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)

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)

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)

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)

In Tulving’s initial characterization, episodic memory was one of multiple memory systems. It was postulated, in pursuit of explanatory depth, as displaying proprietary operations, representations, and substrates such as to explain a range of cognitive, behavioural, and experiential phenomena. Yet the subsequent development of this research program has, paradoxically, introduced surprising doubts about the nature, and indeed existence, of episodic memory. On dominant versions of the ‘common system’ view, on which a single simulation system underlies both remembering and imagining, there (...) are no processes unique to memory to support robust generalizations with inductive potential. Eliminativism about episodic memory seems to follow from the claim that it has no dedicated neurocognitive system of its own. After identifying this under-noticed threat, we push back against modern eliminativists by surveying recent evidence that still indicates specialized mechanisms, computations, and representations that are distinctly mnemic in character. We argue that contemporary realists about episodic memory can retain lessons of the common system approach while resisting the further move to eliminativism. (shrink)

Dasgupta poses a serious challenge to realism about natural properties. He argues that there is no acceptable explanation of why natural properties deserve the value realists assign to them and are consequently absent of value. In response, this paper defines and defends an alternative non-explanatory account of normativity compatible with realism. Unlike Lewis and Sider, who believe it is sufficient to defend realism solely on realist terms, I engage with the challenge on unfriendly grounds by revealing a tu quoque. Dasgupta (...) and anti-realists face a similar challenge to that directed against realism: one that not only undermines the objection to realism by legitimising non-explanatory normativity but leaves them facing a significant dilemma. (shrink)

We are living through an era of increased robotisation. Some authors have already begun to explore the impact of this robotisation on legal rules and practice. In doing so, many highlight potential liability gaps that might arise through robot misbehaviour. Although these gaps are interesting and socially significant, they do not exhaust the possible gaps that might be created by increased robotisation. In this article, I make the case for one of those alternative gaps: the retribution gap. This gap arises (...) from a mismatch between the human desire for retribution and the absence of appropriate subjects of retributive blame. I argue for the potential existence of this gap in an era of increased robotisation; suggest that it is much harder to plug this gap than it is to plug those thus far explored in the literature; and then highlight three important social implications of this gap. (shrink)

Super-Humeans argue that the most parsimonious ontology of the natural world compatible with our best physical theories consists exclusively of particles and the distance relations between them. This paper argues by contrast that Super-Humean reduction goes insufficiently far, by showing there to be a more parsimonious ontology compatible with physics: Ultimate-Humeanism. This novel view posits an ontology consisting solely of the particles and distance relations required for the existence of a single brain. Super-Humeans impose conditions on what counts as an (...) ontology of the natural world to avoid their view slipping into this kind of ontology, but these conditions are arbitrarily imposed and once this is exposed, Super-Humeans face a dilemma. Either they can embrace Ultimate-Humeanism as the minimal ontology of the natural world compatible with physics, or (more likely) they can rethink the methodology that got them there. Overall, this paper argues that Super-Humeanism currently lacks principled motivation, outlines a framework for naturalistic ontological reductions, and exposes the consequences of unchecked adherence to a simplicity-driven methodology. (shrink)

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)

A brief reference article on cultural relativism.

Suppose we are about to enter an era of increasing technological unemployment. What implications does this have for society? Two distinct ethical/social issues would seem to arise. The first is one of distributive justice: how will the efficiency gains from automated labour be distributed through society? The second is one of personal fulfillment and meaning: if people no longer have to work, what will they do with their lives? In this article, I set aside the first issue and focus on (...) the second. In doing so, I make three arguments. First, I argue that there are good reasons to embrace non-work and that these reasons become more compelling in an era of technological unemployment. Second, I argue that the technological advances that make widespread technological unemployment possible could still threaten or undermine human flourishing and meaning, especially if they do not remain confined to the economic sphere. And third, I argue that this threat could be contained if we adopt an integrative approach to our relationship with technology. In advancing these arguments, I draw on three distinct literatures: the literature on technological unemployment and workplace automation; the antiwork critique—which I argue gives reasons to embrace technological unemployment; and the philosophical debate about the conditions for meaning in life—which I argue gives reasons for concern. (shrink)

This report reviews what quantum physics and information theory have to tell us about the age-old question, How come existence? No escape is evident from four conclusions: (1) The world cannot be a giant machine, ruled by any preestablished continuum physical law. (2) There is no such thing at the microscopic level as space or time or spacetime continuum. (3) The familiar probability function or functional, and wave equation or functional wave equation, of standard quantum theory provide mere continuum idealizations (...) and by reason of this circumstance conceal the information-theoretic source from which they derive. (4) No element in the description of physics shows itself as closer to primordial than the elementary quantum phenomenon, that is, the elementary device-intermediated act of posing a yes-no physical question and eliciting an answer or, in brief, the elementary act of observer-participancy. Otherwise stated, every physical quantity, every it, derives its ultimate significance from bits, binary yes-or-no indications, a conclusion which we epitomize in the phrase, it from bit. (shrink)

Perceptual Confidence is the view that perceptual experiences assign degrees of confidence. After introducing, clarifying, and motivating Perceptual Confidence, I catalogue some of its more interesting consequences, such as the way it blurs the distinction between veridical and illusory experiences, a distinction that is sometimes said to carry a lot of metaphysical weight. I also explain how Perceptual Confidence fills a hole in our best scientific theories of perception and why it implies that experiences don't have objective accuracy conditions.

The growth of self-tracking and personal surveillance has given rise to the Quantified Self movement. Members of this movement seek to enhance their personal well-being, productivity, and self-actualization through the tracking and gamification of personal data. The technologies that make this possible can also track and gamify aspects of our interpersonal, romantic relationships. Several authors have begun to challenge the ethical and normative implications of this development. In this article, we build upon this work to provide a detailed ethical analysis (...) of the Quantified Relationship. We identify eight core objections to the QR and subject them to critical scrutiny. We argue that although critics raise legitimate concerns, there are ways in which tracking technologies can be used to support and facilitate good relationships. We thus adopt a stance of cautious openness toward this technology and advocate the development of a research agenda for the positive use of QR technologies. (shrink)

Epistemic reasons are mental states. They are not propositions or non-mental facts. The discussion proceeds as follows. Section 1 introduces the topic. Section 2 gives two concrete examples of how our topic directly affects the internalism/externalism debate in normative epistemology. Section 3 responds to an argument against the view that reasons are mental states. Section 4 presents two problems for the view that reasons are propositions. Section 5 presents two problems for the view that reasons are non-mental facts. Section 6 (...) argues that reasons are mental states. Section 7 responds to objections. (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.

This paper proposes a novel experimental approach that would help to determine whether perspectival shapes, such as the elliptical profile of a tilted plate or coin, are part of perceptual experience. If they are part of perceptual experience, then it should be possible to identify these shapes simply by attending appropriately to them. Otherwise, in order to identify perspectival shapes they must first be constructed in the visual imagination. We propose that these accounts of perspectival identification can be tested by (...) measuring the interference between visual and verbal working memory load, respectively, and the identification of perspectival shapes in the appearance of a 3D object. (shrink)

This paper critically evaluates the regress argument for infinitism. The dialectic is essentially this. Peter Klein argues that only an infinitist can, without being dogmatic, enhance the credibility of a questioned non-evident proposition. In response, I demonstrate that a foundationalist can do this equally well. Furthermore, I explain how foundationalism can provide for infinite chains of justification. I conclude that the regress argument for infinitism should not convince us.

In a single-iteration fake barn case, the agent correctly identifies an object of interest on the first try, despite the presence of nearby lookalikes that could have mislead her. In a multiple-iteration fake barn case, the agent first encounters several fakes, misidentifies each of them, and then encounters and correctly identifies a genuine item of interest. Prior work has established that people tend to attribute knowledge in single-iteration fake barn cases, but multiple-iteration cases have not been tested. However, some theorists (...) contend that multiple-iteration cases are more important and will elicit a strong tendency to deny knowledge. Here I report a behavioural experiment investigating knowledge judgments in multiple-iteration fake barn cases. The main finding is that people tend to attribute knowledge in these cases too. Ironically, the results indicate that the presence of fakes could prevent iterated errors from lowering knowledge attributions. The results also provide evidence that ordinary knowledge attributions are based on attributions of cognitive ability. (shrink)

Compatibilism is the view that determinism is compatible with acting freely and being morally responsible. Incompatibilism is the opposite view. It is often claimed that compatibilism or incompatibilism is a natural part of ordinary social cognition. That is, it is often claimed that patterns in our everyday social judgments reveal an implicit commitment to either compatibilism or incompatibilism. This paper reports five experiments designed to identify such patterns. The results support a nuanced hybrid account: The central tendencies in ordinary social (...) cognition are compatibilism about moral responsibility, compatibilism about positive moral accountability, neither compatibilism nor incompatibilism about negative moral accountability, compatibilism about choice for actions with positive outcomes, and incompatibilism about choice for actions with negative or neutral outcomes. (shrink)

In “Perceptual Confidence,” I argue that our perceptual experiences assign degrees of confidence. In “Precision, not Confidence, Describes the Uncertainty of Perceptual Experience,” Rachel Denison disagrees. In this reply I first clarify what i mean by ‘perceptual experiences’, ‘assign’ and ‘confidence’. I then argue, contra Denison, that perception involves automatic categorization, and that there is an intrinsic difference between a blurry perception of a sharp image and a sharp perception of a blurry image. -/- .

Many philosophers hypothesize that our concept of personal identity is partly constituted by the one-person-one-place rule, which states that a person can only be in one place at a time. This hypothesis has been assumed by the most influential contemporary work on personal identity. In this paper, we report a series of studies testing whether the hypothesis is true. In these studies, people consistently judged that the same person existed in two different places at the same time. This result undermines (...) some widely held philosophical assumptions, supports others, and fits well with recent discoveries on identity judgments about inanimate objects and non-human animals. (shrink)

This paper argues for externalism about justification on the basis of thought experiments. I present cases in which two individuals are intrinsically and introspectively indistinguishable and in which intuitively, one is justified in believing that p while the other is not. I also examine an argument for internalism based on the ideas that we have privileged access to whether or not our own beliefs are justified and that only internalism is compatible with this privilege. I isolate what I take to (...) be the most plausible form of privileged access to justification and show that it is compatible with externalism. (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.

Is it possible to misidentify the object of an episode of bodily awareness? I argue that it is, on the grounds that a person can reasonably be unsure or mistaken as to which part of his or her body he or she is aware of at a given moment. This requires discussing the phenomenon of body ownership, and defending the claim that the proper parts of one’s body are at least no less ‘principal’ among the objects of bodily awareness than (...) is the body as a whole. I conclude with some reasons why this should lead us to think that bodily awareness, unlike introspection, is a form of perception. (shrink)

Recent work has assumed that the normativity associated with assertion differs from the normativity of morality, practical rationality, etiquette, and legality. That is, whether an assertion “should” be made is not merely a function of these other familiar sorts of normativity and is especially connected to truth. Some researchers have challenged this assumption of distinctive normativity. In this paper I report two experiments that test the assumption. Participants read a brief story, judged whether an assertion should be made, and rated (...) several other qualities of the assertion, including its truth value, morality, rationality, etiquette, legality, and folly. Of these qualities, truth value most strongly predicted assertability. The findings support the assumption of distinctive normativity and provide further evidence that the norm of our social practice of assertion is factive. (shrink)

Rape and sexual assault are major problems. In the majority of sexual assault cases consent is the central issue. Consent is, to borrow a phrase, the ‘moral magic’ that converts an impermissible act into a permissible one. In recent years, a handful of companies have tried to launch consent apps which aim to educate young people about the nature of sexual consent and allow them to record signals of consent for future verification. Although ostensibly aimed at addressing the problems of (...) rape and sexual assault on university campuses, these apps have attracted a number of critics. In this paper, I subject the phenomenon of consent apps to philosophical scrutiny. I argue that the consent apps that have been launched to date are unhelpful because they fail to address the landscape of ethical and epistemic problems that arise in the typical rape or sexual assault case: they produce distorted and decontextualised records of consent which may in turn exacerbate the other problems associated with rape and sexual assault. Furthermore, because of the tradeoffs involved, it is unlikely that app-based technologies could ever be created that would significantly address the problems of rape and sexual assault. (shrink)

Robust technological enhancement of core cognitive capacities is now a realistic possibility. From the perspective of neutralism, the view that justifications for public policy should be neutral between reasonable conceptions of the good, only members of a subset of the ethical concerns serve as legitimate justifications for public policy regarding robust technological enhancement. This paper provides a framework for the legitimate use of ethical concerns in justifying public policy decisions regarding these enhancement technologies by evaluating the ethical concerns that arise (...) in the context of testing such technologies on nonhuman animals. Traditional issues in bioethics, as well as novel concerns such as the possibility of moral status enhancement, are evaluated from the perspective of neutralism. (shrink)

The vision of natural kinds that is most common in the modern philosophy of biology, particularly with respect to the question whether species and other taxa are natural kinds, is based on a revision of the notion by Mill in A System of Logic. However, there was another conception that Whewell had previously captured well, which taxonomists have always employed, of kinds as being types that need not have necessary and sufficient characters and properties, or essences. These competing views employ (...) different approaches to scientific methodologies: Mill’s class-kinds are not formed by induction but by deduction, while Whewell’s type-kinds are inductive. More recently, phylogenetic kinds (clades, or monophyletic-kinds) are inductively projectible, and escape Mill’s strictures. Mill’s version represents a shift in the notions of kinds from the biological to the physical sciences. (shrink)

An encyclopedic article on epistemic supervenience in Blackwell companion to epistemology, 2 ed.

This article argues that the creation of artificial offspring could make our lives more meaningful. By ‘artificial offspring’ I mean beings that we construct, with a mix of human and non-human-like qualities. Robotic artificial intelligences are paradigmatic examples of the form. There are two reasons for thinking that the creation of such beings could make our lives more meaningful and valuable. The first is that the existence of a collective afterlife—i.e. a set of human-like lives that continue after we die—is (...) likely to be an important source and sustainer of meaning in our present lives. The second is that the creation of artificial offspring provides a plausible and potentially better pathway to a collective afterlife than the traditional biological pathway. Both of these arguments are defended from a variety of objections and misunderstandings. (shrink)

This paper applies speech-act theory to craft a new response to Pyrrhonian skepticism and diagnose its appeal. Carefully distinguishing between different levels of language-use and noting their interrelations can help us identify a subtle mistake in a key Pyrrhonian argument.

Frege’s claim that proper names have senses has come to seem untenable following Kripke’s argument that names are rigid designators. It is commonly thought that if names had senses, their referents would vary with circumstances of evaluation. The article defends Frege’s claim by arguing that names have word-reflexive senses. This analysis of names’ senses does not violate Kripke’s noncircularity condition, and it differs crucially from related views of Bach and Katz. That names have reflexive senses confirms Frege’s own solution to (...) his puzzle about the content of identity sentences, solves Kripke’s Pierre and Peter puzzles about belief ascription, and entails that bearerless names have meanings. Furthermore, names’ having reflexive senses explains why they designate rigidly. (shrink)