Jason Brennan and Phillip Magness (2018) and (2020) argue that adjuncts are not exploited. We are sympathetic to some of their points. We agree, for example, that certain ways in which adjuncts are compared to sweatshop workers are offensive. For, as Brennan and Magness point out, there are many respects in which adjuncts are much better off than sweatshop workers. However, we show that the core insights of their paper are compatible with the view that adjuncts are (...) exploited. Furthermore, their more general views about exploitation expressed in Cracks in the Ivory Tower actually lend support to the claim that adjuncts are exploited. (shrink)

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...) the term “pornographic art.”. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...) our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...) Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...) aesthetic. That is, we claim Aesthetic Theory so re-framed suggests that the aesthetic might have a central and substantial explanatory role to play within both traditional philosophical enquiries as well as recent and more empirical enquiries into the psychological and cognitive aspects of art and its practice. Finally, we discuss the directions this new work might take—by tying art theory to investigations of the distinctive sensorimotor capacities of expert artists, their specialized aesthetic conceptual schemata, and the ways these distinctive capacities and schemata contribute to the production of artworks. (shrink)

Democracy is the central political issue of our age, yet debates over its nature and goals rarely engage with feminist concerns. Now that women have the right to vote, they are thought to present no special problems of their own. But despite the seemingly gender-neutral categories of individual or citizen, democratic theory and practice continues to privilege the male. This book reconsiders dominant strands in democratic thinking - focusing on liberal democracy, participatory democracy, and twentieth century versions of civic republicanism (...) - and approaches these from a feminist perspective. Anne Phillips explores the under-representation of women in politics, the crucial relationship between public and private spheres, and the lessons of the contemporary women's movement as an experience in participatory democracy. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...) certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

Composition as identity, as I understand it, is a theory of the composite structure of reality. The theory’s underlying logic is irreducibly plural; its fundamental primitive is a generalized identity relation that takes either plural or singular arguments. Strong versions of the theory that incorporate a generalized version of the indiscernibility of identicals are incompatible with the framework of plural logic, and should be rejected. Weak versions of the theory that are based on the idea that composition is merely analogous (...) to identity are too weak to be interesting, lacking in metaphysical consequence. I defend a moderate version according to which composition is a kind of identity, and argue that the difference is metaphysically substantial, not merely terminological. I then consider whether the notion of generalized identity, though fundamental, can be elucidated in modal terms by reverse engineering Hume’s Dictum. Unfortunately, for realists about possible worlds, such as myself,... (shrink)

Bill Seeley suggests that what follows from research into crossmodal perception for expression and emotion in the arts is that there is an emotional contour (i.e., a contour constitutive of the content of an emotion and potentially realizable across a range of media). As a response of sorts, I speculate as to what this might hold for philosophical and empirical enquiry into expression and emotion across the arts as well as into the nature of the emotions themselves.

This article re-examines the theoretical basis for environmental and heritage interpretation in tourist settings in the light of hermeneutic philosophy. It notes that the pioneering vision of heritage interpretation formulated by Freeman Tilden envisaged a broadly educational, ethically informed and transformative art. By contrast, current cognitive psychological attempts to reduce interpretation to the monological transmission of information, targeting universal but individuated cognitive structures, are found to be wanting. Despite growing signs of diversity, this information processing approach to interpretation remains dominant. (...) The article then presents the alternative paradigm of hermeneutics through the works of Schleiermacher, Dilthey, Heidegger and Gadamer, to provide a broader interpretation of interpretation. This not only captures the essence of Tilden’s definition but construes heritage interpretation as a more inclusive, culturally situated, critically reflexive and dialogical practice. (shrink)

This chapter pursues an understanding of what Cicero thought 'Italic' philosophy to be, and proceeds to develop a broader account of how Cicero's version compares with the surviving textual evidence and testimonia from the Hellenistic period of the philosophy of the 'Italic' philosophers, including the Lucanians 'Ocellus', 'Eccelus', and 'Aresas/Aesara', and the Rudian Ennius. Special focus is placed on their theories of cosmology, psychology, and law. Collocation of 'Italic' with 'Pythagorean' philosophy of this era aids in building a more comprehensive (...) view of what Hellenistic Pythagoreanism may have looked like. Uploaded here is the pre-publication version; please email me for the printed version. (shrink)

Social work is a contested tradition, torn between the demands of social governance and autonomy. Today, this struggle is reflected in the division between the dominant, neoliberal agenda of service provision and the resistance offered by various critical perspectives employed by disparate groups of practitioners serving diverse communities. Critical social work challenges oppressive conditions and discourses, in addition to addressing their consequences in individuals’ lives. However, very few recent critical theorists informing critical social work have advocated revolution. A challenging exception (...) can be found in the work of Cornelius Castoriadis (1922–97), whose explication of ontological underdetermination and creation evades the pitfalls of both structural determinism and post-structural relativism, enabling an understanding of society as the contested creation of collective imaginaries in action and a politics of radical transformation. On this basis, we argue that Castoriadis’s radical-democratic revisioning of revolutionary praxis can help in reimagining critical social work’s emancipatory potential. (shrink)

THE MORAL INDEFENSIBILITY OF STANDING YOUR GROUND (Abstract) This paper examines the moral status of the central provision of Stand Your Ground laws: that people lawfully occupying public spaces are legally permitted to inflict self-defensive harm on aggressors even if the defenders can easily and safely retreat. The relation of this provision to existing theories of self-defense is examined, and critiques are offered of two attempts at defending it. Then reasons are presented for concluding that the provision is morally indefensible.

The term 'fascism' continues to be very much in currency in Philippines society. To the Filipino people, its meaning is often drawn from pained memory of wholesale deprivation of democratic rights and large-scale human rights abuses. Yet, to many, the fear of fascism has still to give way to a deeper understanding of this menace. This may hold true even among those belonging to the progressive movement. One Marxist philosopher and theoretician who gave extended treatment of the issues surrounding the (...) character and conditions giving rise to fascism was Nicos Poulantzas, whose theory is employed here to interrogate the debates about fascism in the post-Marcos Philippines context. (shrink)

The present studies investigate how the intentions of third parties influence judgments of moral responsibility for other agents who commit immoral acts. Using cases in which an agent acts under some situational constraint brought about by a third party, we ask whether the agent is blamed less for the immoral act when the third party intended for that act to occur. Study 1 demonstrates that third-party intentions do influence judgments of blame. Study 2 finds that third-party intentions only influence moral (...) judgments when the agent's actions precisely match the third party's intention. Study 3 shows that this effect arises from changes in participants' causal perception that the third party was controlling the agent. Studies 4 and 5, respectively, show that the effect cannot be explained by changes in the distribution of blame or perceived differences in situational constraint faced by the agent. (shrink)

Algorithms wield increasing control over our lives—over the jobs we get, the loans we're granted, the information we see online. Algorithms can and often do wield their power in a biased way, and much work has been devoted to algorithmic bias. In contrast, algorithmic neutrality has been largely neglected. I investigate algorithmic neutrality, tackling three questions: What is algorithmic neutrality? Is it possible? And when we have it in mind, what can we learn about algorithmic bias?

Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.

This paper investigates the identity and function of τὰ μεταξύ in Aristotle and the Early Academy by focussing primarily on Aristotle’s criticisms of Xenocrates of Chalcedon, the third scholarch of Plato’s Academy and Aristotle’s direct competitor. It argues that a number of passages in Aristotle’s Metaphysics (at Β 2, Μ 1-2, and Κ 12) are chiefly directed at Xenocrates as a proponent of theories of mathematical intermediates, despite the fact that Aristotle does not mention Xenocrates there. Aristotle complains that the (...) advocates for mathematical intermediates produce theories that are ontologically and epistemologically inefficient (related to, but not confined by, the “Uniqueness Problem”); that their so-called “intermediates” feature properties opposed to those of the forms on which those intermediates are thought to depend; and that what is μεταξύ must be between objects of a different genus. In all three cases, Aristotle’s criticisms are shown to be reactions to the metaphysics and cosmology of Xenocrates, especially his doctrine of the intermediary demonic isosceles triangle souls. Xenocrates emerges as a prime candidate for Aristotle’s critique of Platonist τὰ μεταξύ theories – equal to, and possibly even exceeding, Plato as target. (shrink)

There has been a long history of arguments over whether happiness is anything more than a particular set of psychological states. On one side, some philosophers have argued that there is not, endorsing a descriptive view of happiness. Affective scientists have also embraced this view and are reaching a near consensus on a definition of happiness as some combination of affect and life-satisfaction. On the other side, some philosophers have maintained an evaluative view of happiness, on which being happy involves (...) living a life that is normatively good. Within the context of this debate we consider how people ordinarily understand happiness, and provide evidence that the ordinary understanding of happiness reflects aspects of both evaluative and descriptive views. Similar to evaluative views, normative judgments have a substantive role in the ordinary understanding of happiness. Yet, similar to descriptive views, the ordinary understanding is focused on the person’s psychological states and not the overall life they actually lived. Combining these two aspects, we argue that the ordinary understanding of happiness suggests a novel view on which happiness consists in experiencing positive psychological states when one ought to. This view, if right, has implications for both philosophical and psychological research on happiness. (shrink)

Dave Chappelle took an extended leave from comedy for moral reasons. I argue that, while he had every right to leave comedy because of his moral concerns, he was not obliged to do so. To make this case, I present Chappelle’s argument that the potential negative consequences of his racial humor obliged him to leave. Next, I argue against Chappelle’s argument about avoidable harms as the harms are not his responsibility, he was not being negligent, and the benefits of his (...) humor outweigh the harms. I also argue in support of the intuition that another’s failure of comprehension or moral character, even if that failure will predictably result in harms to others, should not convert moral acts into immoral ones. (shrink)

This article discusses whether a sense of humor is a political virtue. It argues that a sense of humor is conducive to the central political virtues. We must first, however, delineate different types of humor (benevolent or malicious) and the different political virtues (sociability, prudence, and justice) to which they correspond. Generally speaking, a sense of humor is politically virtuous when it encourages good will toward fellow citizens, an awareness of the limits of power, and a tendency not to take (...) oneself too seriously or when it condemns moral or intellectual vice. An analysis of President Donald Trumps deeply flawed sense of humor is used to ground this account. (shrink)

In this chapter, I survey what I call Lewisian approaches to modality: approaches that analyze modality in terms of concrete possible worlds and their parts. I take the following four theses to be characteristic of Lewisian approaches to modality. (1) There is no primitive modality. (2) There exists a plurality of concrete possible worlds. (3) Actuality is an indexical concept. (4) Modality de re is to be analyzed in terms of counterparts, not transworld identity. After an introductory section in which (...) I motivate analyzing modality in terms of possible worlds, I devote one section to each of these four theses. For each thesis, I take Lewis’s interpretation and defense as my starting point. I then consider and endorse alternative ways of accepting the thesis, some of which disagree substantially with Lewis’s interpretation or defense. There is more than one way to be a Lewisian about modality. (shrink)

Research on the capacity to understand others' minds has tended to focus on representations ofbeliefs,which are widely taken to be among the most central and basic theory of mind representations. Representations ofknowledge, by contrast, have received comparatively little attention and have often been understood as depending on prior representations of belief. After all, how could one represent someone as knowing something if one does not even represent them as believing it? Drawing on a wide range of methods across cognitive science, (...) we ask whether belief or knowledge is the more basic kind of representation. The evidence indicates that nonhuman primates attribute knowledge but not belief, that knowledge representations arise earlier in human development than belief representations, that the capacity to represent knowledge may remain intact in patient populations even when belief representation is disrupted, that knowledge (but not belief) attributions are likely automatic, and that explicit knowledge attributions are made more quickly than equivalent belief attributions. Critically, the theory of mind representations uncovered by these various methods exhibits a set of signature features clearly indicative of knowledge: they are not modality-specific, they are factive, they are not just true belief, and they allow for representations of egocentric ignorance. We argue that these signature features elucidate the primary function of knowledge representation: facilitating learning from others about the external world. This suggests a new way of understanding theory of mind – one that is focused on understanding others' minds in relation to the actual world, rather than independent from it. (shrink)

By means of a comprehensive and penetrating examination of the main elements of Epicurean ethics, Phillip Mitsis forces us to reevaluate this widely misunderstood figure in the history of philosophy.

Bill Cosby’s immorality has raised intriguing aesthetic and ethical issues. Do the crimes that he has been convicted of lessen the aesthetic value of his stand-up and, even if we can enjoy it, should we? This article first discusses the intimate relationship between the comedian and audience. The art form itself is structurally intimate, and at the same time the comedian claims to express an authentic self on stage. After drawing an analogy between the question of the moral character of (...) comedians and the aesthetic value of their stand-up and the debate over the ethical criticism of art, this article argues that it is reasonable to find a comedian’s performance less funny, because stand-up’s artistic success relies on this intimacy. It contrasts the comedy of Bill Cosby with that of Louis C.K. C.K.’s moral flaws are much more present in his comedy, and it is therefore more difficult to find him funny. Last, it is ethically permissible to enjoy their comedy, if no harm to others results, both because it does not corrupt the audience’s character and because amusement is valuable. (shrink)

It is widely held that episodic memory is constitutively connected with space and time. In particular, many contend that episodic memory constitutively has spatial and/or temporal content: for instance, necessarily representing a spatial scene, or when a given event occurred, or at the very minimum that it occurred in the past. Here, I critically assess such claims. I begin with some preparatory remarks on the nature of episodic memory. I then ask: How, if at all, is episodic memory constitutively spatial? (...) And, how, if at all, is episodic memory constitutively temporal? In answer, I argue that episodic memory need not have any spatial content, nor (in any substantial sense) need it represent when its events occur, nor even that they occur in the past. Instead, only a relatively modest connection holds between episodic memory and time in virtue of the temporal structure of its objects. Finally, I critically assess whether considerations concerning the organization and encoding of episodic memory in creatures like us provide stronger reason to posit a constitutive link between our episodic memories and space or time. (shrink)

The Forrest-Armstrong argument, as reconfigured by David Lewis, is a reductio against an unrestricted principle of recombination. There is a gap in the argument which Lewis thought could be bridged by an appeal to recombination. After presenting the argument, I show that no plausible principle of recombination can bridge the gap. But other plausible principles of plenitude can bridge the gap, both principles of plenitude for world contents and principles of plenitude for world structures. I conclude that the Forrest-Armstrong argument, (...) when fortified in one of these ways, demands that unrestricted recombination be rejected. The appropriate restriction comes from a consideration of what world structures are possible. I argue that, although there are too many worlds to form a set, for any world, the individuals at that world do form a set. To defend it I invoke a principle of Limitation of Size together with an iterative conception of structure. (shrink)

We claim that scientists working with deep learning (DL) models exhibit a form of pragmatic understanding that is not reducible to or dependent on explanation. This pragmatic understanding comprises a set of learned methodological principles that underlie DL model design-choices and secure their reliability. We illustrate this action-oriented pragmatic understanding with a case study of AlphaFold2, highlighting the interplay between background knowledge of a problem and methodological choices involving techniques for constraining how a model learns from data. Building successful models (...) requires pragmatic understanding to apply modelling strategies that encourage the model to learn data patterns that will facilitate reliable generalisation. (shrink)

Estimates of the burden of disease assess the mortality and morbidity that affect a population by producing summary measures of health such as quality-adjusted life years and disability-adjusted life years. These measures typically do not include stillbirths among the negative health outcomes they count. Priority-setting decisions that rely on these measures are therefore likely to place little value on preventing the more than three million stillbirths that occur annually worldwide. In contrast, neonatal deaths, which occur in comparable numbers, have a (...) substantial impact on burden of disease estimates and are commonly seen as a pressing health concern. In this article we argue in favor of incorporating unintended fetal deaths that occur late in pregnancy into estimates of the burden of disease. Our argument is based on the similarity between late-term fetuses and newborn infants and the assumption that protecting newborns is important. We respond to four objections to counting stillbirths: that fetuses are not yet part of the population and so their deaths should not be included in measures of population health; that valuing the prevention of stillbirths will undermine women's reproductive rights; that including stillbirths implies that miscarriages should also be included; and that birth itself is in fact ethically significant. We conclude that our proposal is ethically preferable to current practice and, if adopted, is likely to lead to improved decisions about health spending. (shrink)

The paper offers a running commentary on ps-Archytas’ On Intellect and Sense Perception (composed ca. 80 BCE), with the aim to provide a clear description of Hellenistic/post-Hellenistic Pythagorean epistemology. Through an analysis of the process of knowledge and of the faculties that this involves, ps-Archytas presents an original epistemological theory which, although grounded in Aristotelian and Platonic theories, results in a peculiar Pythagorean criteriology that accounts for the acquisition and production of knowledge, as well as for the specific competences of (...) each cognitive faculty. (shrink)

Recent scientific research has settled on a purely descriptive definition of happiness that is focused solely on agents’ psychological states (high positive affect, low negative affect, high life satisfaction). In contrast to this understanding, recent research has suggested that the ordinary concept of happiness is also sensitive to the moral value of agents’ lives. Five studies systematically investigate and explain the impact of morality on ordinary assessments of happiness. Study 1 demonstrates that moral judgments influence assessments of happiness not only (...) for untrained participants, but also for academic researchers and even in those who study happiness specifically. Studies 2 and 3 then respectively ask whether this effect may be explained by general motivational biases or beliefs in a just world. In both cases, we find evidence against these explanations. Study 4 shows that the impact of moral judgments cannot be explained by changes in the perception of descriptive psychological states. Finally, Study 5 compares the impact of moral and non-moral value, and provides evidence that unlike non-moral value, moral value is part of the criteria that govern the ordinary concept of happiness. Taken together, these studies provide a specific explanation of how and why the ordinary concept of happiness deviates from the definition used by researchers studying happiness. (shrink)

According to the Desiderative Lockean Thesis, there are necessary and sufficient conditions, stated in the terms of decision theory, for when one is truly said to want. What one is truly said to want, it turns out, varies remarkably by context—and to an underappreciated degree. To explain this context-sensitivity, and closure properties of wanting, I advance a Desiderative Lockean view that is distinctive in having two context-sensitive parameters.

Past work has demonstrated that people’s moral judgments can influence their judgments in a number of domains that might seem to involve straightforward matters of fact, including judgments about freedom, causation, the doing/allowing distinction, and intentional action. The present studies explore whether the effect of morality in these four domains can be explained by changes in the relevance of alternative possibilities. More precisely, we propose that moral judgment influences the degree to which people regard certain alternative possibilities as relevant, which (...) in turn impacts intuitions about freedom, causation, doing/allowing, and intentional action. Employing the stimuli used in previous research, Studies 1a, 2a, 3a, and 4a show that the relevance of alternatives is influenced by moral judgments and mediates the impact of morality on non-moral judgments. Studies 1b, 2b, 3b, and 4b then provide direct empirical evidence for the link between the relevance of alternatives and judgments in these four domains by manipulating (rather than measuring) the relevance of alternative possibilities. Lastly, Study 5 demonstrates that the critical mechanism is not whether alternative possibilities are considered, but whether they are regarded as relevant. These studies support a unified framework for understanding the impact of morality across these very different kinds of judgments. (shrink)

Modern thought typically opposes the authority of tradition in the name of universal reason. Postmodernism begins with the insight that the sociohistorical context of tradition and its authority is inevitable, even in modernity. Modernity can no longer take itself for granted when it recognizes itself as a tradition that is opposed to traditions. The left-wing postmodernist response to this insight is to conclude that because tradition is inevitable, irrationality is inevitable. The right-wing postmodernist response is to see traditions as the (...) home of diverse forms of rationality. This requires an understanding of the Socratic, self-critical aspect of intellectual traditions, which include both modern sciences and the great world religions. (shrink)

When did kosmos come to mean *the* kosmos, in the sense of ‘world-order’? I venture a new answer by examining later evidence often underutilised or dismissed by scholars. Two late doxographical accounts in which Pythagoras is said to be first to call the heavens kosmos (in the anonymous Life of Pythagoras and the fragments of Favorinus) exhibit heurematographical tendencies that place their claims in a dialectic with the early Peripatetics about the first discoverers of the mathematical structure of the universe. (...) Likewise, Xenophon and Plato refer to ‘wise men’ who nominate kosmos as the object of scientific inquiry into nature as a whole and the cosmic ‘communion’ (koinônia) between all living beings, respectively. Again, later testimonies help in identifying the anonymous ‘wise men’ by associating them with the Pythagoreans and, especially, Empedocles. As Horky argues, not only is Empedocles the earliest surviving source to use kosmos to refer to a harmonic ‘world-order’ and to illustrate cosmic ‘communities’ between oppositional pairs, but also his cosmology realises the mutual correspondence of these aspects in the cycle of love and strife. Thus, if later figures posited Pythagoras as the first to refer to the universal ‘world-order’ as the kosmos, they did so because they believed Empedocles to have been a Pythagorean natural scientist, whose combined focus on cosmology and ethics exemplified a distinctively Pythagorean approach to philosophy. (shrink)

In this paper I consider the merits and motivations for eliminativist error theories of absence causation, such as those offered by Beebee, Varzi, and Mumford. According to such views, there is no causation by absence. Here I argue that, despite of- fering an alternative picture of the practice of citing absences as causes, these views are inadequately motivated. I consider and reject a range of arguments for error-theoretic approaches, including appeals to ontological economy, physicalism and the causal clo- sure of (...) the physical, as well as Mumford’s recent appeal to soft Parmenideanism. I also argue that the arguments in the literature which aim to show that causation by absence is conceptually problematic are less forceful than they might initially appear. The result is that there is no compelling reason yet why we should reject absence causation. (shrink)

What we must do is step back and take a grand view of the perspectives in order to understand it on a more particular level. If we can picture all of God’s attributes on a bar graph scale, all of God’s attributes would max out at 100% each. These attributes are always operating at 100%; at no time does any attribute diminish or decrease below 100%. However, there are times when one of His attributes shows forth more than another does, (...) but they are all operating at a maximum level. (shrink)