Resumen Ésta es la primera traducción al español de las guías “Atención después de la investigación: un marco para los comités de ética de investigación del National Health Service (NHS) (borrador versión 8.0)”. El documento afirma que existe una fuerte obligación moral de garantizar que los participantes enfermos de un estudio clínico hagan una transición después del estudio hacia una atención de la salud apropiada. Con “atención de la salud apropiada” se hace referencia al acceso para los participantes a la (...) atención de la salud, proporcionada principalmente por el National Health Service (en adelante NHS), el sistema de salud del Reino Unido, y/o a la intervención en estudio, también llamada producto o tratamiento en investigación. Las guías “Atención después de la investigación” están dirigidas principalmente a los miembros de los 79 comités de ética de investigación del NHS y a quienes presentan sus estudios de investigación ante estos comités. Se trata de un documento borrador muy avanzado, trabajado en numerosas reuniones, durante más de 3 años, que ha sido discutido por participantes de estudios y miembros de la comunidad, miembros y presidentes de comités de ética de investigación del Reino Unido, especialistas internacionales en ética de la investigación, representantes de la industria y otras partes interesadas. La redacción de las guías es producto de la colaboración de Neema Sofaer y Penney Lewis, ambas investigadoras del King’s College London, en el Centre of Medical Law and Ethics del Dickson Poon School of Law, y Hugh Davies, Asesor en Ética de la Investigación de la Health Research Authority (HRA) del NHS. El traductor del presente documento, Ignacio Mastroleo, participó del workshop en la Fundación Brocher (Ginebra, Suiza, diciembre de 2011) donde se revisó el borrador versión 7.0 y contribuyó en la revisión del borrador de la versión 8.0 durante el 2012. -/- Abstract This is the first Spanish translation of the guidelines “Care after research: a framework for NHS RECs (8th draft)”. The document states that there is a strong moral obligation to ensure that participants in a clinical study who are ill transition after the study to appropriate healthcare. The terms "appropriate healthcare" refer to participants’ access to health care, mainly provided by the National Health Service (NHS), the health system in the UK, and/or to the intervention study also named investigational treatment or product. The guides "Care after research" are mainly directed to members of the 79 NHS committees of research ethics (RECs) and to those who submit their research to these committees. This is a very advanced draft document, worked in several meetings, for more than three years, that has been discussed with study participants and community members, members and chairs of RECs in the UK, international specialists in research ethics, industry representatives and other stakeholders. The drafting of the guidelines is the result of the collaboration of Neema Sofaer and Penney Lewis, both researchers at King's College London, at the Centre of Medical Law and Ethics of Dickson Poon School of Law, and Hugh Davies, Research Ethics Advisor of the Health Research Authority (HRA) of the NHS. The translator of this document, Ignacio Mastroleo, attended the workshop at the Brocher Foundation (Geneva, Switzerland, December 2011) where draft version 7.0 was revised and contributed in the revision of draft version 8.0 during 2012. (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)

Strawson (1994) and Peacocke (1992) introduced thought experiments that show that it seems intuitive that there is, in some way, an experiential character to mental events of understanding. Some (e.g., Siewert 1998, 2011; Pitt 2004) try to explain these intuitions by saying that just as we have, say, headache experiences and visual experiences of blueness, so too we have experiences of understanding. Others (e.g., Prinz 2006, 2011; Tye 1996) propose that these intuitions can be explained without positing experiences of understanding. (...) Call this the debate between Realism and Anti-Realism about experiences of understanding. This paper aims to advance that debate in two ways. In the first half, I develop more precise characterizations of what Realists and Anti-Realists propose. In the second half, I distinguish the four most plausible versions of Anti-Realism and argue that Realism better explains the target intuition than any of them does. (shrink)

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

Roy Sorensen introduced the concept of an epistemic blindspot in the 1980s. A proposition is an epistemic blindspot for some individual at some time if and only if that proposition is consistent but unknowable by that individual at that time. In the first half of this paper, I extend Sorensen work on blindspots by arguing that there exist blindspots that essentially involve hopes. In the second half, I show how such blindspots can contribute to and impair different pursuits of self-understanding. (...) My arguments throughout this paper draw on Luc Bovens’s account of hope. (shrink)

In real-time, Twitter strongly imprints world events, popular culture, and the day-to-day; Twitter records an ever growing compendium of language use and change; and Twitter has been shown to enable certain kinds of prediction. Vitally, and absent from many standard corpora such as books and news archives, Twitter also encodes popularity and spreading through retweets. Here, we describe Storywrangler, an ongoing, day-scale curation of over 100 billion tweets containing around 1 trillion 1-grams from 2008 to 2020. For each day, we (...) break tweets into 1-, 2-, and 3-grams across 150+ languages, record usage frequencies, and generate Zipf distributions. We make the data set available through an interactive time series viewer, and as downloadable time series and daily distributions. We showcase a few examples of the many possible avenues of study we aim to enable including how social amplification can be visualized through ‘contagiograms’. (shrink)

This chapter aims to examine the configuration of the sharing economy in the United Kingdom. The chapter provides an examination of the key opportunities and challenges that this socio-economic model generates in the country. It includes an account of different sharing economy initiatives in the United Kingdom, including crowdfunding projects, tool libraries, timesharing banks, men’s sheds, and shared workspaces, commercial sharing economy services, micro-libraries, community-gardening projects, and paid online peer-to-peer accommodation. Increased consumer choice and economic benefits derived from an extended (...) economy around the sharing economy are identified as key opportunities. Key challenges relate to policymaking and taxation of businesses and participants in the sharing economy, as well as the wider enforcement of health and safety regulations and the impact that the recent pandemic is having on the industry. The chapter also provides an examination of the latest developments and regulations in this area. In addition, the chapter identifies the most pressing issues and possible future directions of research in this context. (shrink)

In seeing a tilted penny, we are experientially aware of both its circularity and another shape, which I dub ‘β‐ellipticality’. Some claim that our experiential awareness of the intrinsic shapes/sizes of everyday objects depends upon our experiential awareness of β‐shapes/β‐sizes. In contrast, I maintain that β‐property experiences are the result of what Richard Wollheim calls ‘seeing‐in’, but run in reverse: instead of seeing a three‐dimensional object in a flat surface, we see a flat surface in a three‐dimensional object. Using this (...) new account, I re‐examine the phenomenological directness of visual experience and undermine an argument for skepticism about β‐property experiences. (shrink)

While many argue investment-based criteria for immigration are wrong or at least problematic, skill-based criteria remain relatively uncontroversial. This is normatively inconsistent. This article assesses three prominent normative objections to investment-based selection criteria for immigrants: that they wrongfully discriminate between prospective immigrants that they are unfair, and that they undermine political equality among citizens. It argues that either skill-based criteria are equally susceptible to these objections, or that investment-based criteria are equally shielded from them. Indeed, in some ways investment-based criteria (...) are less normatively problematic than skill-based criteria. Given this analysis, the resistance to investment-based migration criteria, but not to skill-based criteria, is inconsistent. (shrink)

Proclus' Stoicheiosis Theologike has had an enormous impact on Christian theological and philosophical thought; it has had a decisive influence on the theological interpretation of Aristotle's Metaphysics. However, the impact was less on the text itself than on the 'excerpt' translated from Arabic into Latin with the title Liber de Causis, which, like the Theologia Aristotelis (a compilation of Plotinian texts), was considered authentically Aristotelian. It was only Thomas, thanks to Moerbeke's translation of the Stoicheiosis Theologike, who realised that the (...) Liber de Causis was not a genuine Aristotelian text; nevertheless, he considered it to be fully compatible in meaning and intention with what Aristotle had thought and also used it accordingly in his argumentations. Although this was not the beginning of the theological reading of Aristotle's Metaphysics, this circumstance has completely cemented this conviction until today. -/- The conviction that Proclus' text is primarily a theological treatise has also persisted to this day (see the recent anthologies and monographs on Proclus, most recently Relire les Éléments de Théologie de Proclus, 2021). With my translation and commentary, I would like to counteract this limitation of Proclusian thought. Already the literary form of the text, 211 general propositions, shows that Proclus has something different in mind here than, for example, in his Platonic theology. I would like to make the philosophical content, the philosophical question of Proclus speak. In this text, Proclus poses the question of being and answers it by saying that being is to be understood as the unity of {staying-emerging-returning}. (shrink)

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

JULIAN DODD’S MUSICAL PLATONISM The purpose of the paper is to analyse Julian Dodd’s musical Platonism in the ontology of works of music. Dodd defends two views; first, that musical works are norm-types the tokens of which are dateable, locatable patterns of sounds. Second, that musical works are entities individuated purely in terms of how they sound. The main results of the analysis is the rejection of the following Dodd’s theses: 1. that types exist eternally; 2. that they are unstructured; (...) 3.that their identity is determined by the condition that something must meet to be one of its tokens. Keywords: ONTOLOGY OF WORKS OF MUSIC, MUSICAL PLATONISM, JULIAN DODD. (shrink)

In this paper, I explore and defend the idea that musical works are historical individuals. Guy Rohrbaugh (2003) proposes this for works of art in general. Julian Dodd (2007) objects that the whole idea is outré metaphysics, that it is too far beyond the pale to be taken seriously. Their disagreement could be seen as a skirmish in the broader war between revisionists and reactionaries, a conflict about which of metaphysics and art should trump the other when there is a (...) conflict. That dispute is a matter of philosophical methodology as much as it is a dispute about art. I argue that the ontology of works as individuals need not be dunked in that morass. My primary strategy is to show, contra Dodd's accusation, that historical individuals are familiar parts of the world. Although the ontological details are open to debate, it is the standard opinion of biologists is that biological species are historical individuals. So there is no conflict here between fidelity to art and respectable metaphysics. What suits species will fit musical work as well. (shrink)

In this paper we confront a challenge to truthmaker theory that is analogous to the objections raised by deflationists against substantive theories of truth. Several critics of truthmaker theory espouse a ‘deflationary’ attitude about truthmaking, though it has not been clearly presented as such. Our goal is to articulate and then object to the underlying rationale behind deflationary truthmaking. We begin by developing the analogy between deflationary truth and deflationary truthmaking, and then show how the latter can be found in (...) the work of Dodd, Hornsby, Schnieder, Williamson, and others. These philosophers believe that the ambitions of truthmaker theory are easily satisfied, without recourse to ambitious ontological investigation—hence the analogy with deflationary truth. We argue that the deflationists’ agenda fails: there is no coherent deflationary theory of truthmaking. Truthmaking, once deflated, fails to address the questions at the heart of truthmaking investigation. Truthmaking cannot be had on the cheap. (shrink)

objects are standardly taken to be causally inert, but this claim is rarely explicitly argued for. In the context of his platonism about musical works, in order for musical works to be audible, Julian Dodd argues that abstracta are causally efficacious in virtue of their concrete tokens participating in events. I attempt to provide a principled argument for the causal inertness of abstracta by first rejecting Dodd’s arguments from events, and then extending and generalizing the causal exclusion argument to the (...) abstract/concrete distinction. For reasons of parsimony, if concrete tokens or instantiations of abstract objects account for all causal work, then there is no reason to attribute causal efficacy to abstracta, and thus reason to maintain their causal inertness. I then consider how one of the main arguments against causal exclusion, namely Stephen Yablo’s notion of “proportionality”, could be modified to support the causal efficacy of abstracta. I argue that from a few simple premises Yablo’s account in fact supports their causal inertness. Having a principled reason for the causal inertness of abstracta appears to entail that the musical platonist must admit that we never literally hear the musical work, but only its performances. I sketch a solution to this problem available to Dodd, so that the musical platonist can maintain that musical works are abstract objects and are causally inert while retaining their audibility. (shrink)

The feeling of shame discussed by Socrates differs from the one considered in the classic distinction between shame culture and guilt culture [Dodds 1951; Williams 1993]. Dodds refers to 9th-century Homeric society and focuses on αἴδομαι understood as fear towards public opinion. What Socrates talks about, instead, is aischýne (αἰσχύνη), such as the feeling of shame Alcibiades only has towards Socrates, for which not public opinion but one’s own conscience matters (Smp. 216 b-c). Socrates’ standpoint does not coincide (...) at all with the dominant dòxa, nor does it intend to undermine Alcibiades’ moral autonomy by inducing his sense of shame. On the contrary, it performs a cathartic function that is essential for the care of the soul, which is an indispensable premise for Alcibiades to learn to govern himself. (shrink)

A widespread intuition is that words, musical works, and flags are intentionally produced and that they’re abstract types that can have incorrect tokens. But some philosophers, notably Julian Dodd and Nicholas Wolterstorff, think intention-dependence isn’t necessary; tokens just need to have certain relevant intrinsic features to be tokens of a given type. I show how there’s an unappreciated puzzle that arises from these two views: if tokens aren’t intention-dependent and types can admit of correct and incorrect tokens, then some driftwood (...) that washes up and forms what seems like the word ‘cat’ may simultaneously be a misspelling of ‘act’ and innumerable other misspelt words. I consider various ways Dodd and Wolterstorff can respond to this counterintuitive result and argue that biting the bullet, as well as nearby views, are implausible. Thus, they need to give up one of the two commitments, and I argue that requiring the intention-dependence of tokens, rather than the mere possession of certain intrinsic properties, is the best option. (shrink)

The chapter concerns some aspects of Russell’s epistemological turn in the period after 1911. In particular, it focuses on two aspects of his philosophy in this period: his attempt to render material objects as constructions out of sense data, and his attitude toward sense data as “hard data.” It examines closely Russell’s “breakthrough” of early 1914, in which he concluded that, viewed from the standpoint of epistemology and analytic construction, space has six dimensions, not merely three. Russell posits a three-dimensional (...) personal or “perspective” space that is inhabited by sense data. This space then forms the basis for constructing the three dimensional space of physics (and of public things). I am concerned with the specifics of this construction: with the properties of the private spaces, the relations among those spaces, and their relation to physical space and to constructed “things,” such as pennies or tables. There are difficulties of interpretation with respect to these relations, which stem from the difficulty of finding a coherent interpretation of Russell’s claim that objects such as tables and pennies look smaller at a greater distance (or look trapezoidal or elliptical from some points of view). I don’t mean to challenge the phenomenal claim that objects do, in some sense, look small in the distance. Rather, I raise difficulties with Russell’s analysis of this fact, in which he appeals to both phenomenal experience and the findings of sensory psychology. I hold that if he wishes to maintain his phenomenal claim about objects appearing smaller with greater distance, he must alter or redescribe aspects of his construction of ordinary things. However, if his construction of things and physical space is based on a problematic description of the private spaces, then his claim that private or perspective spaces are very well known and provide the hard data for knowledge of the physical world faces a challenge. (shrink)

In this chapter I shall reply to a pair of articles in which the main contention of my “Why truthmakers” – namely, that an important class of synthetic true propositions have entities as truth-makers – is rejected. In §§1–5 I reply to Jennifer Hornsby’s “Truth without Truthmaking Entities” (2005) and in §§6–7 I reply to Julian Dodd’s “Negative Truths and Truthmaker Principles” (2007).

Philosophical work on the concept of consent in the past few decades has got to grips with it as a rich notion. We are increasingly sensitive to consent not as a momentary, atomic, transactional thing, but as a complex idea admitting of various qualities and dimensions. In this paper we note that the recognition of this complexity demands a theoretical framework quite different to those presently extant, and we suggest that the enactive approach is one which offers significant value in (...) this regard. In consonance with arguments made by Laurie Penny about how consent is a continuous and dynamic process, we outline how an enactive approach identifies consent as temporally extended (rather than momentarily transactional), and as affected by the skilfulness of the agents involved, the fitness of community provided resources to negotiate the consensual relationship over time, and the unfolding of circumstances in the situation in which the joint action is taking place. We argue that the value of an enactive perspective on consent is in highlighting these complexities, and providing resources to articulate and theorise them in ways that are not open to other current approaches. (shrink)

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

I sometimes hear the statement that good has no chance in the battle against evil. People often say “ You won’t change the world anyway” or “That’s what the system looks like”. In fact, some arguments are irresistible, but only in certain circumstances. However, when these circumstances do not occur, and they do not occur very often, it turns out that good has very strong tactics. When you apply it, then it is simply irresistible. What kind of tactics is it? (...) Is it worth using it? Is it worth being a moral person? Sometimes it seems that our evil actions won’t result in any negative consequences. However, evil provides services and demands profits in return. Thus, it is very selfish. How did we pay since we didn’t spend any penny? On the contrary, we even earned something. Isn’t it puzzling? This “profit” is an extremely mysterious phenomenon, yet very real. Therefore, I examined various situations that happened in life and enclosed my major observations in this book. I hope it won’t be only a fascinating reading but above all an abundant source of inspiration for everyone who seeks to understand a deeper sense of the surrounding world. (shrink)

"Apology of Irrationality". Review of Eric R. Dodds. Grecy i irracjonalność. Trans. J. Partyka. Bydgoszcz: Wydawnictwo Homini, 2002.