There is growing interest in the use of technology to enhance the tracking and quality of clinical information available for patients in disaster settings. This paper describes the design and evaluation of the Wireless Internet Information System for Medical Response in Disasters (WIISARD).

According to Arthur Danto, it is illegitimate to seek a neutral, or pre-interpretative, description of an artwork, since such descriptions necessarily fail to respect the artwork as such. Instead, we must begin by interpreting, so as to constitute the work : interpretation is what distinguishes artworks from mere physical objects. In this paper, I argue that, while Danto is right to distance artworks from mere things, this can be done without suggesting that artworks are constituted by interpretation. Moreover, Danto’s view (...) leaves us unable to account for the fact that interpretations are constrained to be responsive to the work’s features. I demonstrate that, by appealing to conventions of description that are specific to art, it is possible to offer a neutral description that respects the work as an artwork. This view accords with our common sense understanding of the relation between description and interpretation, and avoids the unfortunate consequences of Danto’s theory. // Selon Arthur Danto, il est illégitime de chercher une description « neutre » ou préinterprétative d’une oeuvre d’art, parce qu’une telle description ne peut respecter l’oeuvre d’art en tant que telle. Nous ne pouvons aborder une oeuvre sans l’interpréter, puisque l’interprétation constitue l’oeuvre d’art et distingue celle-ci d’un simple objet physique. Dans cet article je soutiens que, bien que Danto ait raison de vouloir distinguer les oeuvres d’art des simples choses, on peut effectuer cette distinction sans conclure que les oeuvres d’art sont constituées par l’interprétation. Je soutiens en outre que le point de vue de Danto ne nous permet pas de tenir compte du fait que les interprétations doivent respecter les caractéristiques de l’oeuvre. Je montre qu’en faisant appel aux conventions de description spécifiques à l’art, on peut proposer une description neutre qui respecte l’oeuvre d’art en tant qu’oeuvre. Mon point de vue est conforme à la relation généralement admise entre la description et l’interprétation des oeuvres d’art, et évite les conséquences négatives de la théorie de Danto. (shrink)

A sustained challenge to the view that artworks are physical objects relates to the alleged inability of physical objects to possess representational properties, which some artworks clearly do possess. I argue that the challenge is subject to confusions about representational properties and aesthetic experience. I show that a challenge to artwork-object identity put forward by Danto is vulnerable to a similar criticism. I conclude by noting that the identity of artworks and physical objects is consistent with the insight that attending (...) exclusively to the object’s individual physical properties may prevent us from grasping the nature of the work. // Contre l’opinion voulant que les œuvres d’art soient des objets physiques, d’aucuns font régulièrement valoir la présumée incapacité des objets physiques à possedér des propriétés représentationnelles, propriétés que certaines œuvres d’art possèdent a l’evidence. Je fais valoir que cette remise en question est sujette à des confusions à propos des propriétés représentationnelles et de l’experience esthétique. Je montre que de même, la remise en question par Danto de l’identité œuvre d’art-objet prête le flanc à une critique similaire. Je conclus pour finir que l’identité entre œuvres d’art et objets physiques est compatible avec l’intuition voulant que prêter attention exclusivement aux propriétés physiques d’un certain objet peut nous empêcher de saisir la nature de l’œuvre. (shrink)

Abstract: For most people, mobile phones and various forms of personal information technology (PIT) have become standard equipment for everyday life. Recent theorists such as Sherry Turkle raise psychological and philosophical questions about the impact of such technologies and practices, but deeper further philosophical work is needed. This paper takes a pragmatic approach to examining the effects of PIT practices upon experience. After reviewing several main issues with technology raised by Communication theorists, the paper looks more deeply at Turkle’s analysis (...) of technology's impacts upon solitude and conversation. Because Turkle only raises but doesn’t pursue the philosophical dimensions of these issues, the work on experience of John Dewey, William James, and John J. McDermott is utilized to provide concepts and methods by which PIT’s effects might be judged. Finally, pragmatist aesthetics is introduced and consulted as a source of constructive ideals which might guide future amelioration of PIT’s more significant drawbacks. (shrink)

Prof. Dr. Mehmet Karasan 1907 yılında Denizli, Çivril’de doğdu . İlk ve orta öğrenimini Çivril ve Konya’da, lise eğitimini 1928 yılında İstanbul Erkek Lisesi’nde tamamladıktan sonra aynı yıl Millî Eğitim Bakanlığı’nın yurt dışı eğitim bursunu kazanarak Fransa, Lyon Üniversitesi, Edebiyat Fakültesi, Felsefe ve Sosyoloji bölümünde lisans eğitimi almaya hak kazandı. 1932 yılında yurt dışı eğitimini tamamlamasının ardından 1933 yılında İstanbul Üniversitesi Felsefe Bölümüne doçent olarak atandı. 1942 Yılında İstanbul Üniversitesi Felsefe Bölümü asistanı Nusret Hızır ve pedagoji doçenti Bedii Ziya Egemen (...) ile birlikte Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Felsefe Enstitüsü kadrosuna katıldı. 1932-1950 yılları arasında belirli dönemlerde çeşitli okullarda felsefe, sosyoloji ve Fransızca öğretmenlikleri ve idarecilik yapan Karasan 1951 yılında Ankara Üniversitesi İlahiyat Fakültesi’nde Profesör olarak göreve başladı. Prof. Dr. Mehmet Karasan akademik hayatının yanı sıra 1954-1957 ve 1957-1960 yılları arasında X. ve XI. dönem Türkiye Büyük Millet Meclisi’nde Denizli Milletvekilliği yaptı. Siyasi hayatının ardından 1968 yılında Ankara Üniversitesi İlahiyat Fakültesi felsefe kürsüsünde Profesör olarak akademik yaşamına devam etti ve 1970-1971 yılları arasında aynı fakültede dekanlık görevinde bulundu. 15 Kasım 1974 tarihinde hayatını kaybeden Karasan Evli ve bir çocuk babasıydı. Mehmet Karasan Türk düşüncesine ve literatürüne Eflatun’un Devlet Görüşü (1947) ve Büyük Feylesoflar Antolojisi (1949) adlı kitapları, “İlk Yunan Düşüncesinde Din İlmi Denemeleri” ve “Eflatun’un Devleti” gibi makaleleri ile katkıda bulundu. Karasan, Fransa’da almış olduğu yurt dışı eğitiminin etkisi ve Cumhuriyet döneminde 1940 yılında Hasan Ali Yücel tarafından başlatılan “Tercüme Hareketi” vesilesiyle yabancı dilde yazılan birçok klasik eseri tercüme ederek dilimize kazandırdı. Platon, Descartes, Durkheim ve Bergson gibi önemli filozofların eserlerini tercüme ederek felsefe alanına önemli katkılarda bulunan Karasan, Durkheim’ın Meslek Ahlakı kitabını tercüme etmesi ve “Din Sosyolojisi, Öncüleri ve Kurucuları” başlıklı bir makale kaleme alması ile yalnızca felsefe alanına değil sosyoloji alanına da önemli katkılarda bulundu. Bu sayede Cumhuriyet döneminde akademik anlamda Türkiye’de ilk din sosyolojisi dersini 1949 yılında Ankara Üniversitesi İlahiyat Fakültesinde verdi. Karasan sosyolojiye yönelik çalışmaları ile birlikte özellikle felsefe alanında Descartes’ın İlk Felsefe Üzerine Metafizik Düşünceler (1942), Felsefenin İlkeleri (1943), Aklını İyi Kullanmak ve Bilimlerde Doğruyu Bulmak İçin Metot Üzerine Konuşma (1944), Tabiat Işığı ile Hakikati Arama (1945), Aklın İdaresi İçin Kurallar (1945) ve Ahlak Üzerine Mektuplar (1946) gibi birçok eserini Fransızcadan dilimize tercüme etmesi ve yapmış olduğu bu tercümelere eklemiş olduğu ön sözler ve açıklamalar ile Türkçe felsefe alan yazınında tanınırlık kazandı. Descartes’ın eserleri ile birlikte Fransızca’dan dilimize kazandırdığı eserler arasında Bergson’un Ahlak ile Dinin İki Kaynağı (1949), Lucien Laberthonnière’in Descartes Üzerine Tetkikler (1959) eseri ve bir dönem Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Felsefe kürsüsünde görev yapan Olivier Lacombe’un bazı makaleleri de bulunmaktadır. Böylece, Mehmet Karasan Descartes’ın felsefesi başta olmak üzere Fransız düşüncesi ve felsefesinin Türkiye’de tanınması açısından önemli bir görevi yerine getirdi. Prof. Dr. Mehmet Karasan Türkiye Cumhuriyeti’nin görece ilk yılları sayılabilecek dönemi içerisinde sorumluluk alarak felsefe ve edebiyat alanında hem tercüme faaliyetleri hem de kendi özgün eserleri ile Türk düşüncesinin ve felsefesinin gelişimine yardımcı olan bir düşünürdür. Karasan’ın başta Fransız felsefesi olmak üzere felsefeye yönelik düşüncelerinin günümüz entelektüel çevresi ve araştırmacıları tarafından tanınması önem teşkil etmektedir. Ancak Mehmet Karasan’ın düşünce hayatı, felsefi görüşleri ve felsefeden ne anladığına yönelik yapılan çalışmaların azlığı ve eserlerine ulaşmanın zorluğu göz önünde bulundurulduğunda onun yaşamı ve felsefesine yönelik mevcut bilginin eksikliği göze çarpmaktadır. Bu nedenle Mehmet Karasan’a yönelik bir çalışma ortaya koyma gerekliliği ortaya çıkmaktadır. Bu gereklilik doğrultusunda yazımızda Karasan’ın ortaya koymuş olduğu çalışmalarının seyri ve gelişimi takip edilerek görüşleri aktarılmaktadır. Bu noktada onun tercüme eserlerine yazmış olduğu ön sözler ve açıklamalar dikkate alınmaktadır. Böylece, Karasan’ın özellikle Descartes’tan yaptığı tercümelerden hareketle onun felsefi yaklaşımına ve felsefeden ne anladığına ilişkin bir tahlilde bulunulmaya çalışılmaktadır. Belirtmek gerekir ki bu yazının temel amacı Descartes’ın felsefesini ya da felsefi görüşlerini aktarmak değil Mehmet Karasan’ın Descartes’ın felsefesine yönelik okumaları, çıkarımları, düşünceleri ve katkılarını tespit ederek kendi özgün düşüncelerini ve felsefi tavrını ortaya koymaktır. (shrink)

GILBERT JEAN FACCARELLO (Paris, 1950) is professor of economics at Université Panthéon-Assas, Paris, and a member of the Triangle research centre (École Normale Supérieure de Lyon and CNRS). He is presently chair of the ESHET Council (European Society for the History of Economic Thought). He completed his doctoral research in economics at Université de Paris X Nanterre. He has previously taught at the Université de Paris-Dauphine, Université du Maine and École Normale Supérieure de Fontenay/Saint-Cloud (now École Normale Supérieure de Lyon). (...) He is a co-founder of The European Journal of the History of Economic Thought, which he co-edited for 20 years with J. L. Cardoso, Heinz D. Kurz, and A. Murphy. With Alain Béraud, he edited the Nouvelle histoire de la pensée économique (La Découverte, 3 volumes, 1992-2000) and, together with Heinz D. Kurz, he is presently editing a Handbook of the History of Economic Analysis (3 volumes, forthcoming with Edward Elgar). -/- EJPE interviewed Gilbert Faccarello about his research career in the history of economic thought, where he has focused especially on old and new classical and Marxian political economy, and French political economy during the 18th and 19th centuries. G. Faccarello discusses his interest not only in the logical structure and context of the economic ideas of past thinkers but also the links between economic thought, philosophy, and religion. (shrink)

Antes de entrar cuidadosamente no estudo de cada filósofo, em suas respectivas ordens cronológicas, é necessário dar um panorama geral sobre eles, permitindo, de relance, a localização deles em tempos históricos e a associação de seus nomes com sua teoria ou tema central. l. OS FILÓSOFOS PRÉ-SOCRÁTICOS - No sétimo século antes de Jesus Cristo, nasce o primeiro filósofo grego: Tales de Mileto2 . Ele e os seguintes filósofos jônicos (Anaximandro: Ἀναξίμανδρος: 3 610-546 a.C.) e Anaxímenes: (Άναξιμένης: 586-524 a.C.) tentaram (...) expressar/elucidar o que é a arché, ou constitutivo fundamental do Universo. 4 Também sobressaem as teorias de Pitágoras (Ὁ Πυθαγόρας: 570 a.C.- 495 a.C.), completas de misticismo e Matemática; a de Heráclito (Ἡράκλειτος ὁ Ἐφέσιος: 540-470 a.C.), o filósofo do devir e o de seu oponente, Parmênides (Παρμενίδης: 530-460 a.C.), que elucida a primeira teoria do ser, e para qual é alcunhado como o iniciador da Metafísica. Anaxágoras (Ἀναξαγόρας: 500 a.C.- 428 a.C.) esboça uma teoria sobre o Nous, o espírito divino. Por outro lado, Demócrito (Δημόκριτος: Grécia: 460-370 a.C.) e Empédocles (Ἐμπεδοκλῆς: 490 a.C.-430 a.C.) insistem no materialismo. Em contrapartida, os sofistas (Parmênides, Cálicles (Καλλικλῆς: personagem platônico cuja existência é duvidosa) e Górgias (Γοργίας: 485 a.C.-380 a.C.)) gozam das suas aptidões à dialética, e colocam o relativismo como uma posição filosófica. Sócrates será o inimigo mais temível dessa posição. Este é o começo do movimento filosófico de Atenas, que culmina nos séculos quinto e quarto, tal qual, posteriormente, veremos. 2. O APOGEU GREGO – Sócrates (Σωκράτης: 469 a.C.-399 a.C.), Platão (Πλάτων: 428/427- 348/347 a.C.) e Aristóteles (Ἀριστοτέλης: 384 a.C.-322 a.C.) formam o triunvirato dos grandes filósofos gregos. O primeiro (Sócrates), com seu método "maiêutico" e sua teoria do conceito; o segundo (Platão), com sua teoria das ideias e seu estilo literário (dialogista); e o terceiro (Aristóteles), com a estruturação dos principais ramos filosóficos, como a Lógica, a Metafísica, a Ética, a Psicologia racional e a Política; todos eles elevaram a Filosofia para um posto de primeira ordem. Doravante, todos os filósofos tornam-se credores das contribuições desses gênios. Em certos autores, é clara a influência de Platão ou de Aristóteles. Sendo que, ambos os filósofos, tiveram influência absoluta de Sócrates, uma vez que Platão fora seu discípulo, e Aristóteles discípulo de Platão. A Idade Média, por exemplo, foi toda ela, em sua gênese e desenvolvimento, alicerçada no pensamento e nas ideias platônicas; tal era histórica é caracterizada pela luta em favor de um ou de outro autor; o platonismo tomou precedência nos primeiros séculos do cristianismo; somente após o décimo século Aristóteles foi redescoberto. 3. A FILOSOFIA CRISTÃ MEDIEVAL - Santo Agostinho (354 a.C.-430 a.C.) se destaca, no quinto século, com sua teoria da iluminação e a aplicação da teoria platônica ao Cristianismo. No século XIII, São Tomás de Aquino (1225-1274), sintetiza Aristóteles com o Cristianismo. Os dois autores formam o núcleo da filosofia cristã em seus respectivos séculos. A escolástica teve seu tempo de decadência. Se mencionam, principalmente, dois autores: João Duns Escoto (1266-1308) e Guilherme de Ockham (1285-1347). O primeiro é o "Doutor Sutil ", e o segundo cai em um fideísmo e um nominalismo, para todos os conceitos criticáveis. Em uma segunda parte, tentaremos explicar os respectivos pensamentos dos autores mencionados, e outros que pertencem ao mesmo tempo, antigos e medievais. Naquela época, a Filosofia era puramente realista, aplicada ao mundo e ao homem. Somente na Idade Moderna, a Filosofia assumirá o problema do conhecimento como a base e o começo de todo filosofar. 4. A FILOSOFIA RACIONALISTA (MODERNA) - Na Idade Moderna, sobressai o racionalismo de Descartes (1596-1650) prolongado, então, com Malebranche (1638-1715) (ocasionalismo), Espinosa (1632 -1677) (panteísmo) e Leibniz (1646-1716) (teoria das mônadas). Estamos nos séculos XVII e XVIII. A atenção será focada nas disputas filosóficas da corrente empirista contra a racionalista. 5. A FILOSOFIA EMPIRISTA – O empirismo é florescido, principalmente, na Inglaterra. Francis Bacon (1561-1626), primeiro, e depois Locke (1632-1704) com sua rejeição de ideias inatas, Berkeley (1685-1753) com postura e ideias paradoxais, também idealistas e Hume (1711-1776), com suas famosas críticas contra o princípio da causalidade e o conceito de substância, são os principais autores. 6. KANT E OS IDEALISTAS ALEMÃES - Como a tentativa de sintetizar o racionalismo e empirismo, está a teoria de Kant (1724-1804), no século XVIII. Para o seu gênio seguido pelos três idealistas alemães mais importantes: Fichte (1762-1814) (idealismo subjetivo), Schelling (1775-1854) (idealismo objetivo) e Hegel (1770-1831) (idealismo absoluto). Esses Autores representam o ápice da especulação filosófica. A análise, a profundidade, a complexidade da expressão e o espírito sistemático são as características do gênio alemão idealista. 7. OS FILÓSOFOS DO SÉCULO XIX - Antes de tudo, é necessário mencionar, no século dezenove, aos dois grandes críticos de Hegel, que são Kierkegaard (1813-1855) (precursor do existencialismo) e Marx (1818-1883) (com seu materialismo dialético). O próximo é outro casal: Nietzsche (1844-1900) (teoria do Super-homem) e Schopenhauer (1788-1860) (com seu absoluto pessimismo). Comte (1798-1857) com sua doutrina positivista, completará o quadro desses filósofos. Numa outra oportunidade, vamos desmembrar sobre o pensamento e principais ideias acerca desses autores. 8. OS FILÓSOFOS DO SÉCULO XX - Antes de tudo, há um autor que iluminou a filosofia do século XX: Edmund Husserl (1859-1938), fundador do método fenomenológico. Em seguida, existem dois fluxos que são derivados diretamente de Husserl, a saber, o existencialismo e a axiologia. Dentro da corrente axiológica, estudaremos Scheler (1874-2928). Por outro lado, o existencialismo tem quatro autores principais; dois são alemães: Heidegger (1889-1976) e Jaspers (1883-1969); e os demais são franceses: Sartre (1905-1980) e Marcel (1889-1973). Heidegger insiste em que seu tema tratado em sua filosofia não é a unicidade do homem, mas o ser em geral. Jaspers é famoso por seu conceito de transcendência (Deus). Sartre é um antiteísta sincero, e seu existencialismo é definido como um pensamento que assume todas as consequências da negação de Deus. Em contraste, Gabriel Marcel é um filósofo Católico, que conseguiu uma análise profunda das situações humanas, que aparecem em íntima concordância com as verdades cristãs. Vamos terminar com Russell (1872-1970), autor básico do positivismo lógico. Cronologia de filósofos e suas escolas até nossos dias ➢ Filosofia Antiga - Escola naturalista da Jônia: Tales, Anaximandro e Anaxímenes; - Escola matemática da Itália: Pitágoras e os pitagóricos; - Escola idealista de Eléia: Xenófanes (570-475 a.C.), Parmênides, Zenão (490/85-420 a.C.) e Meliso (h.443); - Escola empirista: Heráclito, Empédocles e Anaxágoras; - Escola atomista de Abdera: Leucipo (h.437) e Demócrito; - Escolas de Atenas: - Sofistas: Protágoras (480-410), Górgias (484-375?); Sócrates, Platão e Aristóteles; - Pirronismo: Pirro (h.365-h.275); - Estoicismo: Zenão de Cítio (359/33-262) e Crisipo (281/77-208); - Epicurismo: Epicuro (341-270); - Nova Academia: Arcesilau (315-241) e Carnéades (214-129); Romanos: Sêneca (4 a.C.-65 d.C.), Marco Aurélio (121-180) e Cícero (106-43). - Escola greco-judia: Fílon de Alexandria (25 a.C.-50 d.C.); - Neoplatonismo: Plotino (204/5-270), Porfirio (h.233-304), Jâmblico (h.250-330) e Proclo (h.411-485). ➢ Filosofia patrística - Apologistas: São Justino (100/10-165), Ireneu de Lyon (h.140-h.l 77) e Atenágoras (fines s. II); - Alexandrinos: São Clemente (h.145/50-215) e Orígenes (h.185-255); - Africanos: Tertuliano (h.160-230), Arnóbio (h.260-h.327) e Lactâncio (nascido h. 250); - Gregos: São Basílio (h.330-379), São Gregório de Nazianzo (330-390), São Gregório de Níssa (330-390) e Pseudo-Dionísio (h.500); - Latinos: São Hilário (h.315-367), Santo Ambrósio (333-397) e Santo Agostinho; - Outros: Claudiano (+h.473), Boécio (480-524), São Isidoro (h.560-633) e Beda (672/3-735). ➢ Filosofia Medieval/Escolástica - Judeus: Isaac Israeli (+h.940), Salomão Ibn Gabirol (h.l020-p.l058) e Maimônides (1135- 1204); - Árabes: Alquindi (h. 796-874), Al-Farabi (870-950), Avicena (980-1037), Algazali (1058- 1111) e Averróis (1126-1198); - Escola palatina: Alcuíno de Iorque (730/5-804), Rábano Mauro (h.784-856), Escoto Erígena (h.810-h.870) e Papa Silvestre II (+1003); - Dialéticos: Santo Anselmo (1033/4-1109) e Pedro Abelardo (1079-1142); - Tradutores: Domingo Gundisalvo (meados s. XII), Gerardo de Cremona (h. 1114-1187); - Enciclopedistas: Teodorico de Chartres (+1155), Hugo de São Vitor (+1141) e Vicente de Beauvais (+1264); - Universidades: Guilherme de Auvergne (1180- 1249) e Sigerio de Brabante (+h.l284); - Dominicanos: São Alberto Magno (1206-1280) e Santo Tomás de Aquino; - Franciscanos: Alexandre de Hales (1170/80-1245), São Boaventura (1217-1274), Roger Bacon (h.1210/14-1292), João Duns Escoto, Raimundo Lulio (1235-1315) e Guilherme de Ockham (h.1285-1349). ➢ Filosofia Moderna - Humanistas Renascentistas: Ficino (1433-1499), Erasmo (1467-1536), Maquiavel (1469- 1527), Thomas More (1480-1535), Juan Luis Vives (1492-1540) e Giordano Bruno (1548- 1600); - Racionalismo: Descartes, Malebranche, Espinosa e Leibniz; - Empiristas: Francis Bacon, Thomas Hobbes (1588-1679), Locke, Berkeley e Hume; - Escola escocesa: Thomas Reid (1710-1796); Iluministas: Voltaire (1694-1778), Condillac (1715-1757), Diderot (1713-1784) e J. J. Rousseau (1712-1778). - Idealismo transcendental: Kant; - Idealismo subjetivo: Fichte; - Idealismo objetivo: Schelling; - Idealismo absoluto: Hegel; - Pessimismo: Schopenhauer; - Ecletismo: Cousin (1792-1867); - Positivismo: A. Comte, J. S. Mill (1806-1873) e H. Spencer (1820-1900); - Socialismo: H. Saint-Simon (1760-1825), Ch. Fourier (1772-1837) e K. Marx; - Vitalismo: Nietzsche e W. Dilthey (1833-1912). ➢ Filosofia Contemporânea - Intucionismo: H. Bergson (1859-1941); - Pragmatismo: Ch. S. Peirce (1839-1914), W. James (1842-1910) e J. Dewey (1859-1952); - Fenomenologia: Husserl, Scheler, N. Hartmann (1882-1950) e M. Merleau-Ponty (1908- 1961); - Existencialismo: Jaspers, Heidegger, Marcel e Sartre; - Atomismo lógico: B. Russell (1872-1970) e L. Wittgenstein (1889-1951); - Positivismo lógico: M. Schlick (1882-1936), R. Carnap (1891-1970 ) e A. J. Ayer (1910- 1990). - Filosofia analítica: J. L. Austin (1911-1960), G. Ryle (1900-1976), W.V.O. Quine (1908- 2000), P. F. Strawson (1919-2003) e H. Putnam (1926-); - Hermenêutica: H. G. Gadamer (1900-2002), P. Ricoeur (1913-2007) e J. Habermas (1929-). - Estruturalismo e pós-estruturalismo: F. de Saussure (1857-1913), C. Lévi-Strauss (1908- 2009) e M. Foucault (1926-1984). - Filosofia pós-moderna: J. F. Lyotard (1924-1999), G. Deleuze (1925-1995), J. Derrida (1930- 2004), R. Rorty (1931-2007) e G. Vattimo (1936-). - Comunitaristas: A. Maclntyre (1929-), Ch. Taylor (1931-). REFERÊNCIAS BIBLIOGRÁFICAS CHAUÍ, M. Iniciação à Filosofia. Vol. Único. 2ª ed. São Paulo: Ática, 2013. 460 p. SANTOS, R. dos. Filosofia: Uma breve introdução. 1ª ed. Pelotas: Dissertativo Incipiens, 2014. 108 p. . Rua do Riachuelo, 303, Centro, Rio de Janeiro, RJ Casa Histórica de Osório CEP: 20230-011 E-mail: [email protected]. (shrink)

Broadly speaking, the contemporary scientific realist is concerned to justify belief in what we might call theoretical truth, which includes truth based on ampliative inference and truth about unobservables. Many, if not most, contemporary realists say scientific realism should be treated as ‘an overarching scientific hypothesis’ (Putnam 1978, p. 18). In its most basic form, the realist hypothesis states that theories enjoying general predictive success are true. This hypothesis becomes a hypothesis to be tested. To justify our belief in the (...) realist hypothesis, realists commonly put forward an argument known as the ‘no-miracles argument’. With respect to the basic hypothesis this argument can be stated as follows: it would be a miracle were our theories as successful as they are, were they not true; the only possible explanation for the general predictive success of our scientific theories is that they are true. (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)

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)

The paper offers a solution to the generality problem for a reliabilist epistemology, by developing an “algorithm and parameters” scheme for type-individuating cognitive processes. Algorithms are detailed procedures for mapping inputs to outputs. Parameters are psychological variables that systematically affect processing. The relevant process type for a given token is given by the complete algorithmic characterization of the token, along with the values of all the causally relevant parameters. The typing that results is far removed from the typings of folk (...) psychology, and from much of the epistemology literature. But it is principled and empirically grounded, and shows good prospects for yielding the desired epistemological verdicts. The paper articulates and elaborates the theory, drawing out some of its consequences. Toward the end, the fleshed-out theory is applied to two important case studies: hallucination and cognitive penetration of perception. (shrink)

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)

Aesthetic responses to human embodiment play important roles in our individual and social flourishing. Our ability to feel comfortable with and even take pleasure in our own embodiment contributes to our well-being, and our capacity to appreciate the embodiment of others contributes to our full recognition of them as persons and to their feeling of being valued and at home in the world. We are socialized into practices of appreciating bodily beauty: the facial and bodily qualities that a culture picks (...) out for special valuing. But these practices are deeply intertwined with objectionable social hierarchies. I argue that we should can and should opt out of practices of appreciating bodily beauty, despite the pleasures they afford, and choose instead to participate in other practices. Practices of appreciating the variety of aesthetic affordances of human bodies in all their diversity are both aesthetically rewarding and more compatible with our duties to ourselves and each other. (shrink)

The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.

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 article endeavors to identify the strongest versions of the two primary arguments against epistemic scientific realism: the historical argument—generally dubbed “the pessimistic meta-induction”—and the argument from underdetermination. It is shown that, contrary to the literature, both can be understood as historically informed but logically validmodus tollensarguments. After specifying the question relevant to underdetermination and showing why empirical equivalence is unnecessary, two types of competitors to contemporary scientific theories are identified, both of which are informed by science itself. With the (...) content and structure of the two nonrealist arguments clarified, novel relations between them are uncovered, revealing the severity of their collective threat against epistemic realism and its “no-miracles” argument. The final section proposes, however, that the realist’s axiological tenet “science seeks truth” is not blocked. An attempt is made to indicate the promise for a nonepistemic, purely axiological scientific realism—here dubbed “Socratic scientific realism.”. (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)

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)

In this paper I challenge and adjudicate between the two positions that have come to prominence in the scientific realism debate: deployment realism and structural realism. I discuss a set of cases from the history of celestial mechanics, including some of the most important successes in the history of science. To the surprise of the deployment realist, these are novel predictive successes toward which theoretical constituents that are now seen to be patently false were genuinely deployed. Exploring the implications for (...) structural realism, I show that the need to accommodate these cases forces our notion of “structure” toward a dramatic depletion of logical content, threatening to render it explanatorily vacuous: the better structuralism fares against these historical examples, in terms of retention, the worse it fares in content and explanatory strength. I conclude by considering recent restrictions that serve to make “structure” more specific. I show however that these refinements will not suffice: the better structuralism fares in specificity and explanatory strength, the worse it fares against history. In light of these case studies, both deployment realism and structural realism are significantly threatened by the very historical challenge they were introduced to answer. (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)

In response to historical challenges, advocates of a sophisticated variant of scientific realism emphasize that theoretical systems can be divided into numerous constituents. Setting aside any epistemic commitment to the systems themselves, they maintain that we can justifiably believe those specific constituents that are deployed in key successful predictions. Stathis Psillos articulates an explicit criterion for discerning exactly which theoretical constituents qualify. I critique Psillos's criterion in detail. I then test the more general deployment realist intuition against a set of (...) well-known historical cases, whose significance has, I contend, been overlooked. I conclude that this sophisticated form of realism remains threatened by the historical argument that prompted it. A criterion for scientific realism Assessing the criterion A return to the crucial insight: responsibility A few case studies Assessing deployment realism. (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)

The New Evil Demon Problem is supposed to show that straightforward versions of reliabilism are false: reliability is not necessary for justification after all. I argue that it does no such thing. The reliabilist can count a number of beliefs as justified even in demon worlds, others as unjustified but having positive epistemic status nonetheless. The remaining beliefs---primarily perceptual beliefs---are not, on further reflection, intuitively justified after all. The reliabilist is right to count these beliefs as unjustified in demon worlds, (...) and it is a challenge for the internalist to be able to do so as well. (shrink)

Is perception cognitively penetrable, and what are the epistemological consequences if it is? I address the latter of these two questions, partly by reference to recent work by Athanassios Raftopoulos and Susanna Seigel. Against the usual, circularity, readings of cognitive penetrability, I argue that cognitive penetration can be epistemically virtuous, when---and only when---it increases the reliability of perception.

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)

Scientific realists have claimed that the posit that our theories are (approximately) true provides the best or the only explanation for their success . In response, I revive two non-realists explanations. I show that realists, in discarding them, have either misconstrued the phenomena to be explained or mischaracterized the relationship between these explanations and their own. I contend nonetheless that these non-realist competitors, as well as their realist counterparts, should be rejected; for none of them succeed in explaining a significant (...) list of successes. I propose a related non-realist explanation of success that appears to be the most suitable among those considered. (shrink)

We provide a direct method for proving Craig interpolation for a range of modal and intuitionistic logics, including those containing a "converse" modality. We demonstrate this method for classical tense logic, its extensions with path axioms, and for bi-intuitionistic logic. These logics do not have straightforward formalisations in the traditional Gentzen-style sequent calculus, but have all been shown to have cut-free nested sequent calculi. The proof of the interpolation theorem uses these calculi and is purely syntactic, without resorting to embeddings, (...) semantic arguments, or interpreted connectives external to the underlying logical language. A novel feature of our proof includes an orthogonality condition for defining duality between interpolants. (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)

According to standard scientific realism, science seeks truth and we can justifiably believe that our successful theories achieve, or at least approximate, that goal. In this paper, I discuss the implications of the following competitor thesis: Any theory we may favor has competitors such that we cannot justifiably deny that they are approximately true. After defending that thesis, I articulate three specific threats it poses for standard scientific realism; one is epistemic, the other two are axiological (that is, pertaining to (...) the claim that science seeks truth). I also flag an additional axiological “challenge,” that of how one might justify the pursuit of a primary aim, such as truth. Bracketing epistemic realism, I argue that the axiological threats can be addressed by embracing a refined realist axiological hypothesis, one that specifies a specific subclass of true claims sought in science. And after identifying three potential responses to the axiological “challenge,” I contend that, while standard axiological realism appears to lack the resources required to utilize any of the responses, the refined realist axiology I embrace is well suited to each. (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)

In this chapter, the author regards reliabilism as one of the major achievements of twentieth century philosophy and Alvin Goldman as one of the chief architects of this important theory. It focuses on three related issues in Goldman's epistemology. Goldman has recently been making friendly overtures toward evidentialist epistemologies, and although the author agrees that reliabilism needs some kind of evidentialist element. More specifically, the author think he concedes too much to the evidentialist. In particular, he concedes: that a great (...) many beliefs cannot be justified without evidence, in particular, that some beliefs require nondoxastic evidence; that evidential fit can be understood in non‐process‐reliabilist terms, and that the aforementioned or some similar understanding of evidential fit makes sense of propositional, or ex ante, justification. Goldman has never lost sight of the epistemic significance of ways of coming to believe, and he is well aware of the differences between process reliabilism and indicator reliabilism. (shrink)

Four Challenges to Epistemic Scientific Realism—and the Socratic Alternative.

I clarify the arguments of my paper “Scratching an Itch” in response to a discussion piece by Brian Soucek. I also offer a new argument that objectivity is possible for aesthetic judgments about private phenomena such as somatic experiences.

This work provides proof-search algorithms and automated counter-model extraction for a class of STIT logics. With this, we answer an open problem concerning syntactic decision procedures and cut-free calculi for STIT logics. A new class of cut-free complete labelled sequent calculi G3LdmL^m_n, for multi-agent STIT with at most n-many choices, is introduced. We refine the calculi G3LdmL^m_n through the use of propagation rules and demonstrate the admissibility of their structural rules, resulting in auxiliary calculi Ldm^m_nL. In the single-agent case, we (...) show that the refined calculi Ldm^m_nL derive theorems within a restricted class of (forestlike) sequents, allowing us to provide proof-search algorithms that decide single-agent STIT logics. We prove that the proof-search algorithms are correct and terminate. (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)

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)

Systematicity theory—developed and articulated by Paul Hoyningen-Huene—and scientific realism constitute separate encompassing and empirical accounts of the nature of science. Standard scientific realism asserts the axiological thesis that science seeks truth and the epistemological thesis that we can justifiably believe our successful theories at least approximate that aim. By contrast, questions pertaining to truth are left “outside” systematicity theory’s “intended scope” ; the scientific realism debate is “simply not” its “focus”. However, given the continued centrality of that debate in the (...) general philosophy of science literature, and given that scientific realists also endeavor to provide an encompassing empirical account of science, I suggest that these two contemporary accounts have much to offer one another. Overlap for launching a discussion of their relations can be found in Nicholas Rescher’s work. Following through on a hint from Rescher, I embrace a non-epistemic, purely axiological scientific realism—what I have called, Socratic scientific realism. And, bracketing the realist’s epistemological thesis, I put forward the axiological tenet of scientific realism as a needed supplement to systematicity theory. There are two broad components to doing this. First, I seek to make clear that axiological realism and systematicity theory accord with one another. Toward that end, after addressing Hoyningen-Huene’s concerns about axiological analysis, I articulate a refined axiological realist meta-hypothesis: it is, in short, that the end toward which scientific inquiry is directed is an increase in a specific subclass of true claims. I then identify a key feature of scientific inquiry, not generally flagged explicitly, that I take to stand as shared terrain for the two empirical meta-hypotheses. And I argue that this feature can be informatively accounted for by my axiological meta-hypothesis. The second broad component goes beyond mere compatibility between the two positions: I argue that, in want of a systematic account of science, we are prompted to find an end toward which scientific inquiry is directed that is deeper than what systematicity theory offers. Specifically, I argue that my refined axiological realist meta-hypothesis is required to both explain and justify key dimensions of systematicity in science. To the quick question, what is it that the scientific enterprise is systematically doing? My quick answer is that it is systematically seeking to increase a particular subclass of true claims. (shrink)

This is a précis of Immaterial: Rules in Contemporary Art (Oxford, 2022). Contemporary art can seem like a wilderness of unwieldy installations, decaying materials, immersive environments, and audience participation. It can be hard to know what to focus on and how to assess the value or meaning of what we encounter, since so many artworks use non-art materials and techniques and defy familiar conventions. In Immaterial: Rules in Contemporary Art, I argue that these developments, disparate as they may seem, can (...) be understood by shifting our focus to the rules that artists articulate in creating and deploying their works. Rules have become an artistic medium that artists customize to achieve specific artistic statements and aesthetic effects. Rules are partly, and sometimes wholly, constitutive of the very structure of the artwork; grasping the rules associated with a work is thus crucial to understanding its nature. Articulating these rules, which may be quite specific and fine-grained, is part of the act of artmaking, and the rules bear meaning just as essential physical objects do. (shrink)

Repeatable artworks, such as novels and musical works, have often been construed as universals whose instances are particular printings or performances. In Art and Art-Attempts, Christy Mag Uidhir offers a nominalist account of repeatable artworks, eschewing talk of universals. Mag Uidhir argues that all artworks are concrete, and artworks that we regard as repeatable are simply unified by a relevant similarity relation: we use the name Beloved to refer to two concrete printed novels because they are relevantly similar to each (...) other and to certain other printings that are the product of Toni Morrison’s art-attempt. I discuss two potential difficulties for Mag Uidhir’s notion of relevant similarity: a difficulty related to appropriation, and a difficulty related to the fact that musical performances are often the product of distinct art-attempts by the composer and by the performer. I suggest that both difficulties could be addressed by enriching the notion of relevant similarity by appeal to the artist’s specification of which similarities are essential for two works to count as relevantly similar. (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)

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)

What makes a photograph an artwork, as opposed to a mere document? I defend a cluster account such that aesthetic value, aptness to interpretation, the artist’s intention and institutional uptake may contribute to the arthood of a body of photographs, with no single condition being necessary. With regard to Lawler’s works, I suggest that Lawler’s intention that they be art plays a definitive role because of the works’ resemblance to non-art photography. For some of her photographs, however, it appears that (...) such an intention is absent; and if this is correct, then, given their other features, those photographs are not artworks. (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)

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)

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)

In this article I reply to commentary on Immaterial: Rules in Contemporary Art (Oxford, 2022) by Shelby Moser, Darren Hudson Hick, and Guy Rohrbaugh.

This paper studies the relationship between labelled and nested calculi for propositional intuitionistic logic, first-order intuitionistic logic with non-constant domains and first-order intuitionistic logic with constant domains. It is shown that Fitting’s nested calculi naturally arise from their corresponding labelled calculi—for each of the aforementioned logics—via the elimination of structural rules in labelled derivations. The translational correspondence between the two types of systems is leveraged to show that the nested calculi inherit proof-theoretic properties from their associated labelled calculi, such as (...) completeness, invertibility of rules and cut admissibility. Since labelled calculi are easily obtained via a logic’s semantics, the method presented in this paper can be seen as one whereby refined versions of labelled calculi (containing nested calculi as fragments) with favourable properties are derived directly from a logic’s semantics. (shrink)

Goldman, though still a reliabilist, has made some recent concessions to evidentialist epistemologies. I agree that reliabilism is most plausible when it incorporates certain evidentialist elements, but I try to minimize the evidentialist component. I argue that fewer beliefs require evidence than Goldman thinks, that Goldman should construe evidential fit in process reliabilist terms, rather than the way he does, and that this process reliabilist understanding of evidence illuminates such important epistemological concepts as propositional justification, ex ante justification, and defeat.