Weak ontic necessity is the ontic necessity expressed by “should/ought to” in English. An example of it is “I should be dead by now”. A feature of this necessity is that whether it holds at the present world is irrelevant to whether its prejacent holds at the present world. In this paper, by combining premise semantics and update semantics for conditionals, we present a logical theory for conditional weak ontic necessity based on context update. A context (...) is a set of ordered defaults, determining expected possible states of the present world. Sentences are evaluated with respect to contexts. When evaluating the conditional weak ontic necessity with respect to a context, we first update the context with the antecedent, then check whether the consequent holds with respect to the updated context. We compare this theory to some related works. The logic’s expressivity is studied. (shrink)

Peer reviewers at many funding agencies and scientific journals are asked to score submissions both on individual criteria and overall. The overall scores should be some kind of aggregate of the criteria scores. Carole Lee identifies this as a potential locus for bias to enter the peer review process, which she calls commensuration bias. Here I view the aggregation of scores through the lens of social choice theory. I argue that, when reviewing grant proposals, it is in many cases impossible (...) to avoid commensuration bias. (shrink)

Throughout this systematic analysis, the author questions basic assumptions on which the Quinean edifice rests. The book argues that Quine's notion of ontology is riddled with inconsistencies and singles out examples for discussion.

The claim that Rousseau's writings influenced the development of Kant's critical philosophy, and German idealism, is not a new one. As correct as the claim may be, it does not amount to a systematic account of Rousseau's place within this philosophical tradition. It also suggests a progression whereby Rousseau's achievements are eventually eclipsed by those of Kant, Fichte and Hegel, especially with respect to the idea of freedom. In this book David James shows that Rousseau presents certain challenges that Kant (...) and the idealists Fichte and Hegel could not fully meet, by making dependence and necessity, as well as freedom, his central concerns, and thereby raises the question of whether freedom in all its forms is genuinely possible in a condition of human interdependence marked by material inequality. His study will be valuable for all those studying Kant, German idealism and the history of eighteenth- and nineteenth-century ideas. (shrink)

Dystopias matter because they make us think. They help us to imagine and envisage how the present can change into something very nasty. … Dystopias thus interrogate the now and offer warnings and sometimes prophecies about the future; they are often the jeremiads of utopianism. But sometimes they offer glimmers of hope.One way of being anti-anti-utopian is to be utopian. It's crucial to keep imagining that things could get better, and furthermore to imagine how they might get better. … So (...) by force of will or the sheer default of emergency we make ourselves have utopian thoughts and ideas. This is the necessary next step following the dystopian moment, without which dystopia is stuck at a level of political quietism... (shrink)

During his philosophical career Karl Popper sought to characterize natural laws alternately as strictly universal and as 'naturally' or 'physically' necessary statements. In this paper we argue that neither characterization does what Popper claimed and sketch a reconstruction of his views that avoids some of their major drawbacks.

Giorgio Agamben presents us with one of the most powerful and controversial criticisms of human rights. He contests conventional understandings of human rights as normative setbacks on sovereign power, and shows instead how these rights reinforce sovereignty by producing bare lives that are irredeemably exposed to violence. This essay aims to understand the distinctive aspects of Agamben's critique and assess his concluding call for a politics beyond human rights. It suggests that this call is necessitated by a counternarrative of Western (...) politics that ties human rights inextricably to the logic Agamben ascribes to biopolitical sovereignty. Within this stringent logic, any politics organized around human rights cannot help but reproduce sovereign violence. The essay questions this counternarrative in two ways: First, it shows how this counternarrative, which aims to unveil all the myths that sustain sovereignty, ends up repeating what it identifies as the distinctive mythologizing gesture: rendering the contingent necessary. Second, it turns to Agamben's notion of ‘potentiality’ to break the binding spell of his narrative of fated necessity and reclaim the contingent, equivocal and unpredictable effects of modern rights declarations and struggles. The essay concludes with a discussion of contemporary rights struggles of sans-papiers to illustrate the strengths and limits of Agamben's critique of human rights. (shrink)

The categorization of disasters as natural or manmade does little for our understanding of the moral stakes of institutions and collectives involved in the aftermath of disasters. This paper presents a brief account of how disasters can be understood philosophically taking cues from studies in sociology. Having articulated the gap in conceptualizing disasters, the paper argues that an interpretation of disasters as “events of social suffering,” will help foreground the complex moral and phenomenological nature of such events to prompt a (...) more ethical response from institutions and collectives. (shrink)

Miguel de Unamuno’s theory of tragic sentiment is central to understanding his unique contributions to religious existential thought, which centers on the production of perhaps the most unavoidable and distinctive kind of human feeling. His theory is rightly attributed with being influenced by the gestational thought of, inter alios, Schopenhauer, Kierkegaard, and Nietzsche, but within these pages I should like to suggest a peculiar kinship between seemingly strange bedfellows, namely, between Unamuno and Immanuel Kant. Although the relationship between Unamuno and (...) Kant is conflicted, ranging from clear indications of influence to expressions of antipathy, there has been relatively little comparative research done on these two thinkers. Moreover, this scant literature has mainly explored connections between Unamuno’s existential thought and Kant’s first two Critiques. In these works, however, feelings are regarded as inclinations and thus receive no serious consideration. In what follows, I therefore juxtapose Unamuno’s analysis of tragic feeling in The Tragic Sense of Life with Kant’s discussion of the feelings of beauty and the sublime in the Critique of Judgment. (shrink)

The purpose of this essay is to argue for the necessity of an ethics of the practice of the specialist-technologist in medicine. In the first part I sketch three stages of medical ethics, each with a particular viewpoint regarding the technology of medicine. I focus on Brody's consideration of the physician's power as a example of contemporary medical ethics which explicitly excludes the specialist-technologist as a locus of development of medical ethics. Next, the philosophy of Heidegger is examined to (...) suggest an approach to the problem, and, finally, some of Levinas' contributions regarding the other are introduced to suggest a preliminary approach to a medical ethics of the specialist-technologist. (shrink)

In a recent paper, Ippolito and Farkas (Linguist Philos, 45(4):943–984, 2022b) (I &F) question the premise that Italian future is epistemic necessity; in this brief response we want to show that there is no empirical motivation for abandoning it once we employ a more flexible framework of modality such as the one advanced in Giannakidou and Mari (Linguist Philos 41(6): 623–664, 2018) (G &M) which posits a ranking meta-evaluation in the modal structure that explains the empirical objections raised by (...) I &F. We show that the core of the account in I &F shares the main ingredients with G &M and that, unlike what I &F propose, Italian future is not pure credence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Necessity of TheaterNoël CarrollDespite the fact that theater was the first art form to be examined in depth by Western philosophers, it has not received a great deal of attention by contemporary philosophers of art. Essays on literature, music, and cinema are more likely to appear in journals such as the British Journal of Aesthetics and The Journal of Aesthetics and Art Criticism than are articles (...) on theater. But with the publication of Paul Woodruff's The Necessity of Theater: The Art of Watching and Being Watched, James Hamilton's The Art of Theater and the recent anthology Staging Philosophy, edited by David Zucker Saltz and David Krassner, the tide seems to be turning. Philosophers are interested in theater again. Perhaps some lovers of theater may regard this as bad news, recalling what Plato, Augustine, and Rousseau attempted to do to theater. But contemporary philosophers of theater belong more to the school of Aristotle than to that of Plato.Of these recent contributions to the philosophy of theater, Paul Woodruff's book is the one that most resembles Aristotle's Poetics, especially in terms of its analyses of plotting, characterization, conflict, choice, and mimesis. This is maybe no surprise, since Paul Woodruff is not only a professor of philosophy, but also a professor of classics at the University of Texas at Austin. [End Page 435]One thing that is immediately striking about The Necessity of Theater is the elegance of its intellectual design. Woodruff begins with the hypothesis that theater is the art by which human beings make or find human action worth watching in measure time and place. That is, theater is art of being watched and watching. This distinction between being watched and watching, then, provides Woodruff with the means to, on the one hand, examine the elements that go into making theater, and, on the other hand, the elements that go into watching or appreciating theater.Creating theater involves making something worth watching—something that will hold the audience's attention. What sorts of things command our attention? Human action, notably as it is organized in terms of a plot which Woodruff, like Aristotle, emphasizes must be of a magnitude sufficient to be cognitively manageable. Since actions require choices, Woodruff follows his analysis of plot, naturally enough, with a discussion of the choices that give rise to those actions for much the same reason that Aristotle includes dialogue as one of the components of tragedy.In order to be worth watching, Woodruff recommends that these choices be free and coherent. Since choices derive—or are thought to derive—from character, theater, in order to hold our attention, needs characters. These characters must be agents and, in addition, they must be capable of engaging our emotions, not just pity and fear, but the gamut of emotions, although the most important of these, on Woodruff's view, would appear to be the elicitation of care on the part of the audience on behalf of the characters on stage. Woodruff contends that care for a character is engendered by giving the character a past as well as hopes for the future (an aim, a project, a problem) and by making that person a center of love (that is, someone who loves and/or is loved by or who cares and is cared for by other people).Theater primarily makes us interested in watching people by encouraging us to respond to characters emotionally. It is able to do this because it traffics in mimesis. Woodruff understand mimesis as a matter of a mimetic object, a theater piece, bringing to the fore certain effects of the object of which it is a representation. With respect to a theater piece, the relevant effects are emotional effects. Because mimesis is selective, it may be able to achieve those effects more intensely than its off-stage model can; the selectivity of the theater piece both places greater emphasis on the emotion-provoking features of situations while also blocking out otherwise [End Page 436] interfering detail. However, theater does require the complicity of the audience who must fill-in the model imaginatively.The introduction of the role of the audience's... (shrink)

Howe et al. fail to provide evidence that practice is sufficient and ignore evidence of high ability before instruction. They unsuccessfully discount savants; provide weak evidence against heritability of music, criticize retrospective evidence selectively, using it when it supports their position; and ultimately both accept and deny talent. Finally, they conflate a scientific question with one of policy.