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)

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)

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)

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)

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)

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)

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.

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

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)

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)

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.

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)

This thesis introduces the "method of structural refinement", which serves as a means of transforming the relational semantics of a modal and/or constructive logic into an 'economical' proof system by connecting two proof-theoretic paradigms: labelled and nested sequent calculi. The formalism of labelled sequents has been successful in that cut-free calculi in possession of desirable proof-theoretic properties can be automatically generated for large classes of logics. Despite these qualities, labelled systems make use of a complicated syntax that explicitly incorporates the (...) semantics of the associated logic, and such systems typically violate the subformula property to a high degree. By contrast, nested sequent calculi employ a simpler syntax and adhere to a strict reading of the subformula property, making such systems useful in the design of automated reasoning algorithms. However, the downside of the nested sequent paradigm is that a general theory concerning the automated construction of such calculi (as in the labelled setting) is essentially absent, meaning that the construction of nested systems and the confirmation of their properties is usually done on a case-by-case basis. The refinement method connects both paradigms in a fruitful way, by transforming labelled systems into nested (or, refined labelled) systems with the properties of the former preserved throughout the transformation process. To demonstrate the method of refinement and some of its applications, we consider grammar logics, first-order intuitionistic logics, and deontic STIT logics. The introduced refined labelled calculi will be used to provide the first proof-search algorithms for deontic STIT logics. Furthermore, we employ our refined labelled calculi for grammar logics to show that every logic in the class possesses the effective Lyndon interpolation property. (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)

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)

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)

I consider James Hamilton’s discussion of what I term the complete autonomy thesis, according to which no theatrical performance is a performance of some other work. While agreeing with Hamilton that theatrical performances are often artworks in their own right and that theatrical performance is not a derivative or subsidiary art form, I argue that the complete autonomy thesis overshoots the evidence. Some theatrical performances are autonomous, but many belong to an established tradition of close adherence to the texts of (...) dramatic literature. In such cases, we should say both that the performance itself is an artwork and that it is a performance of some literary work. I suggest that this way of understanding things promotes appreciation of both performances themselves and the dramatic works of literature that are employed in their creation. (shrink)

Cognitive penetration of perception is the idea that what we see is influenced by such states as beliefs, expectations, and so on. A perceptual belief that results from cognitive penetration may be less justified than a nonpenetrated one. Inferentialism is a kind of internalist view that tries to account for this by claiming that some experiences are epistemically evaluable, on the basis of why the perceiver has that experience, and the familiar canons of good inference provide the appropriate standards by (...) which experiences are evaluated. I examine recent defenses of inferentialism by Susanna Siegel, Peter Markie, and Matthew McGrath and argue that the prospects for inferentialism are dim. (shrink)

Can beliefs that are not consciously formulated serve as part of an agent's evidence for other beliefs? A common view says no, any belief that is psychologically immediate is also epistemically immediate. I argue that some unconscious beliefs can serve as evidence, but other unconscious beliefs cannot. Person-level beliefs can serve as evidence, but subpersonal beliefs cannot. I try to clarify the nature of the personal/subpersonal distinction and to show how my proposal illuminates various epistemological problems and provides a principled (...) framework for solving other problems. (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)

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)

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)

The axiological tenet of scientific realism, “science seeks true theories,” is generally taken to rest on a corollary epistemological tenet, “we can justifiably believe that our successful theories achieve (or approximate) that aim.” While important debates have centered on, and have led to the refinement of, the epistemological tenet, the axiological tenet has suffered from neglect. I offer what I consider to be needed refinements to the axiological postulate. After showing an intimate relation between the refined postulate and ten theoretical (...) desiderata, I argue that the axiological postulate does not depend on its epistemological counterpart; epistemic humility can accompany us in the quest for truth. Upon contrasting my axiological postulate against the two dominant non-realist alternatives and the standard realist postulate, I contend that its explanatory and justificatory virtues render it, among the axiologies considered, the richest account of the scientific enterprise. (shrink)

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.

Derogatory terms (racist, sexist, ethnic, and homophobic epithets) are bully words with ontological force: they serve to establish and maintain a corrupt social system fuelled by distinctions designed to justify relations of dominance and subordination. No wonder they have occasioned public outcry and legal response. The inferential role analysis developed here helps move us away from thinking of the harms as being located in connotation (representing mere speaker bias) or denotation (holding that the terms fail to refer due to inaccurate (...) descriptive content). The issue is not bad attitudes or referential misfires. An inferential role semantic analysis of derogatory terms shows exactly what is at stake between those who argue that the terms should be eliminated (Absolutists) and those who claim they can be successfully rehabilitated (Reclaimers). The Reclaimer maintains, and the Absolutist denies, that certain contexts can detach the derogatory force from deeply derogatory terms. The article looks at these claims with respect to ‘nigger’ and ‘dyke,’ setting out the inferential role of each term and examining detachability potential. Explaining detachability in terms of linguistic commitments, this article also addresses the issue of whether such terms count as political discourse, and examines the implications of that issue. (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...) fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

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)

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)

This paper argues for several claims about the moral relevance of the aesthetic: that attention to aesthetic values may promote moral motivation; that aesthetic values should be regarded as constraining moral demands; and that the pursuit of aesthetic satisfactions may itself have positive moral value. These arguments suggest that moral thinking should be aesthetically informed to a much greater degree than has been typical. The aesthetic is a central dimension of a good life, and a life’s being good for the (...) person living it has considerable moral weight, both in itself and because of the positive consequences for others that stem from it. Moral thinking that neglects aesthetic considerations, then, is likely to result in theories that are deficient not only from an aesthetic but from a moral point of view. (shrink)

The scientific realism debate has now reached an entirely new level of sophistication. Faced with increasingly focused challenges, epistemic scientific realists have appropriately revised their basic meta-hypothesis that successful scientific theories are approximately true: they have emphasized criteria that render realism far more selective and, so, plausible. As a framework for discussion, I use what I take to be the most influential current variant of selective epistemic realism, deployment realism. Toward the identification of new case studies that challenge this form (...) of realism, I break away from the standard list and look to the history of celestial mechanics, with an emphasis on twentieth century advances. I then articulate two purely deductive arguments that, I argue, properly capture the historical threat to realism. I contend that both the content and form of these novel challenges seriously threaten selective epistemic realism. I conclude on a positive note, however, arguing for selective realism at a higher level. Even in the face of threats to its epistemic tenet, scientific realism need not be rejected outright: concern with belief can be bracketed while nonetheless advocating core realist tenets. I show that, in contrast with epistemic deployment realism, a purely axiological scientific realism can account for key scientific practices made salient in my twentieth century case studies. And embracing the realists favored account of inference, inference to the best explanation, while pointing to a set of the most promising alternative selective realist meta-hypothesis, I show how testing the latter can be immensely valuable to our understanding of science. (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)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (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)

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)

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)

Much of the intuitive appeal of evidentialism results from conflating two importantly different conceptions of evidence. This is most clear in the case of perceptual justification, where experience is able to provide evidence in one sense of the term, although not in the sense that the evidentialist requires. I argue this, in part, by relying on a reading of the Sellarsian dilemma that differs from the version standardly encountered in contemporary epistemology, one that is aimed initially at the epistemology of (...) introspection but which generalizes to theories of perceptual justification as well. (shrink)

Outside of philosophy, ‘intuition’ means something like ‘knowing without knowing how you know’. Intuition in this broad sense is an important epistemological category. I distinguish intuition from perception and perception from perceptual experience, in order to discuss the distinctive psychological and epistemological status of evaluative property attributions. Although it is doubtful that we perceptually experience many evaluative properties and also somewhat unlikely that we perceive many evaluative properties, it is highly plausible that we intuit many instances of evaluative properties as (...) such. The resulting epistemological status of evaluative property attributions is very much like it would be if we literally perceived such properties. (shrink)

According to a widely shared intuition, normal adult humans require greater moral concern than normal, adult animals in at least some circumstances. Even the most steadfast defenders of animals' moral status attempt to accommodate this intuition, often by holding that humans' higher-level capacities (intellect, linguistic ability, and so on) give rise to a greater number of interests, and thus the likelihood of greater satisfaction, thereby making their lives more valuable. However, the moves from capacities to interests, and from interests to (...) the likelihood of satisfaction, have up to now gone unexamined and undefended. I argue that context plays a morally significant role both in the formation of an individual's capacities, and in the determination of the individual's interests and potential for satisfaction based on those capacities. Claims about an individual's capacities and interests are typically presented as unconditional; but on closer examination, they are revealed to be contingent on tacit assumptions about context. Until we develop an understanding of how to account for the role of context within our moral theories, attempts to defend special moral concern for human beings based on their superior capacities are less firmly grounded than is commonly thought. (shrink)

There are two primary arguments against scientific realism, one pertaining to underdetermination, the other to the history of science. While these arguments are usually treated as altogether distinct, P. Kyle Stanford's ‘problem of unconceived alternatives’ constitutes one kind of synthesis: I propose that Stanford's argument is best understood as a broad modus ponens underdetermination argument, into which he has inserted a unique variant of the historical pessimistic induction. After articulating three criticisms against Stanford's argument and the evidence that he offers, (...) I contend that, as it stands, Stanford's argument poses no threat to contemporary scientific realism. Nonetheless, upon identifying two useful insights present in Stanford's general strategy, I offer an alternative variant of the modus ponens underdetermination argument, one that, although historically informed by science, requires no inductive premises. I contend that this non-inductive but historically informed variant of the modus ponens clarifies and considerably strengthens the case against scientific realism. (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)

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)

We employ a recently developed methodology -- called "structural refinement" -- to extract nested sequent systems for a sizable class of intuitionistic modal logics from their respective labelled sequent systems. This method can be seen as a means by which labelled sequent systems can be transformed into nested sequent systems through the introduction of propagation rules and the elimination of structural rules, followed by a notational translation. The nested systems we obtain incorporate propagation rules that are parameterized with formal grammars, (...) and which encode certain frame conditions expressible as first-order Horn formulae that correspond to a subclass of the Scott-Lemmon axioms. We show that our nested systems are sound, cut-free complete, and admit hp-admissibility of typical structural rules. (shrink)

To what extent are cognitive capacities, especially perceptual capacities, informationally encapsulated and to what extent are they cognitively penetrable? And why does this matter? Two reasons we care about encapsulation/penetrability are: (a) encapsulation is sometimes held to be definitional of modularity, and (b) penetrability has epistemological implications independent of modularity. I argue that modularity does not require encapsulation; that modularity may have epistemological implications independently of encapsulation; and that the epistemological implications of the cognitive penetrability of perception are messier than (...) is sometimes thought. (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)

Stewart Cohen argues that much contemporary epistemological theorizing is hampered by the fact that ‘epistemic justification’ is a term of art and one that is never given any serious explication in a non-tendentious, theory-neutral way. He suggests that epistemologists are therefore better off theorizing in terms of rationality, rather than in terms of ‘epistemic justification’. Against this, I argue that even if the term ‘epistemic justification’ is not broadly known, the concept it picks out is quite familiar, and partly because (...) it’s a term of art, justification talk is a better vehicle for philosophical theorizing. ‘Rational’ is too unclear for our philosophical purposes, and the fact that ‘epistemic justification’ gets fleshed out by appeal to substantive, controversial theses is no obstacle to its playing the needed role in epistemological theorizing. (shrink)

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

Nearly everyone agrees that perception gives us justification and knowledge, and a great number of epistemologists endorse a particular two-part view about how this happens. The view is that perceptual beliefs get their justification from perceptual experiences, and that they do so by being based on them. Despite the ubiquity of these two views, I think that neither has very much going for it; on the contrary, there’s good reason not to believe either one of them.

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)

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)

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)