Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen aright, is always beautiful (...) (that is, positive aesthetics about nature). I attempt to find a revised formulation of scientific cognitivism that can support both of these claims. I argue that to do this we must rethink the notion of positive aesthetics and its place in our theorizing about the appropriate aesthetic appreciation of nature. Specifically, I propose that positive aesthetics be made ‘internal’ to the theory of appropriate aesthetic appreciation, in the sense that this theory determines the correct scientific categories for appreciating a natural object, in part, in virtue of a ‘beauty-making’ criterion. I argue that this sort of formulation of scientific cognitivism can support both of Carlson's claims and does not compromise the objectivist scruples that motivate the view. (shrink)

Normally this is not how we think material objects work. I, for example, am a material object that is located in multiple places: this place to my left where my left arm is, and this, distinct, place to my right, where my right arm is. But I am only partially located in each place. My left arm is a part of me that fills exactly the place to my left, and my right arm is a distinct part of me that (...) fills exactly the place to my right. I am located in multiple places by virtue of having distinct parts in those places. So entension is not happening to me — I do not entend. (shrink)

Our culture praises—indeed revels in—the beauty of the human form. And yet, in the midst of this exuberant celebration of corporeal beauty, not even the most unreflective can be unaware of the problems that have been laid at its feet. The philosopher Kathleen Higgins notes a “pervasive impression that is widespread in our culture: that beauty, or some near kin of it, is unsavory, a temptation that might get the soul off-track” (2000, 89). In response to this suspicion, some have (...) argued that beauty is in desperate need of reform or redefinition in our time. In this essay, I attempt to analyze and evaluate this counsel. How should these claims be understood? Would we be wise to follow them? (shrink)

Assessing the success or failure of a work of architecture typically requires determining its function. However, architectural criticism often founders on apparently intractable disputes concerning the 'true' function of particular works. In this essay, I propose that the proper function of an architectural work is a matter of empirical fact, and can be determined by examining the history of the relevant architectural type. I develop this claim by appeal to the so-called 'etiological theory of function'.

Paper begins: I have two gloves, a left glove and a right glove. I can fit the left glove onto my left hand, but not the right glove. Why? Because the right glove is the wrong shape to go on my left hand. So the two gloves are different shapes….

An imperative conditional is a conditional in the imperative mood (by analogy with “indicative conditional”, “subjunctive conditional”). What, in general, is the meaning and the illocutionary effect of an imperative conditional? I survey four answers: the answer that imperative conditionals are commands to the effect that an indicative conditional be true; two versions of the answer that imperative conditionals express irreducibly conditional commands; and finally, the answer that imperative conditionals express a kind of hybrid speech act between command and assertion.

Aesthetic preservation is the idea of sparing natural areas from development because of their aesthetic value. In this article I discuss a problem for aesthetic preservation that I call the ‘hidden gems problem’: in certain cases, the natural area under consideration is so remote and/or fragile that few people can actually experience it. In these cases, it becomes unclear how nature's aesthetic value can justify its preservation when development promises practical human benefits. After rejecting some potential responses to the hidden (...) gems problem, I offer a different solution. I argue that we have an aesthetic reason to preserve nature's hidden gems because they are required to produce ‘true judges’ of aesthetic value, who are capable of improving the general quality of taste for landscape. I develop this argument using the example of recent preservationist efforts to save the isolated landscape of Sable Island, Nova Scotia. (shrink)

Truthmaker theorists typically claim not only that all truths have truthmakers (Truthmaker Maximalism), but also that there is some enlightening metaphysical theory to be given of the nature of those truthmakers (e.g. that they are Armstrongian states of affairs, or tropes, or concrete individuals). Call this latter thesis the "Material Theory Thesis" (it is the thesis that there is some true material theory of truthmakers). I argue that the Material Theory Thesis is inconsistent with Truthmaker Maximalism.

It’s now commonplace — since Korsgaard (1996) — in ethical theory to distinguish between two distinctions: on the one hand, the distinction between value an object has in virtue of its intrinsic properties vs. the value it has in virtue of all its properties, intrinsic or extrinsic; and on the other hand, the distinction between the value has an object as an end, vs. the value it has as a means to something else. I’ll call the former distinction the distinction (...) between intrinsic and nonintrinsic value; the latter is between value as-an-end and instrumental value. (shrink)

This paper began life as a short section of a more general paper about non-classical mereologies. In that paper I had a mereological theory that I wanted to show could be applied to all sorts of different metaphysical positions — notably, to those positions that believe in mereological vagueness in re — in “vague individuals”. To do that I felt I first had to dispatch the leading rival theory of vague individuals, which is due to Peter van Inwa-gen, and holds (...) that the part-whole relation admits of degrees. It seemed to me that this theory had a serious technical problem, or at best a serious gap. I sat down to write a paragraph or two highlighting the gap, preferably showing that it couldn’t be filled. This paper is the result. (shrink)

The problem of imperative consequence consists in the fact that theses (i) through (iii) are inconsistent; but yet all three are attractive (for the reasons sketched above). A solution to the problem consists in the denial of one of the three theses; I describe solutions as belonging to type 1, type 2, or type 3, depending on which thesis they deny. For the purposes of this paper, I would like to focus on a certain variety of type 3 solution – (...) a solution that offers a revised criterion of validity of a particular kind. (shrink)

Analytic philosophers usually think about modality in terms of possible worlds. According to the possible worlds framework, a proposition is necessary if it is true according to all possible worlds; it is possible if it is true according to some possible world. There are as many possible worlds as there are ways the actual world might be. Only one world is actual.

In Natural Beauty, Ronald Moore presents a novel account of our aesthetic encounters with the natural world. In this essay, I consider the relation between Moore's 'syncretic aesthetic' and rival views of the aesthetics of nature, particularly the view sometimes called 'scientific cognitivism'. After discussing Moore's characterization of rival views in general, and scientific cognitivism in particular, I rehearse his reasons for rejecting the latter view. I critique these arguments, but also suggest that scientific cognitivism and the syncretic aesthetic need (...) not, after all, be viewed as incompatible notions. (shrink)

This logic has a standard one-dimensional possible worlds semantics with an accessibility relation (I will call this, for short, the accessibility semantics for KDDc4, contrasting with the preposcription semantics given in “Command and consequence”). In the accessibility semantics, the semantic value of a sentence is a world (rather than a pair of worlds).

“The truth,” Quine says, “is that you can bathe in the same river twice, but not in the same river stage. You can bathe in two river stages which are stages of the same river, and this is what constitutes bathing in the same river twice. A river is a process through time, and the river stages are its momentary parts.” (Quine 1953, p. 65) Quine’s view is four-dimensionalism, and that is what Theodore Sider’s book is about. In Sider’s usage, (...) four-dimensionalism is the view that, necessarily, anything in space and time has a distinct temporal part, or stage, corresponding to each time at which it exists (p. 59). (shrink)

Book review of Mark Anderson's 'Plato and Nietzsche: Their Philosophical Art' for Pli, the Warwick Journal of Philosophy.