One hundred years after Luigi Russolo's "The Art of Noises," this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The book's focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material--as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are first (...) and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving. Contributors include Peter Ablinger, Sebastian Berweck, Aaron Cassidy, Marko Ciciliani, Nick Collins, Aaron Einbond, Matthias Haenisch, Alec Hall, Martin Iddon, Bryan Jacobs, Phil Julian, Michael Maierhof, Joan Arnau Pàmies, and James Whitehead (JLIAT). The book also features a collection of short responses to a two-question "interview"--"what is noise (music) to you?" and "why do you make it?"--by some of the leading musicians working with noise today. Their work spans a wide range of artistic practice, including instrumental, vocal, and electronic music; improvisation; notated composition; theater; sound installation; DIY; and software development. Interview subjects include Eryck Abecassis, Franck Bedrossian, Antoine Chessex, Ryan Jordan, Alice Kemp (Germseed), George Lewis, Lasse Marhaug, Maja Solveig Kjelstrup Ratkje, Diemo Schwarz, Ben Thigpen, Kasper Toeplitz, and Pierre Alexandre Tremblay."--Page 4 of covers. (shrink)

From popular introductions to biographies and television programmes, philosophy is everywhere. Many people even want to _be_ philosophers, usually in the café or the pub. But what do real philosophers do? What are the big philosophical issues of today? Why do they matter? How did some our best philosophers get into philosophy in the first place? Read _New British Philosophy_ and find out for the first time. Clear, engaging and designed for a general audience, sixteen fascinating interviews with some of (...) the top philosophers from the new generation of the subject's leaders range from music to the mind and feminism to the future of philosophy. Each interview is introduced and conducted by Julian Baggini and Jeremy Stangroom of _The Philosophers Magazine_. This is a unique snapshot of philosophy in Great Britain today and includes interviews with: Ray Monk - Biography; Nigel Warburton - the Public; Aaron Ridley - Music; Jonathan Wolff - Politics; Roger Crisp - Ethics; Rae Langton - Pornography; Miranda Fricker - Knowledge; M.G.F.Martin - Perception; Timothy Williamson - Vagueness; Tim Crane - Mind; Robin Le Poidevin - Metaphysics; Christina Howells - Sartre; Simon Critchley - Phenomenology; Simon Glendinning - Continental; Stephen Mulhall - the Future; Keith Ansell Pearson - the Human. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

Obligations to reduce one’s green house gas emissions appear to be difficult to justify prior to large-scale collective action because an individual’s emissions have virtually no impact on the environmental problem. However, I show that individuals’ emissions choices raise the question of whether or not they can be justified as fair use of what remains of a safe global emissions budget. This is true both before and after major mitigation efforts are in place. Nevertheless, it remains difficult to establish an (...) obligation to reduce personal emissions because it appears unlikely that governments will in fact maintain safe emissions budgets. The result, I claim, is that under current conditions we lack outcome, fairness, promotional, virtue or duty based grounds for seeing personal emissions reductions as morally obligatory. (shrink)

This book defends an interpretation of Peirce’s philosophical work as forming a systematic whole, emphasizing his empiricist epistemology and explaining the roots of his thought in earlier empiricist and common sense philosophers. In particular, the book develops the connections between Peirce, Reid, and the British empiricists, and provides focused analyses of Peirce’s accounts of experience, habit, perception, semeiosis, truth, and ultimate ends.

How do we know right from wrong? Do we even have moral knowledge? Moral epistemology studies these and related questions about our understanding of virtue and vice. It is one of philosophy’s perennial problems, reaching back to Plato, Aristotle, Aquinas, Locke, Hume and Kant, and has recently been the subject of intense debate as a result of findings in developmental and social psychology. Throughout the book Zimmerman argues that our belief in moral knowledge can survive sceptical challenges. He also draws (...) on a rich range of examples from Plato’s Meno and Dickens’ David Copperfield to Bernard Madoff and Saddam Hussein. (shrink)

Kyle Stanford has recently given substance to the problem of unconceived alternatives, which challenges the reliability of inference to the best explanation (IBE) in remote domains of nature. Conjoined with the view that IBE is the central inferential tool at our disposal in investigating these domains, the problem of unconceived alternatives leads to scientific anti-realism. We argue that, at least within the biological community, scientists are now and have long been aware of the dangers of IBE. We re-analyze the nineteenth-century (...) study of inheritance and development (Stanford’s case study) and extend it into the twentieth century, focusing in particular on both classical Mendelian genetics and the studies by Avery et al. on the chemical nature of the hereditary substance. Our extended case studies show the preference of the biological community for a different methodological standard: the vera causa ideal, which requires that purported causes be shown on non-explanatory grounds to exist and be competent to produce their effects. On this basis, we defend a prospective realism about the biological sciences. (shrink)

There is long-standing conflict between genealogical and developmental accounts of homology. This paper provides a general framework that shows that these accounts are compatible and clarifies precisely how they are related. According to this framework, understanding homology requires both an abstract genealogical account that unifies the application of the term to all types of characters used in phylogenetic systematics and locally enriched accounts that apply only to specific types of characters. The genealogical account serves this unifying role by relying on (...) abstract notions of ‘descent’ and ‘character’. As a result, it takes for granted the existence of such characters. This requires theoretical justification that is provided by enriched accounts, which incorporate the details by which characters are inherited. These enriched accounts apply to limited domains, providing the needed theoretical justification for recognizing characters within that domain. Though connected to the genealogical account of homology in this way, enriched accounts include phenomena that fall outside the scope of the genealogical account. They therefore overlap, but are not nested within, the genealogical account. Developmental accounts of homology are to be understood as enriched accounts of body part homology. Once they are seen in this light, the conflict with the genealogical account vanishes. It is only by understanding the fine conceptual structure undergirding the many uses of the term ‘homology’ that we can understand how these uses hang together. (shrink)

Emotions involve complex processes produced by interactions between motives, beliefs, percepts, etc. E.g. real or imagined fulfilment or violation of a motive, or triggering of a 'motive-generator', can disturb processes produced by other motives. To understand emotions, therefore, we need to understand motives and the types of processes they can produce. This leads to a study of the global architecture of a mind. Some constraints on the evolution of minds are disussed. Types of motives and the processes they generate are (...) sketched. (shrink)

Many of the most popular genres of narrative art are designed to elicit negative emotions: emotions that are experienced as painful or involving some degree of pain, which we generally avoid in our daily lives. Melodramas make us cry. Tragedies bring forth pity and fear. Conspiratorial thrillers arouse feelings of hopelessness and dread, and devotional religious art can make the believer weep in sorrow. Not only do audiences know what these artworks are supposed to do; they seek them out in (...) pursuit of prima facie painful reactions.Traditionally, the question of why people seek out such experiences of painful art has been presented as the paradox of tragedy. Most solutions to the paradox of tragedy assume that the reason we seek out tragedies, horror films, melodramas, and the like is because they afford pleasureful experiences. From there, theorists attempt to account for the source of this pleasure, a pleasure assumed to be had from representations of events from which we do not derive pleasure in real life. I argue that this assumption is suspect: the motive for seeking out devotional religious art, melodrama, tragedy, and some horror is not clearly to find pleasure. (shrink)

Timothy Williamson has argued that a person S ’s total evidence is constituted solely by propositions that S knows. This theory of evidence entails that a false belief can not be a part of S ’s evidence base for a conclusion. I argue by counterexample that this thesis (E = K for now) forces an implausible separation between what it means for a belief to be justified and rational from one’s perspective and what it means to base one’s beliefs on (...) the evidence. Furthermore, I argue that E = K entails the implausible result that there are cases in which a well-evidenced belief necessarily can not serve as evidence for a further proposition. (shrink)

Over the last few decades, skepticism about political and moral experts has grown into a serious social problem, undermining the functioning of liberal democratic regimes. Indeed, meritocracy-that is, government by hard working, public-spirited people with high levels of relevant expertise-has never looked so promising as an alternative to the dangers of know-nothing populism. One cultural tradition has devoted sustained attention to the idea of meritocracy, as well as to the cultivation of true expertise or mastery: Confucianism. Mastery, Dependence, and the (...) Ethics of Authority presents a compelling analysis of expertise and authority, and examines classical Confucian conceptions of mastery, dependence, and human relationships in order to suggest new approaches to these issues in ethics and political theory. Contemporary Westerners are heirs to multiple traditions that are suspicious of authority, especially coercive political authority. We are also increasingly wary of dependence, which now often seems to signify weakness, neediness, and pathology. Analysts commonly presume that both authority and dependence threaten human autonomy, and are thus intrinsically problematic. But these judgments are mistaken. Our capacity for autonomy needs to be cultivated over time through deliberate practices of training, in which we depend on the guidance of virtuous and skilled teachers. Confucian thought provides a subtle and powerful analysis of one version of this training process, and of the social supports such an education in autonomy requires-as well as the social value of having virtuous and skilled leaders. Early Confucians also argue that human life is marked by numerous interacting forms of dependence, which are not only ineradicable, but in many ways good. On a Confucian view, it is natural, healthy, and good for people to be deeply dependent on others in a variety of ways across the full human lifespan. They teach us that individual autonomy only develops within a social matrix, structured by relationships of mutual dependence that can either help or hinder it, including a variety of authority relations. (shrink)

Caregivers should usually accede to parents’ requests for life-sustaining treatment. For such decision-making, the best interests standard is too limited. John Arras’s “relational potential standard,” con-joined to a contemporary care ethics framework, provides a better guide.

Familiar questions about whether or how far to impose risks of harm for social benefit present a fundamental dilemma for contractualist moral theories. If contractualism allows objections by considering actual outcomes, it becomes difficult to justify the risks created by most public policy, leaving contractualism at odds with moral commonsense in much the way utilitarianism is. But if contractualism instead takes a fully form by considering only expected outcomes, it becomes unclear how it recommends something other than aggregative cost-benefit decision-making. (...) Focusing on T.M. Scanlon's version, this paper develops this basic choice of interpretation and recommends the ex ante version. The paper explains how contractualism is inconsistent with John Harsanyibad aggregationgood aggregation” that is both unavoidable and fully appropriate in public life. (shrink)

In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on the issue: It (...) is wrong to enjoy evil whether real or merely fiction. I develop my position through an examination of the controversially song "Mind of a Lunatic" (1990) by the Houston based rap group Geto Boys. (shrink)

This paper introduces a new approach to the theory of truthmaking. According to this approach, there are multiple forms of truthmaking. Here, I characterize and motivate a specific version of this approach, which I call a ‘Pluralist Theory of Truthmaking.’ It is suggested that truthmaking is a plural, variegated phenomenon wherein different kinds of truths, e.g., positive truths, negative truths, counterfactual truths, etc., are made true in different ways. While the paper only aims to lay the groundwork for a Pluralist (...) Theory of Truthmaking, I show how the theory can be applied to positive and negative truths. The upshot of this application is that truthmaking pluralism allows us to provide negative truths with ‘non-suspicious’ truthmakers. Finally, it is argued that Truthmaker Maximalists would do well to endorse truthmaking pluralism, as it offers a new strategy for upholding Maximalism while diminishing controversial ontological commitments. (shrink)

I argue that by any major definition of art many modern video games should be considered art. Rather than defining art and defending video games based on a single contentious definition, I offer reasons for thinking that video games can be art according to historical, aesthetic, institutional, representational and expressive theories of art. Overall, I argue that while many video games probably should not be considered art, there are good reasons to think that some video games should be classified as (...) art. I also show that the debates over the artistic status of chess and sports offer some insights into the status of video games. (shrink)

_Welfare, Meaning, and Worth_ argues that there is more to what makes a life worth living than welfare, and that a good life does not consist of what is merely good for the one who lives it. Smuts defends an objective list theory that states that the notion of worth captures matters of importance for which no plausible theory of welfare can account. He puts forth that lives worth living are net high in various objective goods, including pleasure, meaning, knowledge, (...) and loving relationships. The first part of the book presents a theory of worth, a mental statist account of welfare, and an objectivist theory of meaning. The second part explores the implications for moral theory, the popularity of painful art, and the viability of pessimism about the human condition. This book offers an original exploration of worth as a combination of welfare and meaning that will be of interest to philosophers and ethicists who work on issues in well-being and positive psychology. (shrink)

Many contemporary philosophers endorse the Humean-Lewisian Denial of Absolutely Necessary Connections (‘DANC’). Among those philosophers, many deny all or part of the Humean-Lewisian package of views about causation and laws. I argue that they maintain an inconsistent set of views. DANC entails that (1) causal properties and relations are, with a few possible exceptions, always extrinsic to their bearers, (2) nomic properties and relations are, with a few possible exceptions, always extrinsic to their bearers, and (3) causal and nomic properties (...) and relations globally supervene on non-causal, non-nomic properties and relations. Hence, one can’t be a consistent Half-Hearted Humean. Consistency demands giving up the core Humean thesis or facing up to its consequences. The upshot is that we face a stark choice: either there are absolutely necessary connections between distinct existents or it’s "just one damn thing after another.". (shrink)

We present a new axiomatization of classical mereology in which the three components of the theory—ordering, composition, and decomposition prin-ciples—are neatly separated. The equivalence of our axiom system with other, more familiar systems is established by purely deductive methods, along with additional results on the relative strengths of the composition and decomposition axioms of each theory.

The "ethics of imagination" or the "ethics of fantasy" encompasses the various ways in which we can morally evaluate the imagination. This topic covers a range of different kinds of imagination: (1) fantasizing, (2) engaging with fictions, and (3) dreaming. The clearest, live ethical question concerns the moral value of taking pleasure in undeserved suffering, whether willfully imagined, represented, or dreamed. Much of this entry concerns general theoretical considerations and how they relate to the ethics of fantasy. In the final (...) sections I walk through the three types of imagination and point out some of the open questions concerning each type. (shrink)

There are passages in Nietzsche that can be read as contributions to the free will/determinism debate. When read in that way, they reveal a fairly amateurish metaphysician with little of real substance or novelty to contribute; and if these readings were apt or perspicuous, it seems to me, they would show that Nietzsche's thoughts about freedom were barely worth pausing over. They would simply confirm the impression—amply bolstered from other quarters—that Nietzsche was not at his best when addressing the staple (...) questions of philosophy. But these readings sell Nietzsche short. He had next to no systematic interest in metaphysics, and his concern with the question of freedom was not motivated by metaphysical considerations. Rather—and as with all of Nietzsche's concerns—his motivations were ethical. He was interested, not in the relation of the human will to the causal order of nature, but in the relation between freedom and the good life, between the will and exemplary human living. Read from this perspective, Nietzsche's remarks about freedom actually add up to something. And what they add up to is one aspect of his attempt to understand life after the model of art. Beauty, for Kant, was an image of the moral.1 For Nietzsche, by contrast—and the contrast can be hard to spell out—art was an image of the ethical.2 My hope here is to begin to explain why Nietzsche might have thought that the issue of freedom was relevant to that. In sections 1–3, I attempt to show why Nietzsche is not best read as a participant in the standard free will/determinism debate; in sections 4–6, I try to spell out the ethical conception of freedom that he develops instead. (shrink)

David Benatar argues that being brought into existence is always a net harm and never a benefit. I disagree. I argue that if you bring someone into existence who lives a life worth living (LWL), then you have not all things considered wronged her. Lives are worth living if they are high in various objective goods and low in objective bads. These lives constitute a net benefit. In contrast, lives worth avoiding (LWA) constitute a net harm. Lives worth avoiding are (...) net high in objective bads and low in objective goods. It is the prospect of a LWA that gives us good reason to not bring someone into existence. Happily, many lives are not worth avoiding. Contra Benatar, many are indeed worth living. Even if we grant Benatar his controversial asymmetry thesis, we have no reason to think that coming into existence is always a net harm. (shrink)

Online data collection methods are expanding the ease and access of developmental research for researchers and participants alike. While its popularity among developmental scientists has soared during the COVID-19 pandemic, its potential goes beyond just a means for safe, socially distanced data collection. In particular, advances in video conferencing software has enabled researchers to engage in face-to-face interactions with participants from nearly any location at any time. Due to the novelty of these methods, however, many researchers still remain uncertain about (...) the differences in available approaches as well as the validity of online methods more broadly. In this article, we aim to address both issues with a focus on moderated data collected using video-conferencing software. First, we review existing approaches for designing and executing moderated online studies with young children. We also present concrete examples of studies that implemented choice and verbal measures and looking time across both in-person and online moderated data collection methods. Direct comparison of the two methods within each study as well as a meta-analysis of all studies suggest that the results from the two methods are comparable, providing empirical support for the validity of moderated online data collection. Finally, we discuss current limitations of online data collection and possible solutions, as well as its potential to increase the accessibility, diversity, and replicability of developmental science. (shrink)

There appear to be few ways available to improve the prospects for international cooperation to address the threat of global warming within the very short timeframe for action. I argue that the most effective and plausible way to break the ongoing pattern of delay in the international climate regime is for economically powerful states to take the lead domestically and demonstrate that economic welfare is compatible with rapidly decreasing GHG emissions. However, the costs and risks of acting first can be (...) very large. This raises the question of whether it is fair to expect some states to go far ahead of others in an effort to improve the conditions for cooperation. I argue that a costly obligation to act unilaterally and to accept weak initial reciprocity can be justified and does not violate standards of fair burden sharing. Rather, the costs of creating the underlying conditions within which we can hope to achieve meaningful international cooperation are non-­‐ideal burdens for which we can appropriately assign fair shares. (shrink)

Recent advances in the field of statistical learning have established that learners are able to track regularities of multimodal stimuli, yet it is unknown whether the statistical computations are performed on integrated representations or on separate, unimodal representations. In the present study, we investigated the ability of adults to integrate audio and visual input during statistical learning. We presented learners with a speech stream synchronized with a video of a speaker’s face. In the critical condition, the visual (e.g. /gi/) and (...) auditory (e.g. /mi/) signals were occasionally incongruent, which we predicted would produce the McGurk illusion, resulting in the perception of an audiovisual syllable (e.g. /ni/). In this way, we used the McGurk illusion to manipulate the underlying statistical structure of the speech streams, such that perception of these illusory syllables facilitated participants’ ability to segment the speech stream. Our results therefore demonstrate that participants can integrate audio and visual input to perceive the McGurk illusion during statistical learning. We interpret our findings as support for modality-interactive accounts of statistical learning. (shrink)

I argue that the term "interactive" should be considered a general-purpose term that indicates something about whatever it is applied to, whether that is art, artifact, or nature. I base my definition in the notion of "interacting with" something. First, I look for essential features of this relation, and then using these features, I develop a notion of interactivity that can help distinguish the interactive from non-interactive arts. Although I am skeptical of the benefits interactivity affords, interactive artworks are significant (...) in that they are the first instances of mass art to be truly "concreative." Prior to building a definition of interactivity, I provide a novel reading of Collingwood in order to revive his notion of "concreativity" for contemporary application. In order to develop my theory of interactivity as mutual responsiveness, I analyze four problematic definitions of interactivity: (1) the control theory, (2) the making use theory, (3) the input/output theory, (4) Dominic McIver Lopes' modifiable structure theory, and (5) Janet Murray's procedural/participatory theory. In each case, I reveal a problem that my final notion solves. After presenting a definition of interactivity, I defend the viability of my theory against skeptical remarks that interactivity is a useless concept. To highlight the significance of my analysis, I analyze an argument against the value of concreative art—that interactivity is incompatible with narrative immersion. (shrink)

Hope is a ubiquitous feature of human experience, but there has been relatively little scholarship within contemporary analytic philosophy devoted to the systematic analysis of its nature and value. In the last decade, however, there has been a resurgence of interest in the study of hope and, in particular, its role in human agency. This scholarly attention reflects an ambivalence about hope's effects. While the possession of hope can have salutary consequences, it can also make the agent vulnerable to certain (...) kinds of personal risk. The pervasiveness of hope is not a sign of its quality; only a well‐tuned hope can be a virtue. Recently, Nancy Snow has argued that hope can be an intellectual virtue. Framing her account as a contribution to regulative epistemology, she contends that the intellectual virtue of hope can (i) motivate the pursuit of important epistemic ends, (ii) create dispositions that enable the successful pursuit of these aims, and (iii) generate a method for enduring intellectual projects. In this paper, I provide a critical appraisal of Snow's account of hope as an intellectual virtue. One important implication of this critique is that hope can function as an intellectual virtue only to the extent that it has benefitted from the correcting and perfecting influence of other cognitive excellences. (shrink)

Decisions regarding life-sustaining medical treatments for young children with profound disabilities can be extremely challenging for families and clinicians. In this study, Brick and colleagues1 surveyed adult residents of the UK about their attitudes regarding withdrawal of treatment using a series of vignettes of infants with varying levels of intellectual and physical disability, based on real and hypothetical cases.1 This is an interesting study on an important topic. We first highlight the limitations of using these survey data to inform public (...) policy and then offer a different interpretation from the authors’ regarding their findings about the value the public appears to place on relational capacity. The authors asked members of the lay public to interpret a disabled child’s best interest in a series of vignettes. The respondents were 92% white; 59% were atheist or reported no religious affiliation. Though the authors note this lack of diversity as a limitation, we would add that this limitation is particularly problematic in this context. Minority views on this issue may differ significantly from the majority perspective. When the stakes are high (as is the case for questions about withdrawing life-sustaining therapy from infants over parental objections), use of public opinion data to directly inform policy requires, at a minimum, a representative sample reflecting both the true diversity of views within the public and a method to justly account for the alternate views of the minority. Even if the sampled population were more …. (shrink)

Porphyry, a native of Phoenicia educated in Athens and Rome during the third century AD, was one of the most important Platonic philosophers of his age. In this book, Professor Johnson rejects the prevailing modern approach to his thought, which has posited an early stage dominated by 'Oriental' superstition and irrationality followed by a second rationalizing or Hellenizing phase consequent upon his move west and exposure to Neoplatonism. Based on a careful treatment of all the relevant remains of Porphyry's originally (...) vast corpus, he argues for a complex unity of thought in terms of philosophical translation. The book explores this philosopher's critical engagement with the processes of Hellenism in late antiquity. It provides the first comprehensive examination of all the strands of Porphyry's thought that lie at the intersection of religion, theology, ethnicity and culture. (shrink)

This essay takes the position, consistent with Ayer’s own retrospective judgments, that the philosophical significance of Language, Truth and Logic (LTL) was minimal at best, and that its real significance was socio-historical. LTL stands as one of the most influential expressions of an overzealous and simplistic scientism that swept through Western culture in the first half of the twentieth century. This scientism played a crucial role in problematizing the West’s relationship to truth in ways that contributed to the eventual emergence (...) of “post-truth” culture, with its “post-truth politics.” This in turn made possible the disastrous results of recent votes and elections in Britain and, above all, in the United States. In short, LTL’s real significance resides in the role it played as a sophisticated and successful bit of propaganda for an ideology that played a crucial role in loosing Western culture from its moral and epistemic moorings. (shrink)

I reconstruct J. H. Lambert’s views on how practical grounds relate to epistemic features, such as certainty. I argue, first, that Lambert’s account of moral certainty does not involve any distinctively practical influence on theoretical belief. However, it does present an interesting form of fallibilism about justification as well as a denial of a tight link between knowledge and action. Second, I argue that for Lambert, the persistence principle that underwrites induction is supported by practical reasons to believe; this indicates (...) that Lambert is a moderate pragmatist about reasons for theoretical belief. (shrink)

This paper is about how to give human-like powers to complete agents. For this the most important design choice concerns the overall architecture. Questions regarding detailed mechanisms, forms of representations, inference capabilities, knowledge etc. are best addressed in the context of a global architecture in which different design decisions need to be linked. Such a design would assemble various kinds of functionality into a complete coherent working system, in which there are many concurrent, partly independent, partly mutually supportive, partly potentially (...) incompatible processes, addressing a multitude of issues on different time scales, including asynchronous, concurrent, motive generators. Designing human like agents is part of the more general problem of understanding design space, niche space and their interrelations, for, in the abstract, there is no one optimal design, as biological diversity on earth shows. (shrink)

Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics as public (...) philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)

Spurred by a severe shortage of cadaveric organs, there has been a marked growth in living organ donation over the past several years. This has stimulated renewed interest in the ethics of this practice. The major concern has always been the possibility that a physician may seriously harm one person while trying to improve the well-being of another. As Carl Elliott points out, this puts the donor's physician in a difficult predicament: when evaluating a person who volunteers to donate an (...) organ, “a doctor is in the position of deciding not simply whether a subject's choice is reasonable … but whether he [the doctor] is morally justified in helping the subject accomplish it.”1 This question has become even more difficult since the introduction of living donor operations that are more risky than living kidney donation and the suggestion that volunteers at added risk may sometimes be acceptable.2 So, how can we decide when the risk is too much? (shrink)

The distribution of moral properties supervenes on the distribution of natural properties, and this provides a puzzle for non-naturalism: what could explain supervenience if moral properties are not natural properties? Enoch claims moral principles explain supervenience. But this solution is incomplete without an account of what moral principles and properties are, and what relation holds between them. This paper begins to develop such an account by exploring analogous issues for Realism about Laws of nature in philosophy of science. Appealing to (...) Mumford’s Central Dilemma for Realism about Laws, I argue that for moral principles to explain supervenience, moral properties must be ontologically dependent on the principles. I suggest that moral properties are relations between moral principles and natural properties. I also explore what it would take to adapt this explanation to a pluralistic theory of morality. Contributory reasons avoid the Cartwright Problem for Laws in a way component forces cannot. (shrink)