of knowledge "without observation" in the interpretation of Anscombe's position. This paper remedies the situation, first by appealing to the writings of Thomas Aquinas to develop an account of practical knowledge as a distinctive (...) form of thought that "aims at production" of things that lie within an agent's power; and then by showing how this Thomistic understanding of practical cognition seems to have been Anscombe's, too. Having done this, I question whether the thesis that agential knowledge is practical knowledge entails that an agent always has non-observational knowledge of what she is intentionally doing. I answer "Not": Anscombe's claims to the contrary rest on a misleading assimilation of human beings' finite agency to that of an infinite agent like God. (shrink)

It is increasingly recognized that knowledge is the norm of assertion. As this view has gained popularity, it has also garnered criticism. One widely discussed criticism involves thought experiments about “selfless assertion.” Selfless assertions are said to be intuitively compelling examples where agents should assert propositions that they don’t even believe and, hence, don’t know. This result is then taken to show that knowledge is not the norm of assertion. This paper reports four experiments demonstrating that “selfless assertors” are viewed (...) as both believing and knowing the propositions they assert: this is the natural and intuitive way of interpreting the case. Thought experiments about selfless assertions do not threaten the knowledge account and they do not motivate weaker alternative accounts. The discussion also highlights a general lesson for philosophers: thought experiments intended to probe for mental state attributions should not conflict with basic principles that guide social cognition. (shrink)

Leading virtue epistemologists defend the view that knowledge must proceed from intellectual virtue and they understand virtues either as refned character traits cultivated by the agent over time through deliberate effort, or as reliable cognitive abilities. Philosophical situationists argue that results from empirical psychology should make us doubt that we have either sort of epistemic virtue, thereby discrediting virtue epistemology’s empirical adequacy. I evaluate this situationist challenge and outline a successor to virtue epistemology: abilism . Abilism delivers all the main (...) benefts of virtue epistemology and is as empirically adequate as any theory in philosophy or the social sciences could hope to be. (shrink)

The foundations of research ethics are riven with fault lines emanating from a fear that if research is too closely connected to weighty social purposes an imperative to advance the common good through research will justify abrogating the rights and welfare of study participants. The result is an impoverished conception of the nature of research, an incomplete focus on actors who bear important moral responsibilities, and a system of ethics and oversight highly attuned to the dangers of research but largely (...) silent about threats of ineffective, inefficient, and inequitable medical practices and health systems. -/- In For the Common Good: Philosophical Foundations of Research Ethics, Alex John London defends a conception of the common good that grounds a moral imperative with two requirements. The first is to promote research that generates the information necessary to enable key social institutions to effectively, efficiently, and equitably safeguard the basic interests of individuals. The second is to ensure that research is organized as a voluntary scheme of social cooperation that respects its various contributors' moral claims to be treated as free and equal. Connecting research to the goals of a just social order grounds a framework for assessing and managing research risk that reconciles these requirements and justifies key oversight practices in non-paternalistic terms. Reconceiving research ethics as resolving coordination problems and providing credible assurance that these requirements are being met expands the issues and actors that fall within the purview of the field and provides the foundation for a more unified and coherent approach to domestic and international research. -/- This is an open access title available under the terms of a CC BY-NC-ND 4.0 license. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. (shrink)

Two options are incommensurate in value if neither is better than the other, and if a small improvement or worsening of one does not necessarily make it determinately better or worse than the other. If a person faces a sequence of choices between incommensurate options, she may end up with a worse options than she could have had, even though none of her choices are irrational. Yet it seems that rationality should save her from this bad outcome. This is the (...) practical problem posed by incommensurability of values, and it may be solved by a new account of practical reasoning. (shrink)

I argue that you can have a priori knowledge of propositions that neither are nor appear necessarily true. You can know a priori contingent propositions that you recognize as such. This overturns a standard view in contemporary epistemology and the traditional view of the a priori, which restrict a priori knowledge to necessary truths, or at least to truths that appear necessary.

It’s a cornerstone of epistemology that knowledge requires truth – that is, that knowledge is factive. Allan Hazlett boldly challenges orthodoxy by arguing thatthe ordinary concept of knowledge is not factive. On this basis Hazlett further argues that epistemologists shouldn’t concern themselves with the ordinary concept of knowledge, or knowledge ascriptions and related linguistic phenomena. I argue that either Hazlett is wrong about the ordinary concept of knowledge, or he’s right in a way that leaves epistemologists to carry on exactly (...) as they have, paying attention to much the same things they always did. (shrink)

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture surface as (...) flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

According to the Self-Location Thesis, one’s own location can be among the things that visual experience represents, even when one’s body is entirely out of view. By contrast, the Minimal View denies this, and says that visual experience represents things only as "to the right", etc., and never as "to the right of me". But the Minimal View is phenomenologically inadequate: it cannot explain the difference between a visual experience of self-motion and one of an oppositely moving world. To show (...) this, I argue (i) that these experiences are different in an important respect, (ii) that this difference is genuinely experiential, (iii) that it is visual, (iv) that it is not purely phenomenal, and (v) that it cannot be identified with anything other than the apparent motion of the self. So the Self-Location Thesis is upheld: reports of one’s own motion can correspond to aspects of visual experiences every bit as basic to their contents as the apparent motion or rest of the things one has in view. (shrink)

Sobre Filosofia clinica e Reflexões sobre o que é o humano.

Martin and Deutscher’s remarkable 1966 paper ‘Remembering’ still offers great riches to memory researchers across distinctive traditions, both in its methodological ambition (successfully marrying phenomenological and causal discourses) and in its content. In this short discussion, after briefly setting the paper in its context, we hone in on two live and under-explored issues which have gained attention recently under new labels – the extended mind hypothesis, and the constructive nature of memory. We suggest that Martin and Deutscher’s causal analysis of (...) memory is compatible with the idea that activities of remembering may be distributed across heterogeneous social and external resources, focussing in on their neglected example of creatures who ‘remember as we do’ as long as they carry round metal boxes which are given to them at birth. We then argue that the causal analysis is in some tension with the extent to which remembering is a constructive activity, because there may be no clear way to determine the appropriate ‘limits of accuracy’ within which a past event or experience must be represented. (shrink)

Intuitively, the knowledge of one’s own intentional actions is different from the knowledge of actions of other sorts, including those of other people and unintentional actions of one's own. But how are we to understand this phenomenon? Does it pertain to all actions, under every description under which they are known? If so, then how is this possible? If not, then how should we think about cases that are exceptions to this principle? This paper is a critical survey of recent (...) attempts to answer these questions. I consider views under three headings: "special source" views, which hold that the knowledge of one's intentional actions has a non-perceptual source; "special domain" views, which hold that some but not all aspects of one's intentional actions are known in a special way; and "special character" views, which hold that the knowledge of intentional actions is special not because of where it comes from, but because of some other respect in which it is different in kind from the knowledge of other things. (shrink)

Remembering is one of the most characteristic and most puzzling of human activities. Personal memory, in particular – the ability mentally to travel back into the past, as leading psychologist Endel Tulving puts it – often has intense emotional or moral significance: it is perhaps the most striking manifestation of the peculiar way human beings are embedded in time, and of our limited but genuine freedom from our present environment and our immediate needs. Memory has been significant in the history (...) of philosophy as much in relation to ethics and to epistemology as in theories of psyche, mind, and self. (shrink)

Time in electromagnetism shares many features with time in other physical theories. But there is one aspect of electromagnetism's relationship with time that has always been controversial, yet has not always attracted the limelight it deserves: the electromagnetic arrow of time. Beginning with a re-analysis of a famous argument between Ritz and Einstein over the origins of the radiation arrow, this chapter frames the debate between modern Einsteinians and neo-Ritzians. It tries to find a clean statement of what the arrow (...) is and then explains how it relates to the cosmological and thermodynamic arrows, representing the most developed and sophisticated attack yet, in either the physics or philosophy literature, on the electromagnetic arrow of time. (shrink)

We address the question of whether it is possible to operate a time machine by manipulating matter and energy so as to manufacture closed timelike curves. This question has received a great deal of attention in the physics literature, with attempts to prove no- go theorems based on classical general relativity and various hybrid theories serving as steps along the way towards quantum gravity. Despite the effort put into these no-go theorems, there is no widely accepted definition of a time (...) machine. We explain the conundrum that must be faced in providing a satisfactory definition and propose a resolution. Roughly, we require that all extensions of the time machine region contain closed timelike curves; the actions of the time machine operator are then sufficiently "potent" to guarantee that closed timelike curves appear. We then review no-go theorems based on classical general relativity, semi-classical quantum gravity, quantum field theory on curved spacetime, and Euclidean quantum gravity. Our verdict on the question of our title is that no result of sufficient generality to underwrite a confident "yes" has been proven. Our review of the no-go results does, however, highlight several foundational problems at the intersection of general relativity and quantum physics that lend substance to the search for an answer. (shrink)

According to G.E.M. Anscombe, an agent’s knowledge of his own intentional actions differs from his knowledge of his unintended behaviors as well as the knowledge others can have of what he intentionally does, in being secured “without observation”. I begin by posing a problem for any conception of this theory according to which non-observational knowledge must be independent of sense-perception, and criticize several recent attempts to get around the problem. Having done this, I develop an alternative account of non-observational knowledge (...) according to which its special character consists in the particular causal role of an agent’s self-awareness in bringing his intentional actions about. (shrink)

A critical explanation of Ernest Sosa's bi-level virtue epistemology.