In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an (...) artist’s intention in the categorization of artworks. We tested the teleological hypothesis across three studies. Vignettes in these three studies describe a musical work being changed in some of these aspects: purpose either changed or retained; score either changed or retained; change is made either by the same or a different composer. The results suggest that teleological considerations impact judgments on the persistence of musical works, but this impact appears to be relatively weak. The results also suggest that persistence judgments strongly depend on whether acoustical properties were changed, while whether the change was made by the original composer seems to be relatively unimportant. (shrink)

This chapter focuses on the methodological challenges and practical implications of the experimental ontology of music. It offers an overview of the existing research, primarily focusing on how people judge whether two musical performances are of one and the same or two distinct musical works, followed by a discussion of the current methodological debates in this field and, finally, an exploration of its potential legal implications.

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the (...) class='Hi'>ontology of art could cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

This essay examines Nietzsche’s musical ontology and situates it within the naturalist and anti-metaphysical framework evident throughout his corpus. Nietzsche often associated this position with the figure of Dionysus, which plays a leading role in The Birth of Tragedy, his most sustained consideration of music and musical ontology. The essay returns to The Birth of Tragedy in an effort to recover Nietzsche’s musical ontology and its relationship with ontology more generally. Heeding Nietzsche’s own (...) remarks, I read this text in light of his mature philosophy. My analysis draws on the work of the late twentieth-century Nietzschean, Gilles Deleuze, whose distinction between “the virtual” and “the actual” enables us to see what is really at issue in The Birth of Tragedy. (shrink)

The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly (...) considering, meta-ontological questions in the ontology of music. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, (...) aesthetic concepts, and imagination, as well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the (...) recognition that ontological judgments are a priori and aesthetic judgments are empirical. A priori judgements have no empirical consequences. Neither fundamental ontology of music nor higher- order ontological reflections have any aesthetic consequences. (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)

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful (...) – and I develop a version of such an analysis in line with a broad commitment to philosophical naturalism. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (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)

The property theory of musical works is the view that identifies works of music with properties as universals. The purpose of this article is to distinguish different versions of the property theory and argue that none of them can satisfy certain demands we expect from a successful theory of musical works. I conclude that although properties as universals are familiar and useful in other domains, we cannot rely on them to explain the ontological nature of musical works.

Can music be considered a language of the emotions? The most common view today is that this is nothing but a Romantic cliché. Mainstream philosophy seems to view the claim that 'Music is the language of the emotions' as a slogan that was once vaguely defended by Rousseau, Goethe, or Kant, but that cannot be understood literally when one takes into consideration last century’s theories of language, such as Chomsky's on syntax or Tarski's on semantics (Scruton 1997: ch. 7, see (...) also Davies 2003: ch. 8, and Kania 2012). In this chapter, I will show why this common view is unwarranted, and thus go against nowadays philosophical mainstream by defending what I call the musicalanguage hypothesis. In Section 1, I will introduce the musicalanguage hypothesis and present, based on empirical evidence, some of the many similarities between language and music and explain why we should take them seriously. I will introduce a framework that aims to explain the communicative power of music using what we already know about linguistic communication (1.1). I will then outline several working hypotheses about musical grammar, musical meaning, and affective meaning (1.2), and thus defend that music is indeed very close to literally be a language of the emotions. In Section 2, I will detail some of the methodology, expectations, and preliminary results of a cross-cultural study on musical grammar that I am presently conducting between South India (Chennai) and Switzerland (Geneva and Lausanne)4. This empirical study focuses on two musical idioms and their grammatical features: Western classical music of the Common Period (ca. 1600-1900) and South Indian classical music (also know as Carnatic music). The main hypothesis of this study is that you need to master the grammar of a musical idiom in order to properly understand its musical meanings. (shrink)

Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this (...) discussion within an ontology of rock as defended by Theodore Gracyk and Stephen Davies and offer some interpretation as to what their positions might be in regard to mash-ups. Finally, I argue that the account of mash-ups that best makes sense of our evaluative practices would hold that they are emergent musical works that are distinct in their own right and yet also happen to be cases of musical works that instantiate parts of other musical works. (shrink)

This essay explores Wittgenstein’s encounter with Stumpf’s work in Tone Psychology during a rarely studied period in Wittgenstein’s early career when he worked as a researcher in Myers’s laboratory for experimental psychology in Cambridge. I argue that Stumpf’s emphasis on the notion of musicality as the ability to characterize what is ‘musical’ about music troubled Wittgenstein’s initial formulation of his career-long adherence to the comparison between language and music. In the Tractatus the importance of internal projective relations far (...) exceeds that of arbitrariness in language. This results in the curious elision of musicality in the Tractatus, as shown in his gramophone analogy. The acknowledgment of the enormous complexity pertaining to the facts of human life remained underdeveloped in Wittgenstein’s philosophy until the anthropological turn in his middle-period. Only then do we see the blooming of the language-as-music simile and its eventual impact on Wittgenstein’s later philosophy. (shrink)

There are compelling reasons to believe that musical works are abstract. However, this hypothesis conflicts with the platitude that musical works are appreciated by means of audition: the things that enter our ear canals and make our eardrums vibrate must be concrete, so how can musical works be listened to if they are abstract? This question constitutes the audibility problem. In this paper, I assess Julian Dodd’s elaborate attempt to solve it, and contend that Dodd’s attempt is (...) unsuccessful. Then I discuss what I take to be the ideal response to the audibility problem, and show that it ultimately fails. I contend, consequently, that the project of construing musical works as audible is disheartening. Accordingly, in my last section, I will argue the audibility problem may be satisfactorily resolved without ascribing audibility to musical works. (shrink)

What is the distinctive character of musical experiences? An answer: musical experience is distinctive because it is of music. I argue, however, that the difference between musical and nonmusical experience cannot be explained with an ontological account of music per se. Instead, we have musical experiences of sounds whenever we listen and attend to sounds in a particular kind of way. I call this special kind of attention “musical listening.” One can explain why musical (...) experiences are distinctive by explaining what makes musical listening distinctive. This account of musical listening suggests an anti-realist stance towards music; there is no kind of thing “music” and no musical works that are its instances. Ultimately, I give a kind of account of music as a function of an activity of listening that more fully explains our lives with music and sound than do accounts that focus on describing the ontological status of music. (shrink)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the (...) ontology of music. Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (shrink)

In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this (...) paper, I argue that the best version of Musical Aristotelianism identifies musical works with structural universals. I first motivate the view by outlining its explanatory benefits. I then argue that Musical Aristotelianism is preferable to Musical Platonism and present a novel account of musical works as structural universals by developing D. M. Armstrong’s theory of structural universals. I discuss the consequences of Musical Aristotelianism with respect to on-going issues in debates about musical works and defend the view against an influential objection, concluding that Musical Aristotelianism is a genuine competitor in debates about the nature of musical works. (shrink)

Could a person ever transcend what it is like to be in the world as a human being? Could we ever know what it is like to be other creatures? Questions about the overcoming of a human perspective are not uncommon in the history of philosophy. In the last century, those very interrogatives were notably raised by American philosopher Thomas Nagel in the context of philosophy of mind. In his 1974 essay What is it Like to Be a Bat?, Nagel (...) offered reflections on human subjectivity and its constraints. Nagel’s insights were elaborated before the social diffusion of computers and could not anticipate the cultural impact of technological artefacts capable of materializing interactive simulated worlds as well as disclosing virtual alternatives to the “self.” In this sense, this article proposes an understanding of computers as epistemological and ontological instruments. The embracing of a phenomenological standpoint entails that philosophical issues are engaged and understood from a fundamentally practical perspective. In terms of philosophical praxis, or “applied philosophy,” I explored the relationship between human phenomenologies and digital mediation through the design and the development of experimental video games. For instance, I have conceptualized the first-person action-adventure video game Haerfest (Technically Finished 2009) as a digital re-formulation of the questions posed in Nagel’s famous essay. Experiencing a bat’s perceptual equipment in Haerfest practically corroborates Nagel’s conclusions: there is no way for humans to map, reproduce, or even experience the consciousness of an actual bat. Although unverifiable in its correspondence to that of bats, Haerfest still grants access to experiences and perceptions that, albeit still inescapably within the boundaries of human kinds of phenomenologies, were inaccessible to humans prior to the advent of computers. Phenomenological alterations and virtual experiences disclosed by interactive digital media cannot take place without a shift in human kinds of ontologies, a shift which this study recognizes as the fundamental ground for the development of a new humanism (I deem it necessary to specify that I am not utilizing the term “humanism” in its common connotation, that is to say the one that emerged from the encounter between the Roman civilization and the late Hellenistic culture. According to this conventional acceptation, humanism indicates the realization of the human essence through “scholarship and training in good conduct” (Heidegger 1998, p. 244). However, Heidegger observed that this understanding of humanism does not truly cater to the original essence of human beings, but rather “is determined with regard to an already established interpretation of nature, history, world, and […] beings as a whole.” (Heidegger 1998, p. 245) The German thinker found this way of embracing humanism reductive: a by-product of Western metaphysics. As Heidegger himself specified in his 1949 essay Letter on Humanism, his opposition to the traditional acceptation of the term humanism does not advocate for the “inhuman” or a return to the “barbaric” but stems instead from the belief that the humanism can only be properly understood and restored in culture as more original way of meditating and caring for humanity and understanding its relationship with Being.). Additionally, this study explicitly proposes and exemplifies the use of interactive digital technology as a medium for testing, developing and disseminating philosophical notions, problems and hypotheses in ways which are alternative to the traditional textual one. Presented as virtual experiences, philosophical concepts can be accessed without the filter of subjective imagination. In a persistent, interactive, simulated environment, I claim that the crafting and the mediation of thought takes a novel, projective (In Martin Heidegger’s 1927 Being and Time, the term “projectivity” indicates the way a Being opens to the world in terms of its possibilities of being (Heidegger 1962, pp. 184–185, BT 145). Inspired by Heidegger’s and Vilem Flusser’s work in the field of philosophy of technology as well as Helmuth Plessner’s anthropological position presented in his 1928 book Die Stufen des Organischen und der Mensch. Einleitung in die philosophische Anthropologie, this study understands the concept of projectivity as the innate openness of human beings to construct themselves and their world by means of technical artefacts. In this sense, this study proposes a fundamental understanding of technology as the materialization of mankind’s tendency to overcome its physical, perceptual and communicative limitations.) dimension which I propose to call “augmented ontology.”. (shrink)

Experimental philosophy of language uses experimental methods developed in the cognitive sciences to investigate topics of interest to philosophers of language. This article describes the methodological background for the development of experimental approaches to topics in philosophy of language, distinguishes negative and positive projects in experimental philosophy of language, and evaluates experimental work on the reference of proper names and natural kind terms. The reliability of expert judgments vs. the judgments of ordinary speakers, the role (...) that ambiguity plays in influencing responses to experiments, and the reliability of metalinguistic judgments are also assessed. (shrink)

Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works (...) as being “autographic.” Second, other artworks such as musical or literary works seem to be copyable without any such limitations: for example, two identical copies of a novel could each equally be a genuine instance of that novel; such works are “allographic,” in Goodman’s terminology. Nevertheless, it seems clear enough that a deeper understanding of both kinds of artworks requires the pursuit of analogies or similarities between them, in spite of their differences. Any such analogies that may be found will provide critical tests for more general theories about the nature of artworks. I show how to resolve such analogies for the orientational concept of inversion. (shrink)

While experimental philosophy has fruitfully applied the tools and resources of psychology and cognitive science to debates within epistemology, metaphysics, and ethics, relatively little work has been done within philosophy of religion. And this isn’t due to a lack of need! Philosophers of religion frequently rely on empirical claims that can be either verified or disproven, but without exploring whether they are. And philosophers of religion frequently appeal to intuitions which may vary wildly according to education level, theological background, (...) etc., without concern for whether or not the psychological mechanisms that underwrite those intuitions are broadly shared or reliable. In this chapter, I explore some of the fruit and possibilities for the emerging field of experimental philosophy of religion. First, in Section 1, I will elucidate some of the historical grounding for experimental philosophy of religion. Then in Section 2, I briefly consider how the tools and resources of experimental philosophy might be fruitfully applied to a seminal topic within philosophy of religion, namely, the problem of evil. In Section 3, we’ll sketch some broader applications of experimental philosophy of religion. (shrink)

This paper summarizes recent and ongoing experimental work regarding the reality, nature, effects, and causes of the underrepresentation of women in academic philosophy. We first present empirical data on several aspects of underrepresentation, and then consider various reasons why this gender imbalance is problematic. We then turn to the published and preliminary results of empirical work aimed at identifying factors that might explain it.

The problem of evil is an ideal topic for experimental philosophy. Suffering--which is at the heart of most prominent formulations of the problem of evil--is a universal human experience and has been the topic of careful reflection for millennia. However, interpretations of suffering and how it bears on the existence of God are tremendously diverse and nuanced. We might immediately find ourselves wondering why (and how!) something so universal might be understood in so many different ways. Why does suffering (...) push some people toward atheism while pushing others toward deeper faith? What cultural, psychological, or sociological differences account for this diversity of responses? And, importantly, what light might this diversity of responses shed on the problem of evil and how it has been formulated by philosophers in recent years? The primary aim of this paper is to highlight how the tools and resources of experimental philosophy might be fruitfully applied to the problem of evil. In the first section, we review some recent work in this area and describe the current state of this emergent body of literature. In the second section, we review the broader and more recent theoretical developments on the problem of evil. Finally, in the final section, we outline some potential areas of future empirical research that we see as especially promising given those developments. (shrink)

This paper reports the first study in the literature that adopts a bibliometric approach to systematically explore the scholarship in the young and fast‐growing research field of experimental philosophy. Based on a corpus of 1,248 publications in experimental philosophy from the past two decades retrieved from the PhilPapers website, the study examined the publication trend, the influential experimental philosophers, the impactful works, the popular publication venues, and the major research themes in this subarea of philosophy. It found, (...) first, an overall growing trend in publications in experimental philosophy, encompassing four developmental stages. Second, it found that significant changes in topics of interest have taken place, with some gaining increasing attention, others seemingly going out of fashion, and still others remaining popular constantly. Third, the study identified lists of leading philosophers, frequently cited publications, and popular journals helpful for researchers and newcomers to get a quick start in learning about the field. (shrink)

Abstract artifacts such as musical works and fictional entities are human creations; they are intentional products of our actions and activities. One line of argument against abstract artifacts is that abstract objects are not the kind of objects that can be created. This is so, it is argued, because abstract objects are causally inert. Since creation requires being caused to exist, abstract objects cannot be created. One common way to refute this argument is to reject the causal inefficacy of (...) abstracta. I argue that creationists should rather reject the principle that creation requires causation. Creation, in my view, is a non-causal relation that can be explained using an appropriate notion of ontological dependence. The existence and the creation of abstract artifacts depend on certain individuals with appropriate intentions, along with events of a certain kind that include but are not limited to creations of certain concrete objects. (shrink)

Trends in experimental philosophy have provided new and compelling results that are cause for re-evaluations in contemporary discussions of free will. In this paper, I argue for one such re-evaluation by criticizing Robert Kane’s well-known views on free will. I argue that Kane’s claims about pre-theoretical intuitions are not supported by empirical findings on two accounts. First, it is unclear that either incompatibilism or compatibalism is more intuitive to nonphilosophers, as different ways of asking about free will and responsibility (...) reveal different answers. Secondly, I discuss how a study by Josh May supporting a cluster concept of free will may provide ethicists with a reason to give up a definitional model, and I discuss a direction future work might take. Both of these objections come from a larger project concerned with understanding the cognitive mechanisms that people employ when they make judgments about agency and responsibility—a project that promises not only to challenge contemporary philosophy, but to inform it. (shrink)

This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also holds singing to be (...) the most important component of music. These two ideas are not only unquestionably acceptable , as the analysis in the paper will show, but give to Indian music , in its difference from western music, its distinctively spiritual character, making it a path to liberation or Moksha (Muktidayakam na tu ranjakam). Sarangadeva's reason, here, is not rational but empirico-inductive. It is that mainly by virtue of its 'gitam’ (singing component), which, like the Yoga system of exercise, needing only one's body as its instrument, music too needing only one’s voice is as self-sufficient and autonomous as the ultimate Reality itself (Swayamev Rajate). In the hierarchy (a distinctively ancient Indian insistence) of arts, singing is the highest and unique because in spite of being heard by the auditory sense, it affects our 'reflective sensibility' and transports us to the virtual world of melodic and rhythmic forms. Forms, as against their particular illustrations, are abstract universals. Ultimate Reality is also a Form-all comprehensive and internally harmonious. However, pure Form, whether melodic or religious or even rational like that of triangularity, is almost impossible to concentrate on. Realizing this practical difficulty, Indian scriptures and the world's first Grammarian-linguist, Acharya Panini, framed a composite sound as the manifestation of the ultimate musical Form. This purely formal-because devoid of all meaning, sound is that of 'om', spelt, in Sanskrit as a conjunction (sandhi) of 'a'+'u'+'m'. For Indian musicologists and musicians, ‘om’ is the perfect manifestation of the Sound-God or ‘Nada-Brahman’ because, 1. Its composite nature resembles God, as a harmony of 'sat', 'chit', and 'ananda'; and 2. The composite sound is self-existent as its all three components-two vowels, i.e. ‘a’, ‘u’, and one consonant i.e. ‘m’, can be and are pronounced just as they originally are, -un-elongated and un-vitiated and therefore pure. This is the reason why every recital of Indian classical vocal music is begun with an elaborate rendering of 'om' as an invocation to Sound-God or ‘Nada-Brahman’. Scholarly and authentic, this ancient Indian approach to music, is undoubtedly the earliest and original. My observation is that its main contentions like Sharang Dev’s insistence that of the three components of music, ‘gitam’ or singing is the highest, have only been translated and never argued for. In this presentation my good intention is to provide much needed rational support for making these key statements in this unparalleled Indian text, indubitable and unquestionable. (shrink)

Drawing upon a distinction between epistemically and metaphysically motivated notions of a concept, I consider the insurmountable problems of theories that appeal to our epistemic capacities to address the problem of the nature of concepts satisfactorily. Prominent theories of concepts hold that primitive concepts must have internal structure if they are to account for the explanatory functions that cognitive scientists have attributed to such constructs as prototypes, exemplars, and theories. Vindicating the role of non-experimental philosophy in the critical examination (...) of empirical theories, I argue that the explanatory effectiveness of those constructs is orthogonal to an argument concerning the structure of primitive concepts. Conceptual atomism provides an alternative approach to individuating primitive concepts the precise formulation of which has yet to be worked out. Despite its unpopularity, the atomist alternative is still in a better position to face the question of what concepts are than its competitors. (shrink)

The moot point of the Western philosophical rhetoric about free will consists in examining whether the claim of authorship to intentional, deliberative actions fits into or is undermined by a one-way causal framework of determinism. Philosophers who think that reconciliation between the two is possible are known as metaphysical compatibilists. However, there are philosophers populating the other end of the spectrum, known as the metaphysical libertarians, who maintain that claim to intentional agency cannot be sustained unless it is assumed that (...) indeterministic causal processes pervade the action-implementation apparatus employed by the agent. The metaphysical libertarians differ among themselves on the question of whether the indeterministic causal relation exists between the series of intentional states and processes, both conscious and unconscious, and the action, making claim for what has come to be known as the event-causal view, or between the agent and the action, arguing that a sort of agent causation is at work. In this paper, I have tried to propose that certain features of both event-causal and agent-causal libertarian views need to be combined in order to provide a more defendable compatibilist account accommodating deliberative actions with deterministic causation. The ‘‘agent-executed-eventcausal libertarianism’’, the account of agency I have tried to develop here, integrates certain plausible features of the two competing accounts of libertarianism turning them into a consistent whole. I hope to show in the process that the integration of these two variants of libertarianism does not challenge what some accounts of metaphysical compatibilism propose—that there exists a broader deterministic relation between the web of mental and extra-mental components constituting the agent’s dispositional system—the agent’s beliefs, desires, short-term and long-term goals based on them, the acquired social, cultural and religious beliefs, the general and immediate and situational environment in which the agent is placed, etc. on the one hand and the decisions she makes over her lifetime on the basis of these factors. While in the ‘‘Introduction’’ the philosophically assumed anomaly between deterministic causation and the intentional act of deciding has been briefly surveyed, the second section is devoted to the task of bridging the gap between compatibilism and libertarianism. The next section of the paper turns to an analysis of folk-psychological concepts and intuitions about the effects of neurochemical processes and prior mental events on the freedom of making choices. How philosophical insights can be beneficially informed by taking into consideration folk-psychological intuitions has also been discussed, thus setting up the background for such analysis. It has been suggested in the end that support for the proposed theory of intentional agency can be found in the folk-psychological intuitions, when they are taken in the right perspective. (shrink)

Formal epistemology is just what it sounds like: epistemology done with formal tools. Coinciding with the general rise in popularity of experimental philosophy, formal epistemologists have begun to apply experimental methods in their own work. In this entry, I survey some of the work at the intersection of formal and experimental epistemology. I show that experimental methods have unique roles to play when epistemology is done formally, and I highlight some ways in which results from formal (...) epistemology have been used fruitfully to advance epistemically-relevant experimental work. The upshot of this brief, incomplete survey is that formal and experimental methods often constitute mutually informative means to epistemological ends. (shrink)

Until recently, experimental philosophy has been associated with the questionnaire-based study of intuitions; however, experimental philosophers now adapt a wide range of empirical methods for new philosophical purposes. New methods include paradigms for behavioural experiments from across the social sciences as well as computational methods from the digital humanities that can process large bodies of text and evidence. This book offers an accessible overview of these exciting innovations. The volume brings together established and emerging research leaders from several (...) areas of experimental philosophy to explore how new empirical methods can contribute to philosophical debates. Each chapter presents one or several methods new to experimental philosophy, demonstrating their application in a key area of philosophy and discussing their strengths and limitations. Methods covered include eye tracking, virtual reality technology, neuroimaging, statistical learning, and experimental economics as well as corpus linguistics, visualisation techniques and data and text mining. The volume explores their use in moral philosophy and moral psychology, epistemology, philosophy of science, metaphysics, philosophy of language, philosophy of mind and the history of ideas. Methodological Advances in Experimental Philosophy is essential reading for undergraduates, graduate students and researchers working in experimental philosophy. (shrink)

This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features (...) of works and of performances of them. The second and third parts develop two kinds of example in favour of the claim above. In the last part, I discuss the significance of those examples in relation to the ways in which performances are assessed, and explore some further ramifications of them. (shrink)

Are emotions bodily feelings or evaluative cognitions? What is happiness, pain, or “being moved”? Are there basic emotions? In this chapter, I review extant empirical work concerning these and related questions in the philosophy of emotion. This will include both (1) studies investigating people’s emotional experiences and (2) studies investigating people’s use of emotion concepts in hypothetical cases. Overall, this review will show the potential of using empirical research methods to inform philosophical questions regarding emotion.

One of the more visible recent developments in philosophical methodology is the experimental philosophy movement. On its surface, the experimentalist challenge looks like a dramatic threat to the apriority of philosophy; ‘experimentalist’ is nearly antonymic with ‘aprioristic’. This appearance, I suggest, is misleading; the experimentalist critique is entirely unrelated to questions about the apriority of philosophical investigation. There are many reasons to resist the skeptical conclusions of negative experimental philosophers; but even if they are granted—even if the experimentalists (...) are right to claim that we must do much more careful laboratory work in order legitimately to be confident in our philosophical judgments— the apriority of philosophy is unimpugned. The kinds of scientific investigation that experimental philosophers argue to be necessary involve merely enabling sensory experiences. Although they are not enabling in the sense of permitting concept acquisition, they are enabling in another epistemically significant way that is also consistent with the apriority of philosophy. (shrink)

The dissertation discusses the relationship between two approaches to researching music: the empirical approach of experimental psychology and cognitive neuroscience, and the speculative approach of philosophical aesthetics of music. The aim of the dissertation is to determine the relationship between problems, conceptual frameworks, and domains of inquiry of the two approaches. The dissertation should answer whether the philosophical and the empirical approach deal with the same, or at least relatable aspects of music. In particular, it should answer whether the (...) results of the empirical research contribute to the debates of philosophical aesthetics of music. Each of the three chapters of the dissertation deals with one particular problem in philosophy of music: meaning in music, value of music, and the relationship between music and the emotions. For each particular philosophical problem discussed in these chapters, it is demonstrated that the experimental results provide interesting insights for philosophy of music. It is concluded in the dissertation that philosophers can benefit from examining experimental studies, not only regarding the particular aesthetic theories, but also in regard to the methodological consideration, since the dissertation shows that this kind of interdisciplinary approach uncovers methods useful to philosophers, not commonly available to the armchair philosophical approach. (shrink)

Experimental philosophy is the name for a recent movement whose participants use the methods of experimental psychology to probe the way people think about philosophical issues and then examine how the results of such studies bear on traditional philosophical debates. Given both the breadth of the research being carried out by experimental philosophers and the controversial nature of some of their central methodological assumptions, it is of no surprise that their work has recently come under attack. In (...) this paper we respond to some criticisms of experimental philosophy that have recently been put forward by Antti Kauppinen. Unlike the critics of experimental philosophy, we do not think the fledgling movement either will or should fall before it has even had a chance to rise up to explain what it is, what it seeks to do (and not to do), and exactly how it plans to do it. Filling in some of the salient details is the main goal of the present paper. (shrink)

Formal epistemology is just what it sounds like: epistemology done with formal tools. Coinciding with the general rise in popularity of experimental philosophy, formal epistemologists have begun to apply experimental methods in their own work. In this entry, I survey some of the work at the intersection of formal and experimental epistemology. I show that experimental methods have unique roles to play when epistemology is done formally, and I highlight some ways in which results from formal (...) epistemology have been used fruitfully to advance epistemically‐relevant experimental work. The upshot of this brief, incomplete survey is that formal and experimental methods often constitute mutually informative means to epistemological ends. (shrink)

David Berman's work on experimental philosophy is a defence of a traditional approach to empiricism against both contemporary rationalism and logico-analytic philosophy. While his approach focuses on empirical evidence in support of theoretical claims, Berman distinguishes his position from the kind of experimentalism recently risen from the analytic world. After having highlighted the merit of Berman's approach to philosophy, I comment on his main views, addressing particularly the relationship between language, intuitions and experience from the standpoint of the epistemological (...) topic of belief justification. (shrink)

The purpose of this paper is to analyze the theoretical commitments of autopoietic enactivism in relation to Errol E Harris’s dialectical holism in the interest of establishing a common metaphysical ground. This will be undertaken in three stages. First, it is argued that Harris’s reasoning provides a means of developing enactivist ontology beyond discussions limited to cognitive science and into domains of metaphysics that have traditionally been avoided by phenomenologists. Here, I maintain enactivist commitments are consistent with Harris’s reasoning (...) from certain synthetic a priori first principles, to his derivation of a teleological anthropic principle, which asserts the necessity of consciousness within the cosmos. Second, it is proposed that Steven Rosen’s long-standing proposal for a topology of phenomenology may provide a common logical foundation for both Harris and enactivists regarding anthropic reasoning. Third, it is argued that a pragmatic approach to process ontology is the most rigorous way of responding to the realism/anti-realism concerns that inevitably follow. If successful, this work will update Harris’s arguments with contemporary scientific and philosophical terminology and extend enactivism from philosophy of mind, into a general phenomenological ontology. (shrink)

The role of intuition in Kripke's arguments for the causal-historical theory of reference has been a topic of recent debate, particularly in light of empirical work on these intuitions. In this paper, I develop three interpretations of the role intuition might play in Kripke's arguments. The first aim of this exercise is to help clarify the options available to interpreters of Kripke, and the consequences for the experimental investigation of Kripkean intuitions. The second aim is to show that understanding (...) the role of intuition in Kripke's arguments, and in other arguments commonly interpreted as ?appeals to intuition? requires that we pay careful attention to the argumentative context and theoretical commitments of the work in question. The interpretations of Kripke developed here provide a set of options which might be adapted to other arguments to help clarify what role (if any) intuition plays. (shrink)

According to Amos Funkenstein, Stephen Gaukroger and Andrew Cunningham, seventeenth-century natural philosophy was fused with theology, driven by theology, and pursued primarily to shed light on God. Experimental natural philosophy might seem to provide a case in point. According to its English advocates, like Robert Boyle and Thomas Sprat, experimental philosophy embodies the Christian virtues of humility, innocence, and piety, it helps establish God’s existence, attributes, and providence, and it provides a basis for evangelism. This chapter shows that, (...) unlike their English counterparts, experimental philosophers in seventeenth-century Italy kept natural philosophy sharply distinct from theological and religious matters. This indicates that seventeenth-century experimental philosophy was not, as such, theologically driven or oriented. It also suggests that there was no intrinsic relation between experimental philosophy and religion. Whether experimental philosophy was presented as an ally of religion or as distinct from it was, to a significant extent, a matter of cultural politics. It depended on which rhetorical and argumentative strategies were believed to be most likely to ensure freedom of research and institutional support for the work of experimental philosophers in a specific sociopolitical context. (shrink)

Once symbolized by a burning armchair, experimental philosophy has in recent years shifted away from its original hostility to traditional methods. Starting with a brief historical review of the experimentalist challenge to traditional philosophical practice, this chapter looks at research undercutting that challenge, and at ways in which experimental work has evolved to complement and strengthen traditional approaches to philosophical questions.

In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and (...) class='Hi'>ontology to establish a coherent account of values, where artistic and aesthetic values are analyzed as they manifest themselves in the literary work of art. By attending to the ontology of its aesthetic (and artistic) values, I argue, the literary work’s stratified formation becomes more explicit. Keywords: Roman Ingarden, aesthetic value, artistic value, the literary work of art, ontology, aesthetics. (shrink)

This chapter proceeds from the standard picture of the relation between intuitions and experimental philosophy: the alleged evidential role of intuitions about hypothetical cases, and experimental philosophy’s challenge to these judgments, based on their variation with philosophically irrelevant factors. I will survey some of the main defenses of this standard picture against the x-phi challenge, most of which fail. Concerning the most popular defense, the expertise defense, I will draw the bleak conclusion that intuitive expertise of the envisaged (...) kind is largely a myth. Next, I will consider the mischaracterization objection, which has mainly been developed by Deutsch and Cappelen on the basis of textual evidence: that philosophers do not appeal to intuitions as evidence for their case judgments, but instead argue for them. This would render the x-phi challenge mostly irrelevant, due to its focus on intuitions about hypothetical cases. I will then consider a few instructive replies to the mischaracterization objection, which are all unconvincing on further inspection. Finally, I will discuss some potential normative consequences of the mischaracterization objection, and I will argue that it recommends a shift away from the excessive focus on intuitions about cases in metaphilosophy and experimental philosophy, towards more work on the role of argumentation in the method of cases. More speculatively, I claim that philosophers should always argue for their case judgments, even if they have strong intuitions about them, because an argument-based methodology would be more transparent and philosophically fruitful than one that mainly relies on intuition. (shrink)

The paper deals with the question whether musical works are created or discovered. In the preliminaries some ontological presuppositions concerning the nature of a musical work setting the stage for the whole debate and the Creationist and Platonist views are discussed. The psychological concepts of creation and discovery are distinguished from their ontological counterparts and it turns out that only the ontological ones are relevant in this context and that the Creationist arguments fail to prove the point in (...) question. Finally it is argued that there is not necessaryly a conflict between the positions of the creationist and the Platonist, if they are construed in an appropriate way. The Creationist view that to compose is to create and the Platonist that to compose is to discover are compatible, at least if creation is understood in a quite natural and common sense way. (shrink)

Music presents itself as a process, a continuation, following through. Musical works and music experience is perceived as development, succession, dialogical reaching out and harmonizing. Not one process but many. Among those various processes that make music the author focuses on a specific process of human development, which occurs during listening as much as during performing music. This is a process of growing and self-realization. In the course of the paper following the processual character of music, author turns to (...) Maurice Merleau-Ponty and Mikel Dufrenne in the phenomenological tradition, to Jerrold Levinson and his understanding of music through a listening moment to moment process and also to Theodor Adorno and his way of explaining music as a process of dialectical development. (shrink)

Words are indispensable linguistic tools for beings like us. However, there is not much philosophical work done about what words really are. In this paper, I develop a new ontology for words. I argue that words are abstract artifacts that are created to fulfill various kinds of purposes, and words are abstract in the sense that they are not located in space but they have a beginning and may have an end in time given that certain conditions are met. (...) What follows from this two-fold argument is that words, from an ontological point of view, are more like musical works, fictional characters or computer programs, than numbers or sets. (shrink)

There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views (...) that have been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)