Deduction is important to scientific inquiry because it can extend knowledge efficiently, bypassing the need to investigate everything directly. The existence of closure failure—where one knows the premises and that the premises imply the conclusion but nevertheless does not know the conclusion—is a problem because it threatens this usage. It means that we cannot trust deduction for gaining new knowledge unless we can identify such cases ahead of time so as to avoid them. For philosophically engineered examples we have “inner (...) alarm bells” to detect closure failure, but in scientific investigation we would want to use deduction for extension of our knowledge to matters we don’t already know that we couldn’t know. Through a quantitative treatment of how fast probabilistic sensitivity is lost over steps of deduction, I identify a condition that guarantees that the growth of potential error will be gradual; thus, dramatic closure failure is avoided. Whether the condition is fulfilled is often obvious, but sometimes it requires substantive investigation. I illustrate that not only safe deduction but the discovery of dramatic closure failures can lead to scientific advances. (shrink)

We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...) occurrences are physical particulars. And nontraditional techniques and materials employed in contemporary art violate the boundaries of conventional media, prompting a rethinking of what artistic medium might be. (shrink)

I argue against a prevailing view that the essence of Godis identical with the attributes. I show that given what Spinoza says in 2d2 – Spinoza'spurported definition of the essence of a thing – the attributes cannot be identical withthe essence of God (whether the essence of God is understood as the distinct attributesor as a totality of indistinct attributes). I argue that while the attributes do notsatisfy the stipulations of 2d2 relative to God, absolutely infinite and eternal power does (...) satisfythose stipulations. Hence, I conclude that absolutely infinite and eternal power is God'sessence and that the attributes are expressions of that power. (shrink)

At least since Aristotle's famous discussion of the sea-battle tomorrow in On Interpretation 9, philosophers have been fascinated by a rich set of interconnecte.

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

This paper presents data on the representation of women at 98 philosophy departments in the United States, which were ranked by the Philosophical Gourmet Report (PGR) in 2015 as well as all of those schools on which data from 2004 exist. The paper makes four points in providing an overview of the state of the field. First, all programs reveal a statistically significant increase in the percentage of women tenured/tenure-track faculty, since 2004. Second, out of the 98 US philosophy departments (...) selected for evaluation by Julie Van Camp in 2004, none in 2015 has 50% women philosophy faculty overall, while one has 50% women who are tenured/tenure track. Third, as of 2015, there is a clear pyramidal shape to the discipline: Women are better represented as Assistant than Associate and as Associate than Full professors. Fourth, women philosophy faculty, especially those who are tenured/tenure track, are better represented at Non-PGR ranked programs than at PGR ranked and PGR Top-20 programs in 2015. (shrink)

Various philosophers have wanted to move from a (P.F.) “Strawsonian” understanding of the “practices of moral responsibility” to a non-skeptical result. I focus on a strategy moving from a “response-dependent” theory of responsibility. I aim to show that a key analogy associated with this strategy fails to support a compatibilist result. It seems clear that nothing could show that nothing we have been laughing at has really been funny. If “the funny” is similar to “the blameworthy”, then perhaps it would (...) follow that nothing could show that no one we have ever blamed has really been blameworthy. The comparison is interesting, but inconclusive: even if we grant that these properties are normatively similar, the latter has substantive empirical presuppositions, whereas the former does not. One important upshot: even if the standards operative in our practices cannot be mistaken, it could nevertheless be that no one has ever met these standards Ruling out this possibility seemingly requires re-engaging in all of the so-called "metaphysical" debates Strawsonians are keen to avoid. (shrink)

It is well-known that the global structure of every space-time model for relativistic cosmology is observationally underdetermined. In order to alleviate the severity of this underdetermination, it has been proposed that we adopt the Cosmological Principle because the Principle restricts our attention to a distinguished class of space-time models (spatially homogeneous and isotropic models). I argue that, even assuming the Cosmological Principle, the topology of space remains observationally underdetermined. Nonetheless, I argue that we can muster reasons to prefer various topological (...) properties over others. In particular, I favor the adoption of multiply connected universe models on grounds of (i) simplicity, (ii) Machian considerations, and (iii) explanatory power. We are able to appeal to such grounds because multiply connected topologies open up the possibility of finite universe models (consistent with our best data), which in turn avoid thorny issues concerning the postulation of an actually infinite universe. (shrink)

The plane was going to crash, but it didn't. Johnny was going to bleed to death, but he didn't. Geach sees here a changing future. In this paper, I develop Geach's primary argument for the (almost universally rejected) thesis that the future is mutable (an argument from the nature of prevention), respond to the most serious objections such a view faces, and consider how Geach's view bears on traditional debates concerning divine foreknowledge and human freedom. As I hope to show, (...) Geach's view constitutes a radically new view on the logic of future contingents, and deserves the status of a theoretical contender in these debates. (shrink)

Dynamic semantics violates numerous classical laws, including Non-Contradiction. Proponents of dynamic semantics have offered no explanation for this behavior, and some critics consider this result to be strong evidence against the tenability of the dynamic program. I defend and explain failures of Non-Contradiction by comparing dynamic semantics and classical, truth conditional semantics in terms of their idealizing assumptions. I demonstrate that dynamic semantics rejects context fixity, an idealizing assumption that truth-conditional semantics typically adopts. I then argue that any semantics which (...) rejects context fixity should, by the classical semanticist’s own lights, violate Non-Contradiction under certain circumstances. I then demonstrate that dynamic semantics violates Non-Contradiction in all and only those circumstances. I subsequently appeal to this insight to vindicate some of dynamic semantics’ more controversial predictions. I close by suggesting that discussion of idealizing assumptions, common in the sciences, is similarly crucial to fruitful discussion in natural language semantics. (shrink)

As schools publicly modernize in response to societal changes, additional teaching and learning methods are developed, observed, and used since learners have different learning styles that make it easier for them to grasp and retain the material. During the COVID-19 pandemic, teachers require different media to keep the classroom involved while presenting the lesson materials online, one of which is video tutorials. The purpose of this study was to analyze the extent of contextual effects of video tutorials used in general (...) chemistry, determine the relationship between video tutorial effectiveness and the respondents' academic performance, and analyze the significant difference between the four indicators of contextual effects of video tutorials and the respondents' profile. A descriptive-correlational quantitative research design was used in this study. The participants in this study were 144 Grade 12 STEM students from a private school in Sultan Kudarat, Philippines, who took their general chemistry course during the pandemic. The respondents were given a survey questionnaire created with Google Forms. The students agreed with all the assertions and rated them as effective in terms of their perceptions of general chemistry, implying that video tutorials are useful in teaching the subject. With p-values of .023, .046, and .010, respectively, the findings revealed a significant relationship between the overall mean of students' perceptions of the subject of General Chemistry, the concept and application of chemical knowledge and understanding, and their influence on students' academic performance. In terms of their perception, ideas, and application of chemical knowledge and comprehension, the results demonstrated that there is no statistically significant difference between the general mean of male and female students' responses. This basically means that by using video lectures, STEM students of all genders appreciate and understand General Chemistry as a subject. -/- . (shrink)

An early, very preliminary edition of this book was circulated in 1962 under the title Set-theoretical Structures in Science. There are many reasons for maintaining that such structures play a role in the philosophy of science. Perhaps the best is that they provide the right setting for investigating problems of representation and invariance in any systematic part of science, past or present. Examples are easy to cite. Sophisticated analysis of the nature of representation in perception is to be found already (...) in Plato and Aristotle. One of the great intellectual triumphs of the nineteenth century was the mechanical explanation of such familiar concepts as temperature and pressure by their representation in terms of the motion of particles. A more disturbing change of viewpoint was the realization at the beginning of the twentieth century that the separate invariant properties of space and time must be replaced by the space-time invariants of Einstein's special relativity. Another example, the focus of the longest chapter in this book, is controversy extending over several centuries on the proper representation of probability. The six major positions on this question are critically examined. Topics covered in other chapters include an unusually detailed treatment of theoretical and experimental work on visual space, the two senses of invariance represented by weak and strong reversibility of causal processes, and the representation of hidden variables in quantum mechanics. The final chapter concentrates on different kinds of representations of language, concluding with some empirical results on brain-wave representations of words and sentences. (shrink)

It is widely accepted that there is what has been called a non-hypocrisy norm on the appropriateness of moral blame; roughly, one has standing to blame only if one is not guilty of the very offence one seeks to criticize. Our acceptance of this norm is embodied in the common retort to criticism, “Who are you to blame me?”. But there is a paradox lurking behind this commonplace norm. If it is always inappropriate for x to blame y for a (...) wrong that x has committed, then all cases in which x blames x (i.e. cases of self-blame) are rendered inappropriate. But it seems to be ethical common-sense that we are often, sadly, in position (indeed, excellent, privileged position) to blame ourselves for our own moral failings. And thus we have a paradox: a conflict between the inappropriateness of hypocritical blame, and the appropriateness of self-blame. We consider several ways of resolving the paradox, and contend none is as defensible as a position that simply accepts it: we should never blame ourselves. In defending this startling position, we defend a crucial distinction between self-blame and guilt. (shrink)

I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...) experience of itches and scratches can be appropriate. I argue that attention to the domain of somatic experience is worthwhile, in that it offers the prospects of significant aesthetic satisfaction, and I suggest that even attention to unpleasant experiences like itches and pains may be aesthetically rewarding. (shrink)

I want to suggest that it would be bad if compatibilism were true, and that this gives us good reason to think that it isn't. This is, you might think, an outlandish argument, and the considerable burden of this paper is to convince you otherwise. There are two key elements at stake in this argument. The first is that it would be ‐ in a distinctive sense to be explained ‐ bad if compatibilism were true. The thought here is that (...) compatibilism ultimately presents us with a picture on which, in principle, powerful manipulators can effectively guarantee that finite moral agents should become blameworthy. To my mind, this isn't just false ‐ though I think that it is ‐ it is also such that it would be bad (unfortunate, undesirable…) if it were true. The second is that the fact that it would be ‐ in this sense ‐ bad if true gives us reason to think that it isn't. It may be bad that there is no afterlife. But that, in itself, hardly gives us reason to think that there is an afterlife. That is true, but ‐ as others before me have suggested ‐ when the object of the relevant badness is morality itself, the inference seems secure. A more general aim of the paper is to investigate the nature of this very form of argument in itself, and I compare my argument (inter alia) to a recent argument from Sayre–McCord against the possibility of genuine moral dilemmas. (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

This book launches a sustained defense of a radical interpretation of the doctrine of the open future. Patrick Todd argues that all claims about undetermined aspects of the future are simply false.

These are my materials (a short precis, and replies to John MacFarlane, Mitchell Green, Ryan Wasserman, and Anthony Bigg and Kristie Miller) for a symposium on my book, _The Open Future: Why Future Contingents are All False_ (OUP, 2021) in *Analytic Philosophy*. [The contribution from MacFarlane is available on his website, those from Wasserman and Green are on their Academia profiles, and the contribution from Bigg and Miller is on Miller's PhilPapers profile.].

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...) stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

Recently, philosophers have turned their attention to the question, not when a given agent is blameworthy for what she does, but when a further agent has the moral standing to blame her for what she does. Philosophers have proposed at least four conditions on having “moral standing”: -/- 1. One’s blame would not be “hypocritical”. 2. One is not oneself “involved in” the target agent’s wrongdoing. 3. One must be warranted in believing that the target is indeed blameworthy for the (...) wrongdoing. 4. The target’s wrongdoing must some of “one’s business”. -/- These conditions are often proposed as both conditions on one and the same thing, and as marking fundamentally different ways of “losing standing.” Here I call these claims into question. First, I claim that conditions (3) and (4) are simply conditions on different things than are conditions (1) and (2). Second, I argue that condition (2) reduces to condition (1): when “involvement” removes someone’s standing to blame, it does so only by indicating something further about that agent, viz., that he or she lacks commitment to the values that condemn the wrongdoer’s action. The result: after we clarify the nature of the non-hypocrisy condition, we will have a unified account of moral standing to blame. Issues also discussed: whether standing can ever be regained, the relationship between standing and our "moral fragility", the difference between mere inconsistency and hypocrisy, and whether a condition of standing might be derived from deeper facts about the "equality of persons". (shrink)

Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their (...) work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it. (shrink)

These are my materials (a short precis, and replies to Alan Rhoda and Daniel Rubio) for an invited symposium on my book _The Open Future: Why Future Contingents are All False_ (OUP, 2021) in IJPR. [The commentaries from Rhoda/Rubio are available on their respective PhilPapers profiles.].

In this paper I argue for an association between impurity and explanatory power in contemporary mathematics. This proposal is defended against the ancient and influential idea that purity and explanation go hand-in-hand (Aristotle, Bolzano) and recent suggestions that purity/impurity ascriptions and explanatory power are more or less distinct (Section 1). This is done by analyzing a central and deep result of additive number theory, Szemerédi’s theorem, and various of its proofs (Section 2). In particular, I focus upon the radically impure (...) (ergodic) proof due to Furstenberg (Section 3). Furstenberg’s ergodic proof is striking because it utilizes intuitively foreign and infinitary resources to prove a finitary combinatorial result and does so in a perspicuous fashion. I claim that Furstenberg’s proof is explanatory in light of its clear expression of a crucial structural result, which provides the “reason why” Szemerédi’s theorem is true. This is, however, rather surprising: how can such intuitively different conceptual resources “get a grip on” the theorem to be proved? I account for this phenomenon by articulating a new construal of the content of a mathematical statement, which I call structural content (Section 4). I argue that the availability of structural content saves intuitive epistemic distinctions made in mathematical practice and simultaneously explicates the intervention of surprising and explanatorily rich conceptual resources. Structural content also disarms general arguments for thinking that impurity and explanatory power might come apart. Finally, I sketch a proposal that, once structural content is in hand, impure resources lead to explanatory proofs via suitably understood varieties of simplification and unification (Section 5). (shrink)

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...) But considering it in relation to conceptual art sheds light on its achievements and one notable limitation. In the realm of appropriation, the fact that the re-recordings exhibit both close resemblance to and subtle differences from the originals has prompted an intensity of close listening by audience members, with distinctive aesthetic experiences in the realm of the uncanny. In the realm of participation, Swift has creatively motivated her fans to abandon her beloved original albums, and the fans have in turn evolved a variety of strategies to shift their allegiance to the new versions and hold each other accountable. When it comes to institutional critique—the movement in conceptual art that highlights and challenges the power structures governing art institutions—Swift’s project has raised awareness of troubling and exploitative power dynamics in the music industry. However, consideration of historical precursors of Swift’s institutional critique may lead us to question some elements of her self-presentation as a victim of gendered exploitation. (shrink)

As aesthetic beings, we are receptive to and engaged with the sensuous phenomena of life while also knowing that we are targets of others’ awareness: we are both aesthetic agents and aesthetic objects. Our psychological health, our standing within our communities, and our overall wellbeing can be profoundly affected by our aesthetic surroundings and by whether and how we receive aesthetic recognition from others. When our embodied selves and our cultural products are valued, and when we have rich opportunities for (...) aesthetic experience and for the exercise of aesthetic agency, the aesthetic can foster and sustain wellbeing and help to make our lives worthwhile. But when we are subjected to aesthetic blight, restriction of our aesthetic agency, and aesthetic devaluing of our embodied selves and our communities’ cultural products, the aesthetic can do great harm: such aesthetic maneuvers play a significant role in oppression and social hierarchy related to race, gender, fatness, and disability. This essay explores the notions of aesthetic objects and aesthetic agents, their relations with each other, and the unique affordances of persons’ status as simultaneously aesthetic objects and aesthetic agents. It examines the prospects for bodily aesthetic experience to promote wellbeing and, at the end, considers how the aesthetic might play a role in establishing forms of mutual vulnerability and recognition to combat oppressive social hierarchies. (shrink)

At least since Aristotle’s famous 'sea-battle' passages in On Interpretation 9, some substantial minority of philosophers has been attracted to the doctrine of the open future--the doctrine that future contingent statements are not true. But, prima facie, such views seem inconsistent with the following intuition: if something has happened, then (looking back) it was the case that it would happen. How can it be that, looking forwards, it isn’t true that there will be a sea battle, while also being true (...) that, looking backwards, it was the case that there would be a sea battle? This tension forms, in large part, what might be called the problem of future contingents. A dominant trend in temporal logic and semantic theorizing about future contingents seeks to validate both intuitions. Theorists in this tradition--including some interpretations of Aristotle, but paradigmatically, Thomason (1970), as well as more recent developments in Belnap, et. al (2001) and MacFarlane (2003, 2014)--have argued that the apparent tension between the intuitions is in fact merely apparent. In short, such theorists seek to maintain both of the following two theses: (i) the open future: Future contingents are not true, and (ii) retro-closure: From the fact that something is true, it follows that it was the case that it would be true. It is well-known that reflection on the problem of future contingents has in many ways been inspired by importantly parallel issues regarding divine foreknowledge and indeterminism. In this paper, we take up this perspective, and ask what accepting both the open future and retro-closure predicts about omniscience. When we theorize about a perfect knower, we are theorizing about what an ideal agent ought to believe. Our contention is that there isn’t an acceptable view of ideally rational belief given the assumptions of the open future and retro-closure, and thus this casts doubt on the conjunction of those assumptions. (shrink)

Joe Horton argues that partial aggregation yields unacceptable verdicts in cases with risk and multiple decisions. I begin by showing that Horton’s challenge does not depend on risk, since exactly similar arguments apply to riskless cases. The underlying conflict Horton exposes is between partial aggregation and certain principles of diachronic choice. I then provide two arguments against these diachronic principles: they conflict with intuitions about parity, prerogatives, and cyclical preferences, and they rely on an odd assumption about diachronic choice. Finally, (...) I offer an explanation, on behalf of partial aggregation, for why these diachronic principles fail. (shrink)

P.F. Strawson’s (1962) “Freedom and Resentment” has provoked a wide range of responses, both positive and negative, and an equally wide range of interpretations. In particular, beginning with Gary Watson, some have seen Strawson as suggesting a point about the “order of explanation” concerning moral responsibility: it is not that it is appropriate to hold agents responsible because they are morally responsible, rather, it is ... well, something else. Such claims are often developed in different ways, but one thing remains (...) constant: they meant to be incompatible with libertarian theories of moral responsibility. The overarching theme of this paper is that extant developments of “the reversal” face a dilemma: in order to make the proposals plausibly anti-libertarian, they must be made to be implausible on other grounds. I canvas different attempts to articulate a “Strawsonian reversal”, and argue that none is fit for the purposes for which it is intended. I conclude by suggesting a way of clarifying the intended thesis: an analogy with the concept of funniness. The result: proponents of the “reversal” need to accept the difficult result that if we blamed small children, they would be blameworthy, or instead explain how their view escapes this result, while still being a view on which our blaming practices “fix the facts” of moral responsibility. (shrink)

I provide a manipulation-style argument against classical compatibilism—the claim that freedom to do otherwise is consistent with determinism. My question is simple: if Diana really gave Ernie free will, why isn't she worried that he won't use it precisely as she would like? Diana's non-nervousness, I argue, indicates Ernie's non-freedom. Arguably, the intuition that Ernie lacks freedom to do otherwise is stronger than the direct intuition that he is simply not responsible; this result highlights the importance of the denial of (...) the principle of alternative possibilities for compatibilist theories of responsibility. Along the way, I clarify the dialectical role and structure of “manipulation arguments”, and compare the manipulation argument I develop with the more familiar Consequence Argument. I contend that the two arguments are importantly mutually supporting and reinforcing. The result: classical compatibilists should be nervous—and if PAP is true, all compatibilists should be nervous. (shrink)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

Various philosophers have long since been attracted to the doctrine that future contingent propositions systematically fail to be true—what is sometimes called the doctrine of the open future. However, open futurists have always struggled to articulate how their view interacts with standard principles of classical logic—most notably, with the Law of Excluded Middle. For consider the following two claims: Trump will be impeached tomorrow; Trump will not be impeached tomorrow. According to the kind of open futurist at issue, both of (...) these claims may well fail to be true. According to many, however, the disjunction of these claims can be represented as p ∨ ~p—that is, as an instance of LEM. In this essay, however, I wish to defend the view that the disjunction these claims cannot be represented as an instance of p ∨ ~p. And this is for the following reason: the latter claim is not, in fact, the strict negation of the former. More particularly, there is an important semantic distinction between the strict negation of the first claim [~] and the latter claim. However, the viability of this approach has been denied by Thomason, and more recently by MacFarlane and Cariani and Santorio, the latter of whom call the denial of the given semantic distinction “scopelessness”. According to these authors, that is, will is “scopeless” with respect to negation; whereas there is perhaps a syntactic distinction between ‘~Will p’ and ‘Will ~p’, there is no corresponding semantic distinction. And if this is so, the approach in question fails. In this paper, then, I criticize the claim that will is “scopeless” with respect to negation. I argue that will is a so-called “neg-raising” predicate—and that, in this light, we can see that the requisite scope distinctions aren’t missing, but are simply being masked. The result: a under-appreciated solution to the problem of future contingents that sees and as contraries, not contradictories. (shrink)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...) what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

In this essay, we describe practices developed by the philosophy department at the University of Oklahoma to promote fair and inclusive recruitment, application review, and hiring for faculty positions.

Relativism is the view that the truth of a sentence is relative both to a context of utterance and to a context of assessment. That the truth of a sentence is relative to a context of utterance is uncontroversial in contemporary semantics. This chapter focuses on three points: whether the version of contextualism is vulnerable to the disagreement and retraction arguments, and if so, whether these problems can be avoided by a more sophisticated contextualist theory. The points include: whether relativism (...) really does avoid the four problems posed for the other theories; and whether there are other theories that also avoid the problems, without running into the problems facing relativism or problems of their own. The chapter concentrates on two families of views that have been called relativist: Relativism about propositional truth; and Relativism about utterance truth. (Note that this paper only appears in the 2nd edition of A Companion to the Philosophy of Language; its original publication date is 2017.). (shrink)

In this paper, I articulate an argument for incompatibilism about moral responsibility and determinism. My argument comes in the form of an extended story, modeled loosely on Peter van Inwagen’s “rollback argument” scenario. I thus call it “the replication argument.” As I aim to bring out, though the argument is inspired by so-called “manipulation” and “original design” arguments, the argument is not a version of either such argument—and plausibly has advantages over both. The result, I believe, is a more convincing (...) incompatibilist argument than those we have considered previously. (shrink)

Though feminists are correct to note that conventional standards of sexiness are oppressive, we argue that feminism should reclaim sexiness rather than reject it. We argue for an aesthetic and ethical practice of working to shift from conventional attributions of sexiness to respectful attributions, in which embodied sexual subjects are appreciated in their full individual magnificence. We argue that undertaking this practice is an ethical obligation, since it contributes to the full recognition of others’ humanity. We discuss the relationship of (...) ethical to aesthetic considerations and argue that the respectful notion of sexiness is a genuinely aesthetic one, even though it does not involve assessment in relation to standards. (shrink)

In this paper, I introduce a problem to the philosophy of religion – the problem of divine moral standing – and explain how this problem is distinct from (albeit related to) the more familiar problem of evil (with which it is often conflated). In short, the problem is this: in virtue of how God would be (or, on some given conception, is) “involved in” our actions, how is it that God has the moral standing to blame us for performing those (...) very actions? In light of the recent literature on “moral standing”, I consider God’s moral standing to blame on two models of “divine providence”: open theism, and theological determinism. I contend that God may have standing on open theism, and – perhaps surprisingly – may also have standing, even on theological determinism, given the truth of compatibilism. Thus, if you think that God could not justly both determine and blame, then you will have to abandon compatibilism. The topic of this paper thus sheds considerable light on the traditional philosophical debate about the conditions of moral responsibility. (shrink)

There is a familiar debate between Russell and Strawson concerning bivalence and ‘the present King of France’. According to the Strawsonian view, ‘The present King of France is bald’ is neither true nor false, whereas, on the Russellian view, that proposition is simply false. In this paper, I develop what I take to be a crucial connection between this debate and a different domain where bivalence has been at stake: future contingents. On the familiar ‘Aristotelian’ view, future contingent propositions are (...) neither true nor false. However, I argue that, just as there is a Russellian alternative to the Strawsonian view concerning ‘the present King of France’, according to which the relevant class of propositions all turn out false, so there is a Russellian alternative to the Aristotelian view, according to which future contingents all turn out false, not neither true nor false. The result: contrary to millennia of philosophical tradition, we can be open futurists without denying bivalence. (shrink)

Several years ago, the poet & critic Joan Houlihan offered a scathing and hilarious indictment of a lot of postmodern poetry for using words in a way that treats them as meaningless (or, perhaps, renders them meaningless). She suggested that word choice in such poems doesn’t really matter, and that the poet could just as well have substituted in other words without any change in meaning or aesthetic qualities. I argue that she’s wrong about this. I offer an account of (...) how interpretation and meaning function in poems that use words in highly non-standard ways. In such poems, there are associations and implicatures that one can reasonably expect a suitably backgrounded reader to grasp, rescuing interpretation from being a purely subjective and arbitrary activity. (shrink)

This Introduction has three sections, on "logical fatalism," "theological fatalism," and the problem of future contingents, respectively. In the first two sections, we focus on the crucial idea of "dependence" and the role it plays it fatalistic arguments. Arguably, the primary response to the problems of logical and theological fatalism invokes the claim that the relevant past truths or divine beliefs depend on what we do, and therefore needn't be held fixed when evaluating what we can do. We call the (...) sort of dependence needed for this response to be successful "dependence with a capital 'd'": Dependence. We consider different accounts of Dependence, especially the account implicit in the so-called "Ockhamist" response to the fatalistic arguments. Finally, we present the problem of future contingents: what could "ground" truths about the undetermined future? On the other hand, how could all such propositions fail to be true? (shrink)

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...) art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

Everyone agrees that we can’t change the past. But what about the future? Though the thought that we can change the future is familiar from popular discourse, it enjoys virtually no support from philosophers, contemporary or otherwise. In this paper, I argue that the thesis that the future is mutable has far more going for it than anyone has yet realized. The view, I hope to show, gains support from the nature of prevention, can provide a new way of responding (...) to arguments for fatalism, can account for the utility of total knowledge of the future, and can help in providing an account of the semantics of the English progressive. On the view developed, the future is mutable in the following sense: perhaps, once, it was true that you would never come to read a paper defending the mutability of the future. And then the future changed. And now you will. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...) significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

Conspiracy theories are rather a popular topic these days, and a lot has been written on things like the meaning of _conspiracy theory_, whether it’s ever rational to believe conspiracy theories, and on the psychology and demographics of people who believe conspiracy theories. But very little has been said about why people might be led to posit conspiracy theories in the first place. This paper aims to fill this lacuna. In particular, I shall argue that, in open democratic societies, citizens (...) justifiably presuppose that the epistemic authorities—journalists, academics, scientists, and so on—are engaged in a good faith pursuit of the truth. This presupposition generates certain normative expectations on the behaviors of the epistemic authorities—they ought to be open to new evidence, possess a healthy degree of skepticism, be willing to engage with opponents, and so on. So, when an epistemic authority is presented with some putatively anomalous data or an alternative hypothesis for some event or phenomena, people expect the epistemic authority to respond in a way that is consonant with these norms. In some instances, however, the epistemic authorities do not respond in this way and instead are dogmatic, dismissive, and engage in _ad hominem_. From the point of view of the citizen, there’s a tension here between how the epistemic authorities ought to behave and how they have, in fact, behaved which is best resolved either by taking the epistemic authorities less seriously or by positing a conspiracy theory. Put another way, the failure of the epistemic authorities to adhere to the norms by which we take them to be governed when presented with apparent anomalies or alternative hypotheses is one reason for which one might initially posit a conspiracy theory. (shrink)

This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...) sufficient to avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon. (shrink)

The relationship of the author’s intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author’s private diaries and life story of committing the ‘fallacy’ of equating the work’s meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are not (...) sufficient to determine a unique meaning for a text; to avoid radical ambiguity we must appeal to the author’s intention, which actualizes one of the candidate meanings. Subsequent writers have defended refined versions of these views, and a variety of positions on the spectrum between them, in a debate that remains central to philosophical aesthetics. This Teaching and Learning Guide lists key readings and suggests how they might be incorporated within a syllabus. It also offers focus questions related to the readings. See also the companion article, Sherri Irvin, “Authors, Intentions and Literary Meaning.” Philosophy Compass 1 (2006), 114-128. (shrink)

Descartes’ demon is a deceiver: the demon makes things appear to you other than as they really are. However, as Descartes famously pointed out in the Second Meditation, not all knowledge is imperilled by this kind of deception. You still know you are a thinking thing. Perhaps, though, there is a more virulent demon in epistemic hell, one from which none of our knowledge is safe. Jonathan Schaffer thinks so. The “Debasing Demon” he imagines threatens knowledge not via the truth (...) condition on knowledge, but via the basing condition. This demon can cause any belief to seem like it’s held on a good basis, when it’s really held on a bad basis. Several recent critics, Conee, Ballantyne & Evans ) grant Schaffer the possibility of such a debasing demon, and argue that the skeptical conclusion doesn’t follow. By contrast, we argue that on any plausible account of the epistemic basing relation, the “debasing demon” is impossible. Our argument for why this is so gestures, more generally, to the importance of avoiding common traps by embracing mistaken assumptions about what it takes for a belief to be based on a reason. (shrink)