According to internalism about rationality, the ir/rationality of a subject depends only on how things appear from her subjective perspective. According to culpabilism, rationality is a normative standard such that violations of rationality are (at least sometimes) blameworthy. According to a classical line of reasoning, culpabilism entails internalism. I argue that, to the contrary, culpabilism entails that internalism is false. The internalist cannot accommodate the possibility of culpable irrationality.

Teleosemantics has an indeterminacy problem. In an earlier publication, I argued that teleosemanticists may afford to be realists about indeterminacy, pointing to the phenomenon of vagueness as a case of really-existing semantic indeterminacy. Here, I continue that project by proposing two criteria of adequacy that a semantically indeterminate theory should meet: a criterion of theoretical adequacy and a criterion of extensional adequacy. I present reasons to think that indeterminate versions of teleosemantics can meet these criteria. I end by discussing vagueness, (...) concluding that it most likely is not the same kind of phenomenon as the semantic indeterminacy afflicting teleosemantics. (shrink)

Consider the opening sentence of Tolkien’s The Hobbit: In a hole in the ground there lived a hobbit. By writing this sentence, Tolkien is making a fictional statement. There are two influential views of the nature of such statements. On the pretense view, fictional discourse amounts to pretend assertions. Since the author is not really asserting, but merely pretending, a statement such as Tolkien’s is devoid of illocutionary force altogether. By contrast, on the alternative make-believe view, fictional discourse prescribes that (...) the reader make-believe the content of the statement. In this paper, we argue that neither of these views is satisfactory. They both fail to distinguish the linguistic act of creating the fiction, for instance Tolkien writing the sentence above, from the linguistic act of reciting it, such as reading The Hobbit out loud for your children. As an alternative to these views, we propose that the essential feature of the author’s speech act is its productive character, that it makes some state of affairs obtain in the fiction. Tolkien’s statement, we argue, has the illocutionary force of a declaration. (shrink)

The teleosemantic indeterminacy problem has generated much discussion but no consensus. One possible solution is to accept indeterminacy as a real feature of some representations. I call this view “indeterminacy realism.” In this paper, I argue that indeterminacy realism should be treated as a serious option. By drawing an analogy with vagueness, I try to show that accepting the reality of indeterminacy would not be catastrophic for teleosemantics. I further argue that there are positive reasons to endorse indeterminacy realism. I (...) end the paper by arguing that indeterminacy realism need not generalize viciously to the case of propositional attitudes. (shrink)

This study examines the conflation of terms such as “knowledge” and “understanding” in peer-reviewed literature, and tests the hypothesis that little current research clearly distinguishes between importantly distinct epistemic states. Two sets of data are presented from papers published in the journal Public Understanding of Science. In the first set, the digital text analysis tool, Voyant, is used to analyze all papers published in 2014 for the use of epistemic success terms. In the second set of data, all papers published (...) in Public Understanding of Science from 2010–2015 are systematically analyzed to identify instances in which epistemic states are empirically measured. The results indicate that epistemic success terms are inconsistently defined, and that measurement of understanding, in particular, is rarely achieved in public understanding of science studies. We suggest that more diligent attention to measuring understanding, as opposed to mere knowledge, will increase efficacy of scientific outreach and communication efforts. (shrink)

Bok defines lying in the same way as Augustine and Kant. But she wants to oppose their position that one cannot lie to save an innocent life. This position was successfully and consistently opposed by Constant and Grotius who did so by redefining lying so that the untruth one tells to save an innocent life does not count as a lie since it does not violate a right. Bok refuses to use this way. She instead uses her analogy of deception (...) and violence. But this analogy is not, as she believes it is, intuitively clear or a good a fortiori argument. Still, if one pays attention to the ordinary sense of the words Bok uses in her confused analogy, deception and lying, force and violence, one realizes that Bok's analogy has some persuasive power, not because violence and lying are right means to save a life, but because force and deception, or force or deception are. And to see why this is so requires that Constant and Grotius's way of opposing Kant, and their definition of lying, must be adopted. Bok's apparent success with her analogy of force and lying is due to the fact that it is a shadow of the more genuine success of the analogy of force and violence and deception and lying which requires Constant and Grotius's definition of deception and lying. Thus her way of opposing Augustine and Kant is weak in trying to do it in a new approach and demonstrates the advantages of Constant and Grotius's approach. (shrink)

In Persona (1966), Ingmar Bergman reflects on thenature of the image emphasizing its enigmatic look. Thetechnical reproductions of images simultaneous lyactas windows and barriers of the world, as the world itself, from its status as documentary object that is part of the individual and collective memory of man. In the eye of the hurricane they are reality and its representation, and more specifically, a reality subjectified expressed in a poetic film that explores the image as extra linguistic sign. In (...) this way Bergman makes a work with its own existence, self-conscious and self-referential, which reproduces the dreams of his consciousness through the cinematographic screen. (shrink)

Summer with Monika (Ingmar Bergman, 1952) was a point of reference for filmmakers searching new ways of filmmaking during the 1960s and 1970s because it anticipated the characteristic reflexivity of cinematic modernity because of the protagonist’s look at the camera. By unexpectedly bursting into the narrative, this gaze becomes a self-conscious strategy aimed at disarticulating not only the cinematic fiction, but also Monika’s fiction, which has symbolically appropriated the imaginary world projected by cinema.

In this article I address the neglected question of what kind of act keeping a secret is, and what Kant had to say about secret keeping. First, I provide a definition of keeping a secret, improving upon Sissela Bok's definition. I distinguish between keeping a secret and deception, incorporating Thomas Nagel. Then, I discuss what Kant had to say about keeping a secret, and advance an Kantian argument for the moral permissibility of secret-keeping.

In May 2010, philosophers, family and friends gathered at the University of Notre Dame to celebrate the career and retirement of Alvin Plantinga, widely recognized as one of the world's leading figures in metaphysics, epistemology, and the philosophy of religion. Plantinga has earned particular respect within the community of Christian philosophers for the pivotal role that he played in the recent renewal and development of philosophy of religion and philosophical theology. Each of the essays in this volume engages with some (...) particular aspect of Plantinga's views on metaphysics, epistemology, or philosophy of religion. Contributors include Michael Bergman, Ernest Sosa, Trenton Merricks, Richard Otte, Peter VanInwagen, Thomas P. Flint, Eleonore Stump, Dean Zimmerman and Nicholas Wolterstorff. The volume also includes responses to each essay by Bas van Fraassen, Stephen Wykstra, David VanderLaan, Robin Collins, Raymond VanArragon, E. J. Coffman, Thomas Crisp, and Donald Smith. (shrink)

The chapter examines fifty years of philosophers working on lying - from the 1970s to the current day – focusing on how lying is defined (descriptively and normatively), whether lying involves an intention to deceive (Deceptionists) or not (Non-Deceptionists), why lying is wrong, and whether lying is worse than other forms of deception, including misleading with the truth. Philosophers discussed include Roderick Chisholm and Thomas Feehan, Alan Donagan, Sissela Boy, Charles Fried, David Simpson, David Simpson, Bernard Williams, Paul Faulkner, (...) Thomas Carson, Roy Sorensen, Don Fallis, Jennifer Saul, Andreas Stoke, Jonathan Webber and Clea Rees. (shrink)

What follows is an attempt to do some conceptual housekeeping around the notion of secret law as provided by Christopher Kutz (2013). First I consider low-salience (or merely obscure) law, suggesting that it fails to capture the legal and moral facts that are at stake in the case which Kutz used to motivate it. Then I outline a theoretical contrast between mere obscurity and secrecy, in contrast to the 'neutral' account of secrecy provided by Sissela Bok (1989). The upshot (...) of the two sections is that low-salience law is neither secret law nor necessarily problematic, though it closely resembles a kind of law that is both secret and problematic: namely, those legal obscurities that subvert manifest interests related to the informational needs of citizens. The ensuing argument undermines the fiction of constructive presence found in Austin and Blackstone. (shrink)

According to Kantians, coercion and deception are the two fundamental kinds of wrongdoing. Although this may be true, I wish to argue against two other related assumptions about coercion and deception held by Kantians as well as non-Kantians. One is the assumption that coercion is morally worse than deception, all things being equal. The other is the assumption that whenever coercion is morally permissible, deception is morally permissibe, all things being equal. Both of these assumptions, I argue, are false. Deception (...) is morally worse than coercion, and deception is never morally permissible in virtue of the fact that coercion is morally permissible, whenever coercion is morally permissible. (shrink)

In Difference and Repetition, Deleuze evokes dramatization when he suggests that intensities must dramatize the Ideas to condition their actualization. This allusion to an artistic category, in the midst of his metaphysical inquiry, has remained obscure, and despite its cruciality, it is not clear why he appeals to dramatization to explain any actualization and not solely the artistic actualization. This essay attempts to elucidate this ambiguity, by foregrounding a zone of torsional continuity, wherein intensity encounters the Idea and expresses it (...) through dramatization. This process is at play in the actualization of the organic field, social field, and aesthetic field, where an intensive larval subject—embryo, disentangled individual, artist—encounters the biological, social, or artistic Idea. While referring to the artistic encounter, it is shown how dramatization is indispensable to actualize every Idea. Finally, through Tarkovsky and Blanchot, the notion of poeticization is formulated that, while complementing dramatization, unveils certain tacit nuances of the Deleuzian actualization. (shrink)

Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...) quanto attiene specificamente lo statuto filosofico dell’immagine, si può dire che sia proprio questo passaggio che consente a Deleuze stesso di modulare la sua riflessione riponendo maggiore attenzione all’elemento temporale rispetto invece al movimento — concetto dal quale, ciononostante, l’indagine sul cinema aveva preso abbrivio. (shrink)