Background Several jurisdictions, including Singapore, Australia, New Zealand and most recently Ireland, have a public interest or public good criterion for granting waivers of consent in biomedical research using secondary health data or tissue. However, the concept of the public interest is not well defined in this context, which creates difficulties for institutions, institutional review boards and regulators trying to implement the criterion. Main text This paper clarifies how the public interest criterion can be defensibly deployed. We first explain the (...) ethical basis for requiring waivers to only be granted to studies meeting the public interest criterion, then explore how further criteria may be set to determine the extent to which a given study can legitimately claim to be in the public interest. We propose an approach that does not attempt to measure magnitude of benefit directly, but rather takes into account metrics that are more straightforward to apply. To ensure consistent and justifiable interpretation, research institutions and IRBs should also incorporate procedural features such as transparency and public engagement in determining which studies satisfy the public interest requirement. Conclusion The requirement of public interest for consent waivers in secondary biomedical research should be guided by well-defined criteria for systematic evaluation. Such a criteria and its application need to be periodically subject to intra-committee and intra-institution review, reflection, deliberation and amendment. (shrink)

O desempenho das empresas tem sido estudado sob diferentes perspectivas teóricas, que, em geral a utilizam indicadores econômico-financeiros. Essa abordagem sofre constantes críticas por não contemplar aspectos estratégicos, que podem fornecer informações acerca de vantagem competitiva obtida pela empresa. Fatores macroeconômicos também tendem a impactar de maneira indireta os diferentes setores. Além disso, os setores sofrem esses impactos macroeconômicos conforme o nível de exposição deste às oscilações macroeconômicas. Assim este trabalho buscou analisar como as dimensões de desempenho se relacionam com (...) retorno, para cada setor da bolsa de valores. Para a análise, utilizou-se a modelagem de equações estruturais a partir do software Smart-PLS. Foram utilizados dados do Economática para 82 empresas listadas em 6 setores da B3 no período entre 2011 e 2018. Os resultados indicam que diferentes indicadores compõe os construtos para cada setor analisado, indicando que o retorno tem associações diferentes em cada setor. O construto econômico-financeiro apresenta uma relação positiva na explicação dos retornos para os diferentes setores. Já o construto estratégico relacionou-se positivamente apenas no setor de Materiais Básicos. A dimensão macroeconômica apresentou resultados que evidenciam uma relação negativa com os retornos no período analisado. Assim pode-se apontar que o retorno de cada setor é explicado por diferentes informações, sugerindo que o investidor deve observar critérios específicos de cada setor. Os indicadores macroeconômicos foram similares para os setores analisados, contudo o impacto significativo não pode ser verificado para todos os setores, indicando que existem níveis de exposição diferentes para os setores. Ainda, foram evidenciados tanto efeitos diretos quanto indiretos dos indicadores macroeconômicos sobre o retorno. (shrink)

This review is republished to illustrate how important this book is to us today, with legislation and caselaw additions as follows: UK Anti-terrorism, Crime and Security Act 2001; UK Contempt o Court Act 1981; UK Obscene Publications Act 1964; UK Perjury Act 1911; UK Police Misconduct Regulations 1999; UK Prevention o Corruption Act 1996; UK Fraud Act 2006; UK Bribery Act 2010; UK Prevention o Corruption Act 1926; UK Public Bodies Corrupt Practices Act 1889; and UK Terrorism Act 2000. Case (...) law includes: R v Bellum [1989]; R v Dryden [1995]; R v Kiin [1994]; R v Loosley [2002]; the Steven Lawrence murder case; and Tsang Ping-nam v R [1981]. (shrink)

Le parole “metafisica” e “ontologia” si dicono in molti modi diversi nella filosofia del XX secolo, tanto all’interno della filosofia analitica quanto altrove. Sono spesso usate per parlare della teoria o dell’analisi di ciò che c’è, delle specie principali di ciò che c’è e dei loro rapporti. Ma i positivisti viennesi, per esempio, chiamavano “metafisiche” le filosofie che non amavano (Carnap, 1985; Campbell, 1976, cap. 2); e se Quine parla dell’impegno ontologico o ontico di una teoria, non intende con (...) ciò un qualsivoglia impegno metafisico o esistenziale. (shrink)

A review of the collection "Knowledge and Skepticism" edited by Joseph Campbell, Michael O'Rourke, and Harry Silverstein.

In this article, I argue that online echo chambers are in some cases and in some respects good. I do not attempt to refute arguments that they are harmful, but I argue that they are sometimes beneficial. In the first section, I argue that it is sometimes good to be insulated from views with which one disagrees. In the second section, I argue that the software-design principles that give rise to online echo chambers have a lot to recommend them. Further, (...) the opposing principle, serendipity, could give rise to serious harm, in light of the conclusion of the first section that sometimes we are better off being insulated from some content online. In the third section, I argue that polarization can be a useful tool for inculcating the appropriate attitudes in a person. (shrink)

I argue that Plato believes that the soul must be both the principle of motion and the subject of cognition because it moves things specifically by means of its thoughts. I begin by arguing that the soul moves things by means of such acts as examination and deliberation, and that this view is developed in response to Anaxagoras. I then argue that every kind of soul enjoys a kind of cognition, with even plant souls having a form of Aristotelian discrimination (...) (krisis), and that there is therefore no completely unintelligent, evil soul in the cosmos that can explain disorderly motions; as a result, the soul is not the principle of all motion but only motion in the cosmos after it has been ordered by the Demiurge. (shrink)

This thesis focuses on expressively rich languages that can formalise talk about probability. These languages have sentences that say something about probabilities of probabilities, but also sentences that say something about the probability of themselves. For example: (π): “The probability of the sentence labelled π is not greater than 1/2.” Such sentences lead to philosophical and technical challenges; but can be useful. For example they bear a close connection to situations where ones confidence in something can affect whether it is (...) the case or not. The motivating interpretation of probability as an agent's degrees of belief will be focused on throughout the thesis. -/- This thesis aims to answer two questions relevant to such frameworks, which correspond to the two parts of the thesis: “How can one develop a formal semantics for this framework?” and “What rational constraints are there on an agent once such expressive frameworks are considered?”. (shrink)

I argue that, according to Plato, the body is the sole cause of psychic disorders. This view is expressed at Timaeus 86b in an ambiguous sentence that has been widely misunderstood by translators and commentators. The goal of this article is to offer a new understanding of Plato’s text and view. In the first section, I argue that although the body is the result of the gods’ best efforts, their sub-optimal materials meant that the soul is constantly vulnerable to the (...) body’s influences. In the second section, I argue that every psychic disorder is a disruption of the motions of the inner psychic circles by the body; moreover, I defend my translation of 86b. In the final section, I argue that the goal of education is to restore the circles to their original orbits, and I disarm a possible objection that bad education is also a cause of psychic disorder. (shrink)

This article concerns the place of Plato’s eschatology in his philosophy. I argue that the theory of reincarnation appeals to Plato due to its power to explain how non-human animals came to be. Further, the outlines of this theory are entailed by other commitments, such as that embodiment disrupts psychic functioning, that virtue is always rewarded and vice punished, and that the soul is immortal. I conclude by arguing that Plato develops a view of reincarnation as the chief tool that (...) the gods have to ensure that virtue is victorious over vice throughout the whole cosmos. (shrink)

In this article, I approach some phenomena seen predominantly on social-media sites that are grouped together as cancel culture with guidance from two major themes in Plato’s thought. In the first section, I argue that shame can play a constructive and valuable role in a person’s improvement, just as we see Socrates throughout Plato’s dialogues use shame to help his interlocutors improve. This insight can help us understand the value of shaming people online for, among other things, their morally reprehensible (...) views. In the second section, I argue that it is required for the proper functioning of democratic institutions that some views be excluded from the public sphere, which follows some Platonic ideas from the Laws. In neither case do I argue that this approach is good in an unqualified sense or even ultima facie good. However, I maintain that these important insights from Plato’s dialogues illuminate crucial aspects of how we should think about cancel culture. (shrink)

The article reviews different antitheodicies in response to Toby Betenson’s article “Anti-Theodicy”. Antitheodicies involve rejecting the position that God or meaning exist only, if evils have justifying morally sufficient reasons. The article builds on Betenson’s division into moral and conceptual antitheodicies and his characterization of antitheodicies as a metacritique of the problem of evil. Moral antitheodicies are problematic, as they do not address the key conceptual issues and might end up in question-begging or moralism. Dissolving the problem of evil requires (...) a conceptual antitheodicy that exposes its presuppositions as speculative metaphysics. Religious conceptual antitheodicies help to focus on different ways of sense-making that do not fall into theodicism. (shrink)

In this article, I make the case for the continued relevance of Plato’s Timaeus. I begin by sketching Allan Bloom’s picture of the natural sciences today in The Closing of the American Mind, according to which the natural sciences are, objectionably, increasingly specialized and have ejected humans qua humans from their purview. I argue that Plato’s Timaeus, despite the falsity of virtually all of its scientific claims, provides a model for how we can pursue scientific questions in a comprehensive way (...) that stresses their connections to other disciplines, including the humanities, and that puts humanity qua humanity back in the picture. I then argue that being led by Plato’s philosophy to return humanity conceptually to the natural world can improve our thinking regarding climate change and other important environmental crises. (shrink)

This article is featured in a special issue dedicated to theme, "the human being in the digital era: awareness, critical thinking and political space in the age of the internet and artificial intelligence." In this article, I consider the way that social-media companies nudge us to spend more time on their platforms, and I argue that, in principle, these nudges are morally permissible: they are not manipulative and do not violate any obvious moral rules. The moral problem, I argue, is (...) not with nudging in principle but is instead with the fact that users are being nudged towards something bad for them. In practice, this often involves being nudged to spend an unhealthy amount of time using a social-media app or being nudged towards content that is bad for us, such as by promoting eating-disorder content to young girls. Since nudging is morally permissible, it is open to these companies to use the same technologies to nudge us towards the good. (shrink)

This paper concerns Plato’s characterization of the body as the soul’s tool. I take perception as an example of the body’s usefulness. I explore the Timaeus’ view that perception provides us with models of orderliness. Then, I argue that perception of confusing sensible objects is necessary for our cognitive development too. Lastly, I consider the instrumentality relationship more generally and its place in Plato’s teleological worldview.

To 'consequentialise' is to take a putatively non-consequentialist moral theory and show that it is actually just another form of consequentialism. Some have speculated that every moral theory can be consequentialised. If this were so, then consequentialism would be empty; it would have no substantive content. As I argue here, however, this is not so. Beginning with the core consequentialist commitment to 'maximising the good', I formulate a precise definition of consequentialism and demonstrate that, given this definition, several sorts of (...) moral theory resist consequentialisation. My strategy is to decompose consequentialism into three conditions, which I call 'agent neutrality', 'no moral dilemmas', and 'dominance', and then to exhibit some moral theories which violate each of these. (shrink)

I argue that Plato thinks that the soul has location, surface, depth, and extension, and that the Timaeus’ composition of the soul out of eight circles is intended literally. A novel contribution is the development of an account of corporeality that denies the entailment that the soul is corporeal. I conclude by examining Aristotle’s objection to the Timaeus’ psychology and then the intellectual history of this reading of Plato.

This article concerns the so-called irrigation system in the Timaeus' biology (77a–81e), which replenishes our body’s tissues with resources from food delivered as blood. I argue that this system functions mainly by the natural like-to-like motion of the elements and that the circulation of blood is an important case study of Plato’s physics. We are forced to revise the view that the elements attract their like. Instead, similar elements merely tend to coalesce with each other in virtue of their tactile (...) features as the atomists describe. The notion of attraction is replaced with this notion of mere coalescence. I begin by outlining how blood is made from food. I then argue that an understanding of health and disease compels us to read Plato as if he were an atomist and to abandon the popular scholarly interpretations according to which the elements attract each other. (shrink)

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

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.

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)

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)

I argue that Plato thinks that a sunaition is a mere tool used by a soul (or by the cosmic nous) to promote an intended outcome. In the first section, I develop the connection between sunaitia and Plato’s teleology. In the second section, I argue that sunaitia belong to Plato’s theory of the soul as a self-mover: specifically, they are those things that are set in motion by the soul in the service of some goal. I also argue against several (...) popular and long-standing interpretations, namely, that sunaitia correspond to Aristotle’s idea of hypothetical necessity, that sunaitia are the ‘how’ in an explanation (whereas the true cause is the ‘why’), and that Plato’s causal views should be read through Aristotle’s fourfold schema. I conclude the article by surveying the history of sunaitia after Plato’s usage. (shrink)

This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and his development of a logic (...) of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology. (shrink)

In a recent article, Matej Cíbik claims that some tattoos are immoral because they are imprudent. (Cíbik 2020) In response, I argue that a tattoo can only be immoral if it causes harm to a third party, so that no tattoo is immoral simply because it is reckless. Conflating prudential and moral requirements in the way that Cíbik does would strike at the heart of liberalism, and has deeply counter-intuitive consequences, as we can see when we consider Cíbik's own discussions (...) of suicidal individuals and smokers. After discussing the role of the self/other distinction in liberal moral philosophy, I affirm both the moral neutrality of tattoos and the importance of adopting non-judgemental attitudes towards the choices which a person makes concerning her own body. (shrink)

Here I will put forward a claim about rhythm – that rhythm is relation. To develop this I will explore the entanglement of and antagonism between two notions of the musical avant-garde and its theorization. The first of these is derived from the European classical tradition, the second concerns Afrodiasporic musical practices. This essay comes in two parts. The first will consider some music-theoretical and philosophical ideas about rhythm in the post-classical avant-garde. Here I will explore how these ideas have (...) been used to, on one hand, stage a critique of Afrodiasporic musics, and specifically jazz, and, on the other hand, diminish and obscure the relation between the post-classical and Afrodiasporic avant-gardes. In the second part I will develop another lineage of rhythm, orthogonal to that of the post-classical avant-garde. Drawing from philosophy and Afrocentric, Afromodernist and, finally, Afrofuturist theory, I will map a theoretical move from rhythm understood, in its post-classical guise, as an exclusive and strictly musical category, to rhythm understood as an inclusive and plural category. This likewise charts a passage from an aesthetically autonomous understanding of objects of art to social and collective forms of artistic practice. (shrink)

Can the theory that reality is a simulation be tested? We investigate this question based on the assumption that if the system performing the simulation is nite (i.e. has limited resources), then to achieve low computational complexity, such a system would, as in a video game, render content (reality) only at the moment that information becomes available for observation by a player and not at the moment of detection by a machine (that would be part of the simulation and whose (...) detection would also be part of the internal computation performed by the Virtual Reality server before rendering content to the player). Guided by this principle we describe conceptual wave/particle duality experiments aimed at testing the simulation theory. (shrink)

Moss (2018) argues that rational agents are best thought of not as having degrees of belief in various propositions but as having beliefs in probabilistic contents, or probabilistic beliefs. Probabilistic contents are sets of probability functions. Probabilistic belief states, in turn, are modeled by sets of probabilistic contents, or sets of sets of probability functions. We argue that this Mossean framework is of considerable interest quite independently of its role in Moss’ account of probabilistic knowledge or her semantics for epistemic (...) modals and probability operators. It is an extremely general model of uncertainty. Indeed, it is at least as general and expressively powerful as every other current imprecise probability framework, including lower probabilities, lower previsions, sets of probabilities, sets of desirable gambles, and choice functions. In addition, we partially answer an important question that Moss leaves open, viz., why should rational agents have consistent probabilistic beliefs? We show that an important subclass of Mossean believers avoid Dutch bookability iff they have consistent probabilistic beliefs. (shrink)

The counterfactual account of physical computation is simple and, for the most part, very attractive. However, it is usually thought to trivialize the notion of physical computation insofar as it implies ‘limited pancomputationalism’, this being the doctrine that every deterministic physical system computes some function. Should we bite the bullet and accept limited pancomputationalism, or reject the counterfactual account as untenable? Jack Copeland would have us do neither of the above. He attempts to thread a path between the two horns (...) of the dilemma by buttressing the counterfactual account with extra conditions intended to block certain classes of deterministic physical systems from qualifying as physical computers. His theory is called the ‘algorithm execution account’. Here we show that the algorithm execution account entails limited pancomputationalism, despite Copeland’s argument to the contrary. We suggest, partly on this basis, that the counterfactual account should be accepted as it stands, pancomputationalist warts and all. (shrink)

With an eye on the future of global ethics, I argue that social-media technologies are not morally neutral tools but are, for all intents and purposes, a kind of agent. They nudge us to do things that are bad for us. Moreover, I argue that we have a duty to quit using social-media platforms, not just on account of possible duties to preserve our own well-being but because users are akin to test subjects on whom developers are testing new nudges, (...) and we ought to deprive them of their test subjects. (shrink)

In 1947 Donald Cary Williams claimed in The Ground of Induction to have solved the Humean problem of induction, by means of an adaptation of reasoning first advanced by Bernoulli in 1713. Later on David Stove defended and improved upon Williams’ argument in The Rational- ity of Induction (1986). We call this proposed solution of induction the ‘Williams-Stove sampling thesis’. There has been no lack of objections raised to the sampling thesis, and it has not been widely accepted. In our (...) opinion, though, none of these objections has the slightest force, and, moreover, the sampling thesis is undoubtedly true. What we will argue in this paper is that one particular objection that has been raised on numerous occasions is misguided. This concerns the randomness of the sample on which the inductive extrapolation is based. (shrink)

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)

Elämä on nähty merkittävänä aiheena Bergsonin filosofiassa. Elämän filosofinen merkitys Bergsonilla ilmenee selvästi hänen pääteoksessaan L'évolution créatrice (Luova evoluutio, 1907), jossa hän keskittyy inhimillisten tietokykyjen evolutiivisen alkuperän rekonstruointiin ja tieto-opillisiin seurauksiin. Bergsonin mukaan biologia tarjoaa filosofialle tietokykyjen kehitysteoreettisen näkökulman, ja filosofia metafysiikkana täsmentää biologialle sopivaa epistemologiaa. Tässä artikkelissa esittelen Bergsonin filosofisen teorian biologian ja epistemologian vastavuoroisesta suhteesta. Aloitan epistemologian, tieteen ja metafysiikan välisen suhteen selventämisellä Bergsonin teoriassa. Sen jälkeen esittelen, kuinka Bergson näkee tietokykyjen kehittymisen olennaisena osana eläinten yleistä kehityshistoriaa. Analysoimalla (...) eläinkunnan kognitiivisten kykyjen kahta taipumusta, älykkyyttä (intelligence) ja vaistoa (instinct), Bergson kehittää näkemyksen metafysiikasta, jonka avulla on mahdollista selvittää epistemologian ja biologian keskinäistä riippuvuutta ja vastavuoroisuutta. Lopuksi valaisen tätä vastavuoroisuutta Bergsonin analyysilla käsitteellisen tiedon muodostumisesta. (shrink)

Famous examples of conceivability arguments include (i) Descartes’ argument for mind-body dualism, (ii) Kripke's ‘modal argument’ against psychophysical identity theory, (iii) Chalmers’ ‘zombie argument’ against materialism, and (iv) modal versions of the ontological argument for theism. In this paper, we show that for any such conceivability argument, C, there is a corresponding ‘mirror argument’, M. M is deductively valid and has a conclusion that contradicts C's conclusion. Hence, a proponent of C—henceforth, a ‘conceivabilist’—can be warranted in holding that C's premises (...) are conjointly true only if she can find fault with one of M's premises. But M's premises are modelled on a pair of C's premises. The same reasoning that supports the latter supports the former. For this reason, a conceivabilist can repudiate M's premises only on pain of severely undermining C's premises. We conclude on this basis that all conceivability arguments, including each of (i)–(iv), are fallacious. (shrink)

How do reasons combine? How is it that several reasons taken together can have a combined weight which exceeds the weight of any one alone? I propose an answer in mereological terms: reasons combine by composing a further, complex reason of which they are parts. Their combined weight is the weight of their combination. I develop a mereological framework, and use this to investigate some structural views about reasons, the main two being "Atomism" and "Holism". Atomism is the view that (...) atomic reasons are fundamental: all reasons reduce to atomic reasons. Holism is the view that whole reasons are fundamental. I argue for Holism, and against Atomism. I also consider whether reasons might be "context-sensitive". (shrink)

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...) Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

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 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)

Are the methods of synthetic biology capable of recreating authentic living members of an extinct species? An analogy with the restoration of destroyed natural landscapes suggests not. The restored version of a natural landscape will typically lack much of the aesthetic value of the original landscape because of the different historical processes that created it—processes that involved human intentions and actions, rather than natural forces acting over millennia. By the same token, it would appear that synthetically recreated versions of extinct (...) natural organisms will also be less aesthetically valuable than the originals; that they will be, in some strong sense, ‘inauthentic’, because of their peculiar history and mode of origin. I call this the ‘genesis argument’ against de-extinction. In this article I critically evaluate the genesis argument. I highlight an important disanalogy between living organisms and natural landscapes: viz., it is of the essence of the former, but not of the latter, to regularly reproduce and die. The process of iterated natural reproduction that sustains the continued existence of a species through time obviously does not undermine the authenticity of the species. I argue that the authenticity of a species will likewise be left intact by the kind of artificial copying of genes and traits that a de-extinction project entails. I conclude on this basis that the genesis argument is unsound. (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)

Fourteen philosophers share their experience teaching Peirce to undergraduates in a variety of settings and a variety of courses. The latter include introductory philosophy courses as well as upper-level courses in American philosophy, philosophy of religion, logic, philosophy of science, medieval philosophy, semiotics, metaphysics, etc., and even an upper-level course devoted entirely to Peirce. The project originates in a session devoted to teaching Peirce held at the 2007 annual meeting of the Society for the Advancement of American Philosophy. The session, (...) organized by James Campbell and Richard Hart, was co-sponsored by the American Association of Philosophy Teachers. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can be (...) meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of inquiries into signs that both Deleuze and Guattari undertook, individually and together, beginning in the 1960s. I first outline Deleuze’s theory of signs as a theory of encounter as (...) developed in Proust and Signs (1964) and Difference and Repetition (1968), following which I sketch Guattari’s engagements with signs and semiotics throughout the 1960s and 1970s, particularly through his notion of “a-signifying semiotics” and the concept of the “diagram” he adapts from the semiotics of Charles Sanders Peirce. I close by showing how these heterogeneous theories of the sign are drawn together in A Thousand Plateaus through the Spinozist reading of the ethology of Jakob von Uexküll and the theorisation of rhythm in the form of the refrain. (shrink)

This paper is concerned with the aesthetic and discursive gap between music and contemporary art, and the recent attempts to remedy this in the field of New Music through a notion of “New Conceptualism.” It examines why, despite musical sources being central to the emergence of conceptual artistic strategies in the 1950s and ’60s, the worlds of an increasingly transmedial “generic art” and music have remained largely distinct. While it takes New Music’s New Conceptualism as its focus, it argues that (...) the perspective on New Music it takes has wider implications in music and art. It begins by defining what exactly “New Music” refers to, and outlines some of the conditions for the recent rise of conceptualism in New Music. It then takes the work of the composer Johannes Kreidler as a key example of some artistic tendencies and theoretical presuppositions in New Conceptualism. Following this it draws on work in the field of sound studies in order to critically examine the theoretical attempt to connect New Music with contemporary art that is found in the notion of “Music in the Expanded Field.” To conclude it offers some reflections on how a more robust conversation between contemporary art and New Music can begin to be conceived. (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 is concerned with the status and stakes of Gilles Deleuze’s “break” with structuralism. With a particular focus on a transitional text of Deleuze, the 1967/1972 article “How Do We Recognize Structuralism?,” it asks how Deleuze understood structuralism and why, after his encounter with Félix Guattari and Guattari’s own transitional text, 1969’s “Machine and Structure,” Deleuze felt the need to break with structuralism. It argues that reading these two texts together allows us to see that Deleuze already perceived tensions (...) within the structuralist project, and argues that Guattari’s non-structural account of the machine allowed Deleuze to clarify this perception, and see it as necessitating a departure from structuralism. To close, however, it turns to recent work by philosophers such as Étienne Balibar and Patrice Maniglier that re-examines the structuralist moment and identifies an ongoing legacy that the “poststructuralism” of Deleuze and Guattari may be part of. By considering Deleuze and Guattari’s break with structuralism in light of this work, this article considers how the polemical rejection of structuralism by Deleuze and Guattari may not fully account for the ongoing legacy of the structuralist program and the persistence of a structuralist problematic in their thought. (shrink)

It is important for the theory of knowledge to understand the factors involved in the generation of the capacities of knowledge. In the history of modern philosophy, knowledge is generally held to originate in either one or two sources, and the debates about these sources between philosophers have concerned their existence, or legitimacy. Furthermore, some philosophers have advocated scepticism about the human capacity to understand the origins of knowledge altogether. However, the developmental aspects of knowledge have received relatively little attention (...) both by past philosophers and in current philosophical discussions. This dissertation provides a historical approach to this developmental problem of knowledge by interpreting the developmental theories of knowledge of Maine de Biran (1766–1824) and Henri Bergson (18591941) from the perspective of a theory of the ‘generative factors of knowledge.’ It first studies the philosophies of Maine de Biran and Bergson separately and then brings together and compares the metaphilosophical aims drawn from these philosophers. The dissertation’s novel analysis, provided by its theory and structure, has far-reaching consequences. From a wide point of view, it fills in considerable scholarly gaps and provides great opportunities for future research in the study of the history of philosophy. From more specific points of view, it provides its most decisive contributions in such metaphysical and epistemological topics as the nature of causality, self-generated activity, the role of effort in knowing and learning, the complementary relationship between philosophy and science, and the non-conceptual basis of knowledge. (shrink)