In the remainder of this article, we will disarm an important motivation for epistemic contextualism and interest-relative invariantism. We will accomplish this by presenting a stringent test of whether there is a stakes effect on ordinary knowledge ascription. Having shown that, even on a stringent way of testing, stakes fail to impact ordinary knowledge ascription, we will conclude that we should take another look at classical invariantism. Here is how we will proceed. Section 1 lays out some limitations of previous (...) research on stakes. Section 2 presents our study and concludes that there is little evidence for a substantial stakes effect. Section 3 responds to objections. The conclusion clears the way for classical invariantism. (shrink)

Does the Ship of Theseus present a genuine puzzle about persistence due to conflicting intuitions based on “continuity of form” and “continuity of matter” pulling in opposite directions? Philosophers are divided. Some claim that it presents a genuine puzzle but disagree over whether there is a solution. Others claim that there is no puzzle at all since the case has an obvious solution. To assess these proposals, we conducted a cross-cultural study involving nearly 3,000 people across twenty-two countries, speaking eighteen (...) different languages. Our results speak against the proposal that there is no puzzle at all and against the proposal that there is a puzzle but one that has no solution. Our results suggest that there are two criteria—“continuity of form” and “continuity of matter”— that constitute our concept of persistence and these two criteria receive different weightings in settling matters concerning persistence. (shrink)

This thesis focuses on Abelard’s solution to the problem of understanding universals as presented in the Tractatus de Intellectibus. He examines this issue by asking what is understood when we consider the term ‘man’, a problem I call the ‘homo intelligitur [man is understood]’ problem. This is an important question, since earlier in the Treatise, Abelard states that understandings paying attention [attendens] to things otherwise than they are are empty, and thus, cannot be true. The challenge is therefore to explain (...) how understandings about universals, such as genera and species, can be sound, given that Abelard is a nominalist and, as such, does not believe in the existence of universal entities. His own answer to the problem is that such understandings attend to natures. However, since natures are, on his view, nothing more than the individuals they belong to, it is unclear how his solution is intended to work. I propose two ways to understand Abelard’s solution to the ‘homo intelligitur’ problem, identifying their respective merits and drawbacks. The first one is to treat ‘nature’ as meaning ‘status’. I explore this solution in Chapters 2 and 3, and conclude that while it has the advantage of establishing links between De Intellectibus and previous logical works by Abelard, it has some significant drawbacks, most notably that it is unclear how we can have epistemic access to status given that status are not things, which renders unclear how the criteria for the soundness of understandings can be met. The second one involves treating natures as referring to behaviors typical of members of a given genus or species. These behaviors come from the particular essential forms possessed by individuals, i.e. their differentiae understood as analogous to nuclear tropes in Peter Simons’ trope theory. I conclude that this solution is more intuitive than the first one and has the advantage of not depending on a specific interpretation of the evolution of Abelard’s thought. However, it is unclear how to treat behaviors and regularities in his ontology. (shrink)

Noel Carroll, a central figure in analytic (Anglo-American) philosophy of art, and spouse of renowned dance scholar Sally Banes (who co-authored several of these essays), offers us something remarkable in his new book—namely, a collection of thirty years of his theoretical essays and dance reviews. Carroll wrote some of the pieces while he was a graduate student at the University of Illinois, Chicago, and there have been some dramatic changes since then in both the art world and Carroll’s philosophical (...) views. Thus, he modestly characterizes the book as “an archeological artifact” of a “somewhat confessional” variety (p. 267). Inspired by Carroll, I too will adopt an archeological stance, with a promise that the reader’s patience will be repaid with something surprising at the end of the dig. (shrink)

Malcolm’s English-Latin Leviathan is a marvelous technical accomplishment. My issues are with his contextualization, seeing Leviathan primarily as an advice book for Hobbes’s teenage pupil, the future Charles II. Malcolm’s localization involves minimalizing Leviathan's remoter sources, so the European Republic of Letters, for which Hobbes so painstakingly translated his works into Latin, is almost entirely missing, along with current European traditions of Hobbes scholarship. Is this very British Hobbes truly credible, or do we need a more European Hobbes to account (...) for the complexity of Leviathan? (shrink)

Despite the notable lack of Chaplinesque romantic flourishes, Buster Keaton has a sophisticated approach to romantic love in his films. Love in Keaton’s films is a mutual recognition and admiration for the physical and mental competence necessary to deal with an absurd, cruel, or indifferent social and physical environment and an agreement to face the world together. There are two ways in which this claim might seem surprising to someone familiar with Keaton’s films. Keaton’s famously stoic persona seems to be (...) at odds with the very idea that there is an expression of romantic love in the films. How could someone so un-expressive express romantic love? There is simply not enough there to be interpreted. Additionally, the topic of love seems to be the wrong approach to take toward Keaton, the master of the gag. His films are original and interesting and funny because of their visual wit, not because of their thematic value. Watching his films for themes is to miss what is valuable about them. In answering these objections, I will set the stage for my argument that Keaton’s narratives assume the viewer recognizes the Buster character is in love while withholding many of the traditional emotional signifiers of that love. The narrative cannot proceed without this assumption and many of the gags don’t work without recognizing Buster’s motivation. Through careful attention to the resolution of the stories within the films, we can begin to recognize the surprising, sophisticated approach to romantic love that the films contain. (shrink)

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...) right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (shrink)

The growing proportion of elderly people in society, together with recent advances in robotics, makes the use of robots in elder care increasingly likely. We outline developments in the areas of robot applications for assisting the elderly and their carers, for monitoring their health and safety, and for providing them with companionship. Despite the possible benefits, we raise and discuss six main ethical concerns associated with: (1) the potential reduction in the amount of human contact; (2) an increase in the (...) feelings of objectification and loss of control; (3) a loss of privacy; (4) a loss of personal liberty; (5) deception and infantilisation; (6) the circumstances in which elderly people should be allowed to control robots. We conclude by balancing the care benefits against the ethical costs. If introduced with foresight and careful guidelines, robots and robotic technology could improve the lives of the elderly, reducing their dependence, and creating more opportunities for social interaction. (shrink)

Disgust has been a perennial feature of art from medieval visions of hell to postmodern travesties. The purpose of this chapter is to chart various ways in which disgust functions in artworks both in terms of content and style, canvassing cases in which the content and/or style is literally disgusting in contrast to cases where the disgust serves to characterize the content, often for moral or political or broader cultural purposes.

Childcare robots are being manufactured and developed with the long term aim of creating surrogate carers. While total childcare is not yet being promoted, there are indications that it is 'on the cards'. We examine recent research and developments in childcare robots and speculate on progress over the coming years by extrapolating from other ongoing robotics work. Our main aim is to raise ethical questions about the part or full-time replacement of primary carers. The questions are about human rights, privacy, (...) robot use of restraint, deception of children and accountability. But the most pressing ethical issues throughout the paper concern the consequences for the psychological and emotional wellbeing of children. We set these in the context of the child development literature on the pathology and causes of attachment disorders. We then consider the adequacy of current legislation and international ethical guidelines on the protection of children from the overuse of robot care. (shrink)

É bem conhecida a divergência entre as posições de Gottlob Frege e Bertrand Russell com relação ao tratamento semântico dado a sentenças contendo termos singulares indefinidos, ou seja, termos singulares sem referência ou com referência ambígua, tais como ‘Papai Noel’ ou ‘o atual rei da França’ ou ‘1/0 ’ ou ‘√4’ ou ‘o autor de Principia Mathematica’. Para Frege, as sentenças da linguagem natural que contêm termos indefinidos não formam declarações e portanto não são nem verdadeiras nem falsas. Já (...) para as sentenças da matemática, Frege defende que elas precisam ser corrigidas através da convenção forçada de uma referência não ambígua. Russell, por outro lado, aceita os termos indefinidos e propõe, através de sua teoria das descrições definidas, uma maneira de avaliar as sentenças em que eles ocorrem; e Quine amplia a teoria de Russell para abranger também os nomes com problemas de referência. Na prática da matemática são comuns os termos singulares indefinidos, sem referência, tais como ‘1/0 ’, ou com referência ambígua, tais como ‘√4’. Apesar de não haver uma sistematização rigorosa desta situação entre os matemáticos, há, no entanto, um conjunto de regras convencionais que tradicionalmente costumam ser aplicadas no tratamento matemático dos termos indefinidos. Nossa proposta é tomar a convenção matemática como inspiração e modelo para apresentar uma interpretação semântica formal para as descrições definidas e os nomes e utilizá-la como um argumento que favorece a abordagem de Russell relativamente à de Frege. (shrink)

Truthmaker says that things, broadly construed, are the ontological grounds of truth and, therefore, that things make truths true. Recently, there have been a number of arguments purporting to show that if one embraces Truthmaker, then one ought to embrace Truthmaker Maximalism—the view that all non-analytic propositions have truthmakers. But then if one embraces Truthmaker, one ought to think that negative existentials have truthmakers. I argue that this is false. I begin by arguing that recent attempts by Ross Cameron and (...) Jonathan Schaffer to provide negative existentials with truthmakers fail. I then argue that the conditional—if one embraces Truthmaker, the one ought to embrace Truthmaker Maximalism—is false by considering worlds where very little, if anything at all, exists. The conclusion is that thinking that negative existentials do not have truthmakers, and therefore rejecting Truthmaker Maximalism, need not worry Truthmaker embracers. (shrink)

Divine Simplicity has it that God is absolutely simple. God exhibits no metaphysical complexity; he has neither proper parts nor distinct intrinsic properties. Recently, Jeffrey Brower has put forward an account of divine simplicity that has it that God is the truthmaker for all intrinsic essential predications about him. This allows Brower to preserve the intuitive thought that God is not a property but a concrete being. In this paper, I provide two objections to Brower’s account that are meant to (...) show that whatever merits this account of divine simplicity has, plausibility is not one of them. (shrink)

Bob Solomon enjoyed humor, a good laugh. He was not a teller and collector of jokes or of humorous stories, as Ted Cohen and Noël Carroll are. He did not cultivate clever witticisms. Rather, his interest was in viewing life’s contingency and absurdity for the humor that can be found there, and the target of this humor was as likely to be himself or his friends as it was to be strangers. Bob also displayed philosophical courage. He once argued before (...) an incredulous audience of philosophers that the Three Stooges are funny, and admitted unashamedly to being a life-long devotee. In the published version of that talk he observes: “few adults in their chosen professions would dare attempt a Stooges gesture at risk of being terminally dismissed, but most men carry the secret knowledge around with them, and, in a wild fit of catharsis, display a tell-tale Stooges gesture when the door closes and the boss is out of view. I only hesitate to suggest that it is one of the most basic bonds between men, and perhaps the fact that it mystifies and sometimes horrifies women is far more elemental than the mere phrase ‘a sense of humor’ could ever suggest”. (shrink)

A growing body of research suggests that students achieve learning outcomes at higher rates when instructors use active-learning methods rather than standard modes of instruction. To investigate how one such method might be used to teach philosophy, we observed two classes that employed Reacting to the Past, an educational role-immersion game. We chose to investigate Reacting because role-immersion games are considered a particularly effective active-learning strategy. Professors who have used Reacting to teach history, interdisciplinary humanities, and political theory agree that (...) it engages students and teaches general skills like collaboration and communication. We investigated whether it can be effective for teaching philosophical content and skills like analyzing, evaluating, crafting, and communicating arguments in addition to bringing the more general benefits of active learning to philosophy classrooms. Overall, we find Reacting to be a useful tool for achieving these ends. While we do not argue that Reacting is uniquely useful for teaching philosophy, we conclude that it is worthy of consideration by philosophers interested in creative active-learning strategies, especially given that it offers a prepackaged set of flexible, user-friendly tools for motivating and engaging students. (shrink)

Scholars have associated the character of Pangloss in Voltaire’s Candide variously with the ideas of Gottfried Leibniz, Alexander Pope, and Christian Wolff. With them he is associated, but on whom is he modeled? Pangloss is the image of a French popularizer of science celebrated in his day but little noticed in ours: Noël Antoine Pluche (1688-1761), the author of a highly popular work, Le Spectacle de la Nature.

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

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

Movies have a striking aesthetic power: they can draw us in and induce a peculiar mode of involvement in their images – they absorb us. While absorbed in a movie, we lose track both of the passage of time and of the fact that we are sitting in a dark room with other people watching the play of light upon a screen. What is the source of the power of movies? Noël Carroll, who cites Maurice Merleau-Ponty as an influence on (...) his account of the power of movies, agrees with Merleau-Ponty that our perceptual experience of movies draws on many of the capacities at work in our perceptual experience of everyday situations. Yet Merleau-Ponty’s account of perception shows that Carroll’s emphasis on intellectual inference and the entertaining of unasserted thoughts is a distortion of the phenomenology of cinematic absorption. According to Merleau-Ponty, such intellectual operations come into play in cases of breakdown but should not be read back into the primary absorbed experience as being implicitly operative.. (shrink)

The idea of a new aestheticism is now explicit in both philosophical aesthetics and cultural theory with the publication of Gary Iseminger's The Aesthetic Function of Art and an anthology of essays edited by John Joughin and Simon Malpas critiquing the anti-aestheticism of literary theory. Both are significant in marking a wider trend reacting to, broadly speaking, intellectualised and historicised accounts of art, refocusing on the idea of appreciation itself, and working away from the emphasis on ideology and disregard for (...) the particularity of works in, especially, literary theory. This broader context also includes renewed debates running within philosophical aesthetics about non-perceptual aesthetic properties and the aesthetic experience of conceptual artworks, and about beauty in art, considerations that have engaged two philosophers normally identified by their commitment to art theoretical and historical (and by extension, non-aesthetic) accounts of artistic making and viewing, namely Noël Carroll and Arthur Danto. So Carroll acknowledges that what's at stake is an aesthetic theory of art that is potentially 'back in business', while Danto's 'surprising' theoretic re-engagement with the concept of beauty has been noted by Diarmuid Costello. (shrink)

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; Introduction by Peg Brand. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available here). (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...) body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

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

Ce livre cherche à mettre en évidence la spécificité du cinéma parmi les autres arts et à montrer en quoi il est une forme de pensée au même sens que la philosophie, mais qui passe par le biais des images. Il analyse le rapport de la dimension visuelle et de la dimension audio, et tente de caractériser, d’une part, ce qui caractérise la narration cinématographique et, d’autre part, en quel sens on peut parler d’un cinéma non narratif. Par là, il (...) met l’accent sur la spécificité des techniques cinématographiques et particulièrement sur la question du montage, dont il essaie de classifier les formes.Enfin, ce livre contient une analyse de deux textes. Le premier, de Gilles Deleuze, pose la question de savoir si l’image cinématographique est toujours au présent, et permet de mieux comprendre la structure et la loi d’organisation de certains films contemporains, comme par exemple Elephant . Le deuxième, de Noël Burch, pose la question, non pas du cinéma politique, mais d’une lecture ou interprétation politique du cinéma.On trouvera dans ce livre des exemples qui vont des films les plus classiques aux films les plus méconnus. (shrink)