The main claim of this work is that scientific realism is of no great use in the philosophy of science. I define scientific realism as the claim that truth is neither to be regarded as an epistemological concept nor to be relativized to conceptual scheme. After clarifying my definition and showing how it relates to other characterizations of realism, I turn to the possible uses of scientific realism in the philosophy of science. Proponents of scientific realism claim that only their (...) position can ensure the possibility of communication between adherents of different scientific theories and that their position provides the best or only explanation for scientific progress. Scientific realists tend to regard these two areas as their position's areas of strength. I show that the scientific realist can solve these problems no better than his opponent. I conclude that if scientific realism is to be embraced as the only acceptable position in the philosophy of science, it will be because anti-realism is incoherent rather than pragmatically inferior. (shrink)

Boehm's interesting hypothesis concerning the origins of human morality within egalitarian hunter-gatherer society relies on a one-sided view of the genetic inheritance of proto-humans, and on an over-optimistic view of the egalitarian effects of evolving human consciousness. The four papers as a whole would benefit from a richer conception of evolved human nature, involving the interaction of normative, affective, and rational elements.

The question “What makes a group of simultaneous experiences the experiences of a single person?” has been nearly ignored in the philosophical literature for the past few decades. The most common answer to this much neglected question is “Two simultaneous experiences belong to a single person if there is a common consciousness or awareness of them.” However, consciousness and awareness are difficult concepts to analyze, so that little of substance has been said of the answer. Recently, Oaklander has argued that (...) the awareness answer is deficient for a different reason, claiming that it fails because “it ultimately rests on an analysis of the unity of consciousness that is itself circular or otherwise inadequate” Oaklander 1987, p. 525). Oaklander's criticism is especially interesting because, according to it, the awareness account of synchronic personal identity falls prey to the main problem facing the memory account of diachronic identity, namely the problem of branching. In this paper, I shall argue that there is no important symmetry. Whatever its other flaws may be, the awareness account is immune to the branching problem; its immunity is due to formal differences between synchronic and diachronic identity. (shrink)

In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical work—is (...) the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory. (shrink)

Jerrold Levinson argues that musical works are individuated by their context of origin. But one could just as well argue that musical works are individuated by their context of reception. Moderate contextualism, according to which musical works are individuated by context of origin but not by context of reception, thus appears to be an unstable position. And, although a more thoroughgoing contextualism, according to which musical works are individuated both by context of origin and by context of reception, faces a (...) number of problems, it is nonetheless supported (at least to some extent) by critical practice. (shrink)

If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which musical works are concrete objects. In (...) particular, the theory that we defend takes musical works to be fusions of performances. We defend this view from a series of objections, the first two of which are raised by Julian Dodd in a recent paper and the last of which is suggested by some comments of his in an earlier paper. (shrink)

The chief argument for scientific realism is the no-miracles argument, according to which the approximate truth of our current scientific theories can be inferred from their success through time. To date, anti-realist responses to the argument have been unconvincing, largely because of their anti-realistic presuppositions. In this paper, it is shown that realists cannot pre-emptively dismiss the problem of the underdetermination of theory by evidence, and that the no-miracles argument fails because it does nothing to dispel the threat posed by (...) underdetermination, although it may be effective against other anti-realistic arguments. (shrink)

British Journal of Aesthetics (forthcoming Jan. 2008).

In his Art and Knowledge, the distinguished Canadian philosopher of art, James O. Young, takes on the daunting task of defending his opening claim that ‘every item properly classified as a work of art can contribute to human knowledge’. His assertion is a general one, intended to apply to any and every prospective artwork, not merely to sub-genres like the moral novel or the ‘Shock-Headed Peter’ school of didactic bedtime terror-fest. Thus, according to Young, works such as The Well-Tempered Clavier (...) and Vermeer’s Officer and Laughing Girl do not qualify as art unless they can provide knowledge about topics that are important to us as human beings. A work does not become artworthy by inspiring us to meditate, ruminate, or reflect unless the work also leads us to true beliefs that are, in some sense, justified. Furthermore, it’s not enough for a work to provide knowledge about, say, abstruse issues in eighteenth-century counterpoint or the cult of painterly flatness; to count as art, a work must, in some way, supply answers to questions that are important to us as human beings living in the world. Young also argues that artworks have their own method of conveying knowledge. Hence, he buttresses his cognitive definition of art with an epistemology of art. (shrink)

Can a musical work be created? Some say ‘no’. But, we argue, there is no handbook of universally accepted metaphysical truths that they can use to justify their answer. Others say ‘yes’. They have to find abstract objects that can plausibly be identified with musical works, show that abstract objects of this sort can be created, and show that such abstract objects can persist. But, we argue, none of the standard views about what a musical work is allows musical works (...) both to be created and to persist. (shrink)

Absolutely no one still believes that every physical interactionconsists of material bodies bumping into each other. Those who have tried to work out a completely mechanistic physics have been unable to explain common phenomena like liquidity, gravitation and magnetism. In fact, there is great reason to doubt that such a physics could ever account for attractive forces in general.

In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.

In lieu of an abstract, here is a brief excerpt of the content:Chaos and LiteratureCarl Matheson and Evan KirchhoffIChaos theory was the intellectual darling of pop-science writers of the late 1980s. 1 In their eyes, it would provide a new paradigm by which to describe the world, one that liberated scientists from clockwork determinism—or, alternatively, from incomprehensible randomness. In an introductory textbook of the period, Robert Devaney called chaos theory “the third great scientific revolution of the 20th century, along (...) with relativity and quantum mechanics.” Similar attitudes propagated into philosophy; for example, Stephen Kellert argued that an acceptance of chaos theory would involve a reconfiguration of scientific methodology. 2It was in the domain of literary theory, however, that chaos found its most enthusiastic reception in the humanities, and the enthusiasm lives on. Many literary theorists display no hesitation in touting the supposedly revolutionary implications of chaos science. Katherine Hayles, the chief among them, argues that because the concept of order has undergone a “radical reevaluation” in recent decades, “textuality is conceived in new ways within critical theory and literature, and new kinds of phenomena are coming to the fore within an emerging field known as the science of chaos” (CO, p. 1). She infers that the new “paradigm of orderly disorder” (CB, p. xiii) represented by chaos theory signifies a conceptual revolution in modern culture as a whole. 3 She attempts to establish a parallel between chaos theory and various poststructuralist philosophical positions, including those of Derrida and Foucault, claiming that this new paradigm “may well prove to be as important to the second half of the century as the field concept was to [End Page 28] the first half” (CB, p. xiii), and that chaos may soon be “on a par with evolution, relativity, and quantum mechanics in its impact on the culture” (CO, p. 4). Other theorists make claims for the interpretive power of chaos; according to William Demastes, “chaos theory can help in comprehending several paths that the theatre has followed since the inception of postmodernism” (p. 242). 4 By a conservative estimate, over fifty papers have been published which link chaos theory to literature or literary theory. Clearly, the idea that chaos theory has application outside of science is not restricted to one or two over-eager humanists.In this essay, we wish to address some of the claims which concern the relationship between chaos science and the study of literature. Three such claims are:a. There are significant similarities between the science of chaos, contemporary literary theory, and/or philosophy.b. We can trace a common etiology for chaos theory and poststructuralist criticism. The two are so intimately related that they are really different formulations of a common claim, as filtered through two different fields.c. The science of chaos can help us interpret and understand specific literary works, and perhaps contemporary literature in general.However, before assessing the relationship between chaos and literature, we will briefly introduce chaos theory itself and demonstrate that even a minimal understanding is sufficient to undercut the supposed revolutionary significance of chaos theory. 5IIChaotic systems are deterministic: an exact description of a system at any given time, together with the laws of nature that apply to it, will entail the entire future behavior of the system. In this sense, chaotic systems form a subclass of classical systems (and are to be distinguished from quantum systems, which are indeterministic). However, chaotic systems differ from the systems studied throughout most of the history of science in two major ways. First, the differential equations used to model them are nonlinear, while the history of mathematical physics is largely devoted to a treatment of linear differential equations. Technical issues aside, the ramifications of nonlinearity are: (i) equations which are impossible to solve using the general strategies designed for [End Page 29] linear equations; and consequently (ii) the need for solutions by methods of numerical approximation, generally performed on a computer. Second, chaotic systems exhibit a feature known as “sensitive dependence”—or, more colorfully, as “the butterfly effect,” a figure of speech intended to evoke the worry that our long-term forecasts of the weather can be hopelessly disrupted by the atmospheric fluctuations due to a single butterfly... (shrink)

The most recent challenge to the covering-law model of explanation (N. Cartwright, How the laws of Physics Lie) charges that the fundamental explanatory laws are not true. In fact explanation and truth are alleged to pull in different directions. We hold that this gets its force from confusing issues about the truth of the laws in the explanation and the precision with which those laws can yield an exact description of the event to be explained. In defending this we look (...) at Cartwright's major case studies and sketch an amended covering-law model of explanation. (shrink)

The question of legalizing physician-assisted suicide has become a serious public debate. Growing interest in assisted suicide reflects a public increasingly fearful of the process of dying, particularly the prospect of dying a painful, protracted, or undignified death. PAS has been proposed as a compassionate response to unrelievable suffering, designed to give terminally or incurably ill individuals direct control over the timing, manner, and circumstances of their death. Although the American Medical Association remains firmly opposed to legalizing PAS, many physicians (...) have begun to express support for the practice, and some have acknowledged that they have helped patients commit suicide despite the existing legal ban.As support for PAS grows, it becomes increasingly likely that the practice will be legalized in at least some states in the not-too-distant future. In 1994, Oregon voters approved a referendum legalizing PAS for competent, terminally ill patients; a federal court injunction preventing the referendum from going into effect is currently on appeal, and it is widely expected that the injunction will be lifted. (shrink)

Much is asked of the concept of chance. It has been thought to play various roles, some in tension with or even incompatible with others. Chance has been characterized negatively, as the absence of causation; yet also positively—the ancient Greek τυχη´ reifies it—as a cause of events that are not governed by laws of nature, or as a feature of the laws themselves. Chance events have been understood epistemically as those whose causes are unknown; yet also objectively as a distinct (...) ontological kind, sometimes called ‘pure’ chance events. Chance gives rise to individual unpredictability and disorder; yet it yields collective predictability and order—stable long-run statistics, and in the limit, aggregate behavior susceptible to precise mathematical theorems. Some authors believe that to posit chances is to abjure explanation; yet others think that chances are themselves explanatory. During the Enlightenment, talk of ‘chance’ was regarded as unscientific, unphilosophical, the stuff of superstition or ignorance; yet today it is often taken to be a fundamental notion of our most successful scientific theory, quantum mechanics, and a central concept of contemporary metaphysics. Chance has both negative and positive associations in daily life. The old word in English for it, hazard, which derives from French and originally from Arabic, still has unwelcome connotations of risk; ‘chance’ evokes uncertainty, uncontrollability, and chaos. Yet chance is also allied with luck, fortune, freedom from constraint, and diversity. And it apparently has various practical uses and benefits. It forms the basis of randomized trials in statistics, and of mixed strategies in decision theory and game theory; it is appealed to in order to resolve problems of fair division and other ethical.. (shrink)

What, if anything, distinguishes works of fiction such as Hamlet and Madame Bovary from biographies, news reports, or office bulletins? Is there a "right" way to interpret fiction? Should we link interpretation to the author's intention? Ought our moral unease with works that betray sadistic, sexist, or racist elements lower our judgments of their aesthetic worth? And what, when it comes down to it, is literature? The readings in this collection bring together some of the most important recent work in (...) the philosophy of literature by philosophers such as Martha Nussbaum, John Searle, and David Lewis. The readings explore philosophical issues such as the nature of fiction, the status of the author, the act of interpretation, the role of the emotions in the act of reading, the aesthetic and moral value of literary works, and other topics central to the philosophy of literature. (shrink)

We describe here an interdisciplinary lab science course for non-majors using the history of science as a curricular guide. Our experience with diverse instructors underscores the importance of the teachers and classroom dynamics, beyond the curriculum. Moreover, the institutional political context is central: are courses for non-majors valued and is support given to instructors to innovate? Two sample projects are profiled.

Focusing on theme of power, the book guides you through the sociological and philosophical perspectives that are essential to Jürgen Habermas's political theory. It situates the Habermas' political thinking in relation to key Continental theorists such as Carl Schmitt and Michel Foucault and current debates in political philosophy.

Steve Wilkens edits a debate between three different understandings of the relationship between faith and reason, between theology and philosophy. The three views include: Faith and Philosophy in Tension, Faith Seeking Understanding and the Thomistic Synthesis. This introduction to a timeless quandary is an essential resource for students.

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The eminent philosopher of science Carl G. Hempel, Stuart Professor of Philosophy at Princeton University and a Past President of the American Philosophical Association, has had a long and distinguished academic career in the course of which he has been professorial mentor to some of America's most distinguished philosophers. This volume gathers together twelve original papers by Hempel's students and associates into a volume intended to do homage to Hempel on the occasion of his 65th year in 1970. The (...) papers are grouped around the unifying topic of Hempel's own interests in logic and philosophy of science, the great majority dealing with issues on inductive logic and the theory of scientific explanatio- problems to which Hempel has devoted the bulk of his outstandingly fruitful efforts. With the approach of 'Peter' Hempel's 65th birthday, an editorial committee sprang into being by an uncannily spontaneous process to prepare to commemorate this event with an appropriate Festschrift. The editors were pleased to receive unfailingly prompt and efficient coopera tion on the part of all contributors. The responsibility of seeing the work through the press was assumed by Nicholas Rescher. The editors are grateful to all concerned for their collaboration. ALAN ROSS ANDERSON PAUL BENACERRAF ADOLF GRUNBAUM GERALD J. MASSEY NICHOLAS RESCHER RICHARD S. RUDNER TABLE OF CONTENTS PREFACE V PAUL OPPENHEIM: Reminiscences of Peter 1 w. v. QUINE: Natural Kinds 5 JAAKKO HINTIKKA: Inductive Independence and the Paradoxes of Confirmation 24 WESLEY c. (shrink)

Varieties of Ethical Reflection brings together new cultural and religious perspectives—drawn from non-Western, primarily Asian, philosophical sources—to globalize the contemporary discussion of theoretical and applied ethics.

Bridging the gap between the world of science and the realm of the spiritual, B. Alan Wallace introduces a natural theory of human consciousness that has its roots in contemporary physics and Buddhism. Wallace's "special theory of ontological relativity" suggests that mental phenomena are _conditioned_ by the brain, but do not _emerge_ from it. Rather, the entire natural world of mind and matter, subjects and objects, arises from a unitary dimension of reality that is more fundamental than these dualities, (...) as proposed by Wolfgang Pauli and Carl Jung. To test his hypothesis, Wallace employs the Buddhist meditative practice of _samatha_, refining one's attention and metacognition, to create a kind of telescope to examine the space of the mind. Drawing on the work of the physicist John Wheeler, he then proposes a more general theory in which the participatory nature of reality is envisioned as a self-excited circuit. In comparing these ideas to the Buddhist theory known as the Middle Way philosophy, Wallace explores further aspects of his "general theory of ontological relativity," which can be investigated by means of _vipasyana_, or insight, meditation. Wallace then focuses on the theme of symmetry in reference to quantum cosmology and the "problem of frozen time," relating these issues to the theory and practices of the Great Perfection school of Tibetan Buddhism. He concludes with a discussion of the general theme of complementarity as it relates to science and religion. The theories of relativity and quantum mechanics were major achievements in the physical sciences, and the theory of evolution has had an equally deep impact on the life sciences. However, rigorous scientific methods do not yet exist to observe mental phenomena, and naturalism has its limits for shedding light on the workings of the mind. A pioneer of modern consciousness research, Wallace offers a practical and revolutionary method for exploring the mind that combines the keenest insights of contemporary physicists and philosophers with the time-honored meditative traditions of Buddhism. (shrink)