Results for 'Ontology of musical works, teleology, experimental philosophy.'

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  1. The Role of Teleological Thinking in Judgments of Persistence of Musical Works.Elzė Sigutė Mikalonytė & Vilius Dranseika - 2022 - Journal of Aesthetics and Art Criticism 80 (1):42-57.
    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 (...)
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  2. Experimental Ontology of Music.Elzė Sigutė Mikalonytė - manuscript
    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.
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  3. Musical works: Ontology and meta-ontology.Julian Dodd - 2008 - Philosophy Compass 3 (6):1113-1134.
    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 (...)
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  4. Experimental Philosophy of Aesthetics.Florian Cova, Amanda Garcia & Shen-yi Liao - 2015 - Philosophy Compass 10 (12):927-939.
    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, (...)
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  5. Musical works are mind-independent artifacts.Elzė Sigutė Mikalonytė - 2023 - Synthese 203 (1):1-28.
    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 (...) 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)
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  6. The Poverty of Musical Ontology.James O. Young - 2014 - Journal of Music and Meaning 13:1-19.
    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 (...)
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  7. Bachelard and Deleuze on and with Experimental Science, Experimental Philosophy, and Experimental Music.Iain Campbell - 2019 - In Guillaume Collett (ed.), Deleuze, Guattari, and the Problem of Transdisciplinarity. London: Bloomsbury. pp. 73-104.
    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 (...)
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  8. Fictionalism about musical works.Anton Killin - 2018 - Canadian Journal of Philosophy 48 (2):266-291.
    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 (...)
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  9. Lost in musical translation: A cross-cultural study of musical grammar and its relation to affective expression in two musical idioms between Chennai and Geneva.Constant Bonard - 2018 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. London: Bloomsbury Academic.
    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 (...)
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  10. Mad Speculation and Absolute Inhumanism: Lovecraft, Ligotti, and the Weirding of Philosophy.Ben Woodard - 2011 - Continent 1 (1):3-13.
    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, (...)
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  11. Musical Ontology and the Audibility of Musical Works.Sofía Meléndez Gutiérrez - 2023 - British Journal of Aesthetics 63 (3):333-350.
    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 (...)
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  12. John Cage, Gilles Deleuze, and the Idea of Sound.Iain Campbell - 2017 - Parallax 23 (3):361-378.
    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 (...)
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  13. The Ontology of Intentional Agency in Light of Neurobiological Determinism: Philosophy Meets Folk Psychology.Dhar Sharmistha - 2017 - Journal of the Indian Council of Philosophical Research 34 (1):129-149.
    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 (...)
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  14. Musical Works as Structural Universals.A. R. J. Fisher - 2023 - Erkenntnis 88 (3):1245-67.
    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 (...)
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  15. The Metaphysics of Mash‐Ups.Christopher Bartel - 2015 - Journal of Aesthetics and Art Criticism 73 (3):297-308.
    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 (...)
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  16. Experimental Philosophy of Language.Nathaniel Hansen - 2015 - Oxford Handbooks Online.
    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 (...)
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  17. A Philosophical Account of Listening Musically.Paskalina Bourbon - 2020 - Contemporary Aesthetics 18.
    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 (...)
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  18. Experimental Philosophy of Religion.Ian M. Church - 2023 - In Alexander Max Bauer & Stephan Kornmesser (eds.), The Compact Compendium of Experimental Philosophy. Berlin and Boston: De Gruyter.
    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, (...)
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  19. Sarangadeva’s Philosophy of Music: An Aesthetic Perspective.Anish Chakravarty - 2017 - International Journal of Multidisciplinary Educational Research 6 (6(1)):42-53.
    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 (...)
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  20. Experimental Philosophy Meets Formal Epistemology.Jonah N. Schupbach - 2016 - In Wesley Buckwalter & Justin Sytsma (eds.), Blackwell Companion to Experimental Philosophy. Malden, MA: Blackwell. pp. 535-544.
    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 (...)
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  21. Experimental Philosophy and the Underrepresentation of Women.Carrie Figdor & Matt L. Drabek - 2016 - In Justin Sytsma & Wesley Buckwalter (eds.), A Companion to Experimental Philosophy. Malden, MA: Wiley. pp. 590-602.
    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.
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  22. Methodological Advances in Experimental Philosophy.Eugen Fischer & Mark Curtis (eds.) - 2019 - London: Bloomsbury Press.
    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 (...)
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  23. Experimental Philosophy of Emotion: Emotion Theory.Rodrigo Díaz - 2023 - In Alexander Max Bauer & Stephan Kornmesser (eds.), The Compact Compendium of Experimental Philosophy. Berlin and Boston: De Gruyter.
    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.
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  24. Armchair-Friendly Experimental Philosophy.Jennifer Nagel & Kaija Mortensen - 2016 - In Justin Sytsma & Wesley Buckwalter (eds.), A Companion to Experimental Philosophy. Malden, MA: Wiley. pp. 53-70.
    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.
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  25. Twenty years of experimental philosophy research.Jincai Li & Xiaozhen Zhu - 2023 - Metaphilosophy 54 (1):29-53.
    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, (...)
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  26. Heidegger's Ontology of Work.Vincent Blok - 2015 - Heidegger Studies 31:109-128.
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  27. Intuitions in Experimental Philosophy.Joachim Horvath - 2023 - In Alexander Max Bauer & Stephan Kornmesser (eds.), The Compact Compendium of Experimental Philosophy. Berlin and Boston: De Gruyter. pp. 71-100.
    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 (...)
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  28. Experimental Philosophy, Robert Kane, and the Concept of Free Will.J. Neil Otte - 2015 - Journal of Cognition and Neuroethics 3 (1):281-296.
    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 (...)
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  29. Four Theories of Inversion in Art and Music.John Dilworth - 2002 - Southern Journal of Philosophy 40 (1):1-19.
    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 (...)
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  30. Spatial music.John Dyck - 2022 - European Journal of Philosophy 30 (1):279-292.
    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 (...)
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  31. Esperienze, linguaggio, giustificazione. Su "A Manual of Experimental Philosophy" di David Berman.Daniele Bertini - 2011 - Giornale di Metafisica 33 (3):469-482.
    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 (...)
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  32. Musical Works and Performance Evaluation.António Lopes - 2005 - Postgraduate Journal of Aesthetics 2 (2):76-86.
    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 (...)
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  33. Augmented Ontologies or How to Philosophize with a Digital Hammer.Stefano Gualeni - 2014 - Philosophy and Technology 27 (2):177-199.
    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 (...)
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  34. Using fMRI in experimental philosophy: Exploring the prospects.Rodrigo Díaz - 2019 - In Eugen Fischer & Mark Curtis (eds.), Methodological Advances in Experimental Philosophy. London: Bloomsbury Press.
    This chapter analyses the prospects of using neuroimaging methods, in particular functional magnetic resonance imaging (fMRI), for philosophical purposes. To do so, it will use two case studies from the field of emotion research: Greene et al. (2001) used fMRI to uncover the mental processes underlying moral intuitions, while Lindquist et al. (2012) used fMRI to inform the debate around the nature of a specific mental process, namely, emotion. These studies illustrate two main approaches in cognitive neuroscience: Reverse inference and (...)
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  35. Experimental Philosophy and Apriority.Jonathan Jenkins Ichikawa - 2014 - In Al Casullo & Josh Thurow (eds.), The a Priori in Philosophy. Oxford: Oxford University Press. pp. 45-66.
    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 (...)
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  36. Methodology in the ontology of artworks: exploring hermeneutic fictionalism.Elisa Caldarola - 2020 - In Concha Martinez Vidal & José Luis Falguera Lopez (ed.), Abstract Objects: For and Against.
    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 (...)
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  37. Ultrablack of Music: market alibis.Eric Schmid, Connor Tomaka & Guido Gamboa - forthcoming - In Eric Schmid, Connor Tomaka & Guido Gamboa (eds.), Ultrablack of Music Volume 2. London: Bloomsbury Publishing.
    Diagrams by Connor Camburn -/- The relationship between axiomatization, mechanization, creative individuation, and virtual/physical individuation presents a fascinating interplay of concepts that have significantly influenced various fields, including mathematics, physics, philosophy, and art. This essay explores these relationships by drawing insights from André Weil's "From Metaphysics to Mathematics," Gilles Châtelet's works, and Schmid's discussion on Gnostic Futurism. -/- Axiomatization: Weil and Grothendieck -/- Axiomatization, as discussed in André Weil's "From Metaphysics to Mathematics," represents the transformation of metaphysical concepts into formal (...)
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  38. Interpreting intuition: Experimental philosophy of language.Jeffrey Maynes - 2015 - Philosophical Psychology 28 (2):260-278.
    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 (...)
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  39. The experimental foundations of Galen's teleology.Christopher E. Cosans - 1998 - Studies in History and Philosophy of Science Part A 29 (1):63-80.
    This article outlines in details specific experiments that Galen performed. It explores how his methodology for experimentation was a sophisticated response to the rationalist-empirist debate as it occurred in ancient medicine. -/- .
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  40. The past and future of experimental philosophy.Thomas Nadelhoffer & Eddy Nahmias - 2007 - Philosophical Explorations 10 (2):123 – 149.
    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 (...)
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  41. An Ontology of Words.Nurbay Irmak - 2019 - Erkenntnis 84 (5):1139-1158.
    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. (...)
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  42. The Aesthetic Value of Literary Works in Roman Ingarden’s Philosophy.Hicham Jakha - 2022 - Kultura I Wartości (32):165-185.
    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 (...) 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)
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  43. Nietzsche and Experimental philosophy. Studies and perspectives. Nietzsche y la filosofía experimental. Estudios y perspectivas.Osman Choque - 2021 - Praxis Filosófica 53:109-132.
    The expression experimental philosophy has taken on a lively interest in recent research on Nietzsche, as the growing shows number of interpreters. This reflection occupied a small place in the discussions at the end of the 20th century; a situation that changed dramatically at the beginning of our century. To understanding the questions that revolve around this philosophy, it is necessary to consider its limits and scope and, above all, the space it occupies in the work of the German (...)
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  44. Experimental Philosophy and Religion in Seventeenth-Century Italy.Alberto Vanzo - 2019 - In Alberto Vanzo & Peter R. Anstey (eds.), Experiment, Speculation and Religion in Early Modern Philosophy. New York: Routledge. pp. 204-228.
    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, (...)
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  45. The Experience of Music as a Process of [Self] Development, in: Of Essesnce and Context. Bewteen Music and Philosophy, Ruta Staneviciute, Nick Zangwill, Rima Povilioniene.Małgorzata A. Szyszkowska (ed.) - 2019 - Springer.
    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 (...)
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  46. Music between Philosophy and Science: The Applicability of Scientific Results to the Philosophy of Music.Sanja Sreckovic - 2019 - Dissertation, University of Belgrade
    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 (...)
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  47. Experimental Philosophy, Clinical Intentions, and Evaluative Judgment.Lynn A. Jansen, Jessica S. Fogel & Mark Brubaker - 2013 - Cambridge Quarterly of Healthcare Ethics 22 (2):126-135.
    Recent empirical work on the concept of intentionality suggests that people’s assessments of whether an action is intentional are subject to uncertainty. Some researchers have gone so far as to claim that different people employ different concepts of intentional action. These possibilities have motivated a good deal of work in the relatively new field of experimental philosophy. The findings from this empirical research may prove to be relevant to medical ethics. In this article, we address this issue head on. (...)
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  48. What Is It to Compose a Musical Work?Maria Elisabeth Reicher - 2000 - Grazer Philosophische Studien 58 (1):203-221.
    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 (...)
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  49. The Many Bubble Interpretation, externalism, the extended mind of David Chalmers and Andy Clark, and the work of Alva Noe in connection with Experimental Philosophy and Dreamwork.John Yates - unknown
    The idea of dreams being mere internal artifacts of the mind does not seem to be essential to externalism and extended mind theories, which seem as if they would function as well without this additional assumption. The Many Bubble Interpretation could allow a simpler rationale to externalist theories, which may be even simpler if the assumption that dreams have no worthwhile content outside the mind is omitted.
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  50. The Ontology of Aristotle's Final Cause.Rich Cameron - 2002 - Apeiron 35 (2):153-179.
    Modern philosophy is, for what appear to be good reasons, uniformly hostile to sui generis final causes. And motivated to develop philosophically and scientifically plausible interpretations, scholars have increasingly offered reductivist and eliminitivist accounts of Aristotle's teleological commitment. This trend in contemporary scholarship is misguided. We have strong grounds to believe Aristotle accepted unreduced sui generis teleology, and reductivist and eliminitivist accounts face insurmountable textual and philosophical difficulties. We offer Aristotelians cold comfort by replacing his apparent view with failed accounts. (...)
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