1000 time-travelers travel back in time, each with the intention of killing their own infant-self. If there is no branching time, then on pain of bringing about a logical contradiction, all must fail. But this seems inexplicable: what is to ensure that the time-travelers are stopped? For a time, this inexplicability objection was thought to provide evidence that there is something incoherent about the possibility of backwards time travel in a universe without branching time. There is now near-consensus, however, that (...) the objection has no bite: there is nothing inexplicable about the mass failure. Lewis, Sider and Ismael independently argue that since it is built into the description of the class of cases considered that the time-travelers must fail – and so we consider only unsuccessful attempts – there is no mystery. Smith argues that the absence of possible worlds at which auto-infanticide is committed suffices as a complete explanation for the failures. And Baron and Colyvan maintain that available causal and logical explanations jointly account for everything that needs accounting for. I argue that these are wrong. There is remaining, problematic inexplicability. For backwards time travel not to lead to logical contradiction, something would need to do logic’s bidding, after all. (shrink)

ABSTRACT The apparent consistency of Sobel sequences famously motivated David Lewis to defend a variably strict conditional semantics for counterfactuals. If Sophie had gone to the parade, she would have seen Pedro. If Sophie had gone to the parade and had been stuck behind someone tall, she would not have seen Pedro. But if the order of the counterfactuals in a Sobel sequence is reversed—in the example, if is asserted prior to —the second counterfactual asserted no longer rings true. This (...) is the Heim sequence problem. That the order of assertion makes this difference is surprising on the variably strict account. Some argue that this is reason to reject the Lewis-Stalnaker semantics outright. Others argue that the problem motivates a contextualist rendering of counterfactuals. Still others maintain that the explanation for the phenomenon is merely pragmatic. I argue that none of these is right, and I defend a novel way to understand the phenomenon. My proposal avoids the problems faced by the alternative analyses and enjoys independent support. There is, however, a difficulty for my view: it entails that many ordinarily accepted counterfactuals are not true. I argue that this cost is acceptable. (shrink)

This article suggests a change of perspective on philosophy’s engagement with its past. It argues that rather than the putative purport of giving life to the past philosopher’s work, philosophical engagement with the past gives life to one’s own. Drawing on the neo-pragmatist thesis of Robert Brandom, it suggests looking to what philosophers do when they attribute meaning to concepts and considering their engagement with the past as appropriation in consequence. By scrutinizing Robert Pippin’s opposing thesis of philosophical engagement with (...) the past as dialogue, and carefully examining Brandom’s, the article suggests an account for appropriation that shows it to be non-dialogical, and hence unable to yield the fruits associated with this conception, but also insightful and rich with other philosophical values. Brandom and John McDowell’s dispute over the interpretation of Wilfrid Sellars provides an illustration of the proposed perspective and of those values. (shrink)

Robert Brandom’s notion of historical rationality seeks to supplement his inferentialism thesis by providing an account for the validity of conceptual contents. This account, in the shape of a historical process, involves the same self-integration of Brandom’s earlier inferentialism and is similarly restricted by reciprocal recognition of others. This article argues that in applying the synchronic social model of normative discourse to the diachronic axis of engaging the past, Brandom premises a false analogy between present community and past tradition, which (...) obscures the important differences between the two axes. This is explored by looking closely at how Brandom’s own engagements with the past exemplify his historical rationality. Taking its cue from Brandom’s critics, the article shows that Brandom’s own discourse with tradition is not, and cannot be, dialogical and, in accordance, that historical rationality is not, and cannot be, governed by the same social structure of inferentialism. The article concludes with the implications of such a claim on Brandom’s thesis as a whole and on the role of tradition in the process of normative change, in light of it. (shrink)

Just as knowledge contextualism offers a way out of knowledge skepticism in the face of powerful skeptical arguments, counterfactual contextualism purports to answer the many compelling arguments for the skeptical thesis that most ordinary counterfactuals of the form ‘if A had happened, C would have happened’, are false. In this article I review a few of the arguments for counterfactual skepticism, before surveying the various types of contextualist responses. I then discuss some of the recent objections to counterfactual contextualism, with (...) an eye toward weighing contextualism's costs with the costs of accepting skepticism. I conclude by remarking on some of the implications that skepticism and contextualism each has for many disputes in metaphysics. (shrink)

Before a fair, indeterministic coin is tossed, Lucky, who is causally isolated from the coin-tossing mechanism, declines to bet on heads. The coin lands heads. The consensus is that the following counterfactual is true: (M:) If Lucky had bet heads, he would have won the bet. It is also widely believed that to rule (M) true, any plausible semantics for counterfactuals must invoke causal independence. But if that’s so, the hope of giving a reductive analysis of causation in terms of (...) counterfactuals is undermined. Here I argue that there is compelling reason to question the assumption that (M) is true. (shrink)

Plotinus resolved the paradox of the immanent transcendence, characterizing the relation between the One and the universe, through his theory of the two energeiai. According to this doctrine, all existents have an internal activity and an external activity: the internal activity comprises the true essence and substance of each being; the external activity is emitted outwards as its image. The source of the emission is thus present in the lower layer of being by virtue of its manifold images. The prominence (...) given to light in elucidating this solution led to a distinction between two types of lights: an original light, corresponding to the internal energeia of every existent, and a secondary light, which is the outflow and image of the first light, existing outside of the luminous body.This paper demonstrates the striking similarity between these two Plotinian lights and the concepts of lux and lumen developed by two thirteenth-century philosophers: Robert Grosseteste and Albertus Magnus. Moreover, the paper contends that the purpose of these two medieval concepts of light was identical to what Plotinus had in mind when he first made the distinction: to account for the relation between the one and the many.Keywords: Plotinus; Albertus Magnus; Robert Grosseteste; Light; Lux; Lumen. (shrink)

This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's (...) distinction between bad and vacuous modern music is analogous to Schenker's distinction between the compositional fallacies of the progressive and the reactionary composers of his time. Concomitantly, Wittgenstein's philosophically problematic notion of good modern music transcended the conceptual framework of both Schenker and Spengler. In this context, I examine Wittgenstein's remarks on Gustav Mahler as well as his remark on the music of the future as monophony, which, I conclude, should be understood ultimately as an ellipsis of his much later view of musical meaning and intelligibility. (shrink)

I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms of (...) vertically interrelated language-games which facilitate Menschenkenntnis. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

Durante los últimos treinta años, los nacionalistas liberales han defendido la idea según la cual del mismo modo que el liberalismo necesita delnacionalismo para lograrmejor sus objetivos centrales, las diferentes expresiones delnacionalismo deben ser limitadas por los principios liberales.Yael Tamir ha sidouna de las figuras clave de esta singular articulación. En su obra Liberal Nationalism(1993), como en sus trabajos posteriores,no sólo defendió que era posible conciliar los valores liberales con ciertos aspectos fundamentales de la tradición nacionalista, sino también que (...) era necesario fundar una alianza entre el liberalismo y el multiculturalismocon el propósito de hacerjusticia a los miembros de las minorías culturales y religiosas. En Why Nationalism, su más reciente libro,Tamirse proponeenumerar las ventajas que el nacionalismo aporta al discurso político y examinar una variedad de reivindicaciones nacionales juzgándolas por sus propios méritos. (shrink)

In this paper I explain Wittgenstein’s ambivalent remarks on the music of Gustav Mahler in their proper musico-philosophical context. I argue that these remarks are connected to Wittgenstein’s hybrid conception of musical decline and to his tripartite scheme of modern music. I also argue that Mahler’s conundrum was indicative of Wittgenstein’s grappling with his own predicament as a philosopher, and that this gives concrete sense to Wittgenstein’s admission that music was so important to him that without it he was sure (...) to be misunderstood. (shrink)

This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas about contemporary music (...) and the music of the future. (shrink)