Should a principle of charity be applied to the interpretation of the colour concepts exercised in visual experience? We think not. We shall argue, for one thing, that the grounds for applying a principle of charity are lacking in the case of colour concepts. More importantly, we shall argue that attempts at giving the experience of colour a charitable interpretation either fail to respect obvious features of that experience or fail to interpret it charitably, after all. Charity to visual experience (...) is therefore no motive for resisting the natural, Galilean response to a scientific understanding of light and vision. The best interpretation of colour experience ends up convicting it of widespread and systematic error. (shrink)

This paper argues that, given a certain apparently inevitable thesis about content, we could not know our own minds. The thesis is that the content of a thought is determined by its relational properties.

The dispute between realists about color and anti-realists is actually a dispute about the nature of color properties. The disputants do not disagree over what material objects are like. Rather, they disagree over whether any of the uncontroversial facts about material objects--their powers to cause visual experiences, their dispositions to reflect incident light, their atomic makeup, and so on--amount to their having colors. The disagreement is thus about which properties colors are and, in particular, whether colors are any of the (...) properties in a particular set that is acknowledged on both sides to exhaust the properties of material objects. In a previous paper we discussed at length one attempt to identify colors with particular properties of material objects--namely, with their dispositions to cause visual experiences. Here we shall discuss a different and perhaps more influential version of realism, which says that the colors of material objects are microphysical properties of their surfaces. We shall call this theory physicalism about color (physicalism, for short). In order to evaluate this theory, however, we shall first have to clarify some methodological issues. Our hope is that we can bring some further clarity to the question of color realism, whether or not we succeed in our critique of the physicalists' answer. (shrink)

The paper looks at three big ideas that have been associated with the term “relativism.” The first maintains that some property has a higher-degree than might have been thought. The second that the judgments in a particular domain of discourse are capable only of relative truth and not of absolute truth And the third, which I dub with the oxymoronic label “absolutist relativism,” seeks to locate relativism in our acceptance of certain sorts of spare absolutist principles. -/- The first idea (...) is well illustrated by the famous cases drawn from physics, but is ill suited for providing a model for the sorts of relativism about normative domains that have most interested philosophers. -/- The second idea – according to which it is the truth of certain judgments that is relative – seems subject to a very difficult dilemma. -/- The final idea provides a coherent model of cases like etiquette but is not plausibly applied to the moral or epistemic domains. (shrink)

I start with the observation that we often respond to a musical performance with emotion -- even if it is just the performance of a piece of absolute music, unaccompanied by text, title or programme. We can be exhilarated after a Rossini overture brought off with subtlety and panache; somber and melancholy after Furtlanger’s performance of the slow movement of the Eroica. And so forth. These emotions feel like the real thing to me – or anyway very close to the (...) real thing. When one experiences them, it takes time for them to wear off, and one gets irritated with the companion who, because not similarly moved, wants immediately to start discussing where to go for dinner. Like many others, I am drawn to the philosophy of music by a need to understand how such emotional responses are possible. How can absolute music move us in the way that it does, and to the extent that it does? (shrink)

This collection of newly commissioned essays, edited by NYU philosophers Paul Boghossian and Christopher Peacocke, resumes the current surge of interest in the proper explication of the notion of a priori. The authors discuss the relations of the a priori to the notions of definition, meaning, justification, and ontology, explore how the concept figured historically in the philosophies of Leibniz, Kant, Frege, and Wittgenstein, and address its role in the contemporary philosophies of logic, mathematics, mind, and science. The editors’ Introduction (...) familiarizes the reader with the issues that are to be explored in detail in later parts of the anthology. (shrink)

In a piece provocatively entitled “Does Philosophy Matter?” Stanley Fish sets out to respond to my July 24, 2011 Stone column on moral relativism in the New York Times. His argument proceeds as follows. First, Fish changes the topic: instead of talking about the thesis I was discussing, he defines another thesis that, he claims, implausibly, also deserves to be called “moral relativism.” This thesis, he implies, is both more interesting and more defensible than the one I was criticizing. Second, (...) he argues that neither his thesis nor mine could make any difference to “real life,” because philosophical conclusions don’t travel outside the seminar room. His argument limps at both stages. Fish’s ‘relativism’ is neither relativism, nor interesting in its own right. And his claim that no philosophical or meta-ethical thesis can matter in real life is clearly false. (shrink)

Portuguese translation of "The Maze of Moral Relativism" by Janos Biro.