Drawing on Deleuze and Guattari's analysis of minor literature, deterritorialization and agrammaticality, this article explores the possibility of a ‘minor poetry’, considering various interpretati...

We argue that thoughts are structures of concepts, and that concepts should be individuated by their origins, rather than in terms of their semantic or epistemic properties. Many features of cognition turn on the vehicles of content, thoughts, rather than on the nature of the contents they express. Originalism makes concepts available to explain, with no threat of circularity, puzzling cases concerning thought. In this paper, we mention Hesperus/Phosphorus puzzles, the Evans-Perry example of the ship seen through different windows, and (...) Mates cases, and we believe that there are many additional applications. (shrink)

[R. M. Sainsbury] Evans argued that most ordinary proper names were Russellian: to suppose that they have no bearer is to suppose that they have no meaning. The first part of this paper addresses Evans's arguments, and finds them wanting. Evans also claimed that the logical form of some negative existential sentences involves 'really' (e.g. 'Hamlet didn't really exist'). One might be tempted by the view, even if one did not accept its Russellian motivation. However, I suggest that Evans (...) gives no adequate account of 'really', and I point to unclarities in Wiggins's similar, but distinct, attempt to use 'really' in the logical form of true negative existentials. /// [David Wiggins] Evans was not wrong (I maintain) to say that the senses of genuine proper names invoke and require objects. Names in fiction or hypothesis mimic such names. Pace Evans, Sainsbury and free logicians, proper names are scopeless. (Evans's 'Julius' is not a name.) Names create a presumption of existential generalization. In sentences such as 'Vulcan does not really exist', that presumption is bracketed. The sentence specifies by reference to story or report a concept identical with Vulcan and declares it be really uninstantiated. (The sentence, which partakes of play, is a kind of palimpsest.) It is explained why this second level view of 'exists' is to be preferred. (shrink)

Reference is a central topic in philosophy of language, and has been the main focus of discussion about how language relates to the world. R. M. Sainsbury sets out a new approach to the concept, which promises to bring to an end some long-standing debates in semantic theory.There is a single category of referring expressions, all of which deserve essentially the same kind of semantic treatment. Included in this category are both singular and plural referring expressions, complex and non-complex (...) referring expressions, and empty and non-empty referring expressions. Referring expressions are to be described semantically by a reference condition, rather than by being associated with a referent. In arguing for these theses, Sainsbury's book promises to end the fruitless oscillation between Millian and descriptivist views. Millian views insist that every name has a referent, and find it hard to give a good account of names which appear not to have referents, or at least are not known to do so, like ones introduced through error, ones where it is disputed whether they have a bearer and ones used in fiction. Descriptivist theories require that each name be associated with some body of information. These theories fly in the face of the fact names are useful precisely because there is often no overlap of information among speakers and hearers. The alternative position for which the book argues is firmly non-descriptivist, though it also does not require a referent. A much broader view can be taken of which expressions are referring expressions: not just names and pronouns used demonstratively, but also some complex expressions and some anaphoric uses of pronouns.Sainsbury's approach brings reference into line with truth: no one would think that a semantic theory should associate a sentence with a truth value, but it is commonly held that a semantic theory should associate a sentence with a truth condition, a condition which an arbitrary state of the world would have to satisfy in order to make the sentence true. The right analogy is that a semantic theory should associate a referring expression with a reference condition, a condition which an arbitrary object would have to satisfy in order to be the expression's referent.Lucid and accessible, and written with a minimum of technicality, Sainsbury's book also includes a useful historical survey. It will be of interest to those working in logic, mind, and metaphysics as well as essential reading for philosophers of language. (shrink)

Mark Sainsbury presents an original account of how language works when describing mental states, based on a new theory of what is involved in attributing attitudes like thinking, hoping, and wanting. He offers solutions to longstanding puzzles about how we can direct our thought to such a diversity of things, including things that do not exist.

This paper aims to show that any account of how artworks lie must acknowledge (I) that artworks can lie at different levels of their content—what I call ‘surface’ and ‘deep’—and (II) that, for an artwork to lie at a given level, a norm of truthful communication such as Grice’s Maxim of Quality must apply to it. A corollary is that it’s harder than you might think for artworks to lie: Quality is not automatically ‘switched on’ during our engagement with art. (...) However, I show how a work’s curation and genre-membership can ‘switch on’ Quality, allowing artworks to lie at different levels. (shrink)

There is widespread and growing concern among U.S. consumers about the treatment of farmed animals, and consumers are consequently paying attention to food product labels that indicate humane production practices. However, labels vary in their standards for animal welfare, and prior research suggests that consumers are confused by welfare-related labels: many shoppers cannot differentiate between labels that indicate changes in the way animals are raised and those that do not. We administered a survey to 1,000 American grocery shoppers to better (...) understand the extent to which consumers purchase and pay more for food with certain labels based on an assumption of welfare improvement. Results showed that 86% of shoppers reported purchasing at least one product with the following labels in the last year: “cage or crate-free”, “free-range”, “pasture-raised”, “natural”, “organic”, “no hormone”, “no antibiotic”, “no rBST”, “humane”, “vegetarian-fed”, “grass-fed”, “farm-raised”. Of those who purchased one of the aforementioned labels, 89% did so because they thought the label indicated higher-welfare production practices, and 79% consciously paid more for the product with the label because they thought that the label indicated better-than-standard animal welfare. However, many of these labels lack uniform standards for the production practices they represent, and some labels represent production practices that do not influence animal welfare, thus the degree of the animal welfare impact of a given label is highly variable. These results indicate that labels need to clearly and accurately specify their animal welfare benefits to improve the consumers’ ability to purchase products that align with their expectations. (shrink)

A robust stakeholder analysis requires extensive conceptual and empirical work. Yet it is often unclear how to effectively do so. This paper introduces a new method—the Stakeholder Tokens—for designers to elicit a more inclusive set of stakeholders and gain better understanding of stakeholder interrelationships and dynamics. Stakeholder Tokens present a playful hands-on design approach to support value sensitive design stakeholder analyses by employing a style of role play.

Some visual artworks constitute hate speech because they can perform oppressive illocutionary acts. This illocution-based analysis of art reveals how responsive curation and artmaking undermines and manages problematic art. Drawing on the notion of counterspeech as an alternative tool to censorship to handle art-based hate speech, this article proposes aesthetic blocking and aesthetic spotlighting. I then show that under certain conditions, this can lead to eventual metaphysical destruction of the artwork; a way to destroy harmful art without physically destroying it.

This discusses the kind of paradox that has since become known as "the forced march sorites", here called "the transition question". The question is whether this is really a new kind of paradox, or the familiar sorites in unfamiliar garb. The author argues that resources adequate to deal with ordinary sorites are sufficient to deal with the transition question, and tentatively proposes an affirmative answer.

In a recent paper, James Edwin Mahon argues that literary artworks—novels in particular—never lie because they do not assert. In this discussion note, I reject Mahon’s conclusion that novels never lie. I argue that a central premiss in his argument—that novels do not contain assertions—is false. Mahon’s account underdetermines the content of literary works; novels have rich layers of content and can contain what I call ‘profound’ assertions, and ‘background’ assertions. I submit that Mahon therefore fails to establish that novels (...) never lie. (shrink)

Understanding has often been regarded as a kind of knowledge. This paper argues that this view is very implausible for understanding words. Instead, a proper account will be of the “analytic-genetic” variety: it will describe immersion in the practice of using a word in such a way that even those not previously equipped with the concepts the word expresses can become immersed. Meeting this condition requires attention to findings in developmental psychology. If you understand a declarative utterance, you thereby know (...) what the speaker said in uttering the words she did. The converse is close to true: if you come to know what a speaker of a declarative utterance has said, then normally you understand the utterance. An example of an abnormal situation would be one in which the speaker’s utterance is in a language you do not understand, but you are authoritatively informed, and so know, what the speaker said. The connection between understanding a whole utterance and knowing something can be preserved by alluding to the basis of the knowledge: it should arise from understanding the words in the utterance, and how they are put together. This leads to a fairly uncontroversial conditional equivalence: (1) If an utterer of an utterance, U, thereby says that p then: (X knows this, on the basis of understanding the words in U and how they are put together) iff (X understands U). The relevant knowledge has no mysteries: it is propositional, typically fully explicit, and is invoked in memory and in reports of speech. The question to be addressed in this paper is whether we can apply this kind of connection between understanding and knowledge to explain what is taken for granted in the equivalence 2 above, namely, the understanding of words. I will suggest that we cannot. Under some idealizations, one can formulate necessarily true equivalences between understanding a word and knowing something, but these equivalences are unilluminating. The knowledge is not of the straightforward kind invoked in connection with whole utterances, and it is mysterious how one might come to possess it. An account of understanding words requires an “analytic-genetic” story, an analysis which offers some philosophical illumination while being consistent with what is known about the genesis of participation in linguistic practices. (shrink)

In this controversial new book, Daisy Christodoulou offers a thought-provoking critique of educational orthodoxy. Drawing on her recent experience of teaching in challenging schools, she shows through a wide range of examples and case studies just how much classroom practice contradicts basic scientific principles. She examines seven widely-held beliefs which are holding back pupils and teachers: - Facts prevent understanding - Teacher-led instruction is passive - The 21st century fundamentally changes everything - You can always just look it up (...) -We should teach transferable skills - Projects and activities are the best way to learn - Teaching knowledge is indoctrination. In each accessible and engaging chapter, Christodoulou sets out the theory of each myth, considers its practical implications and shows the worrying prevalence of such practice. Then, she explains exactly why it is a myth, with reference to the principles of modern cognitive science. She builds a powerful case explaining how governments and educational organisations around the world have let down teachers and pupils by promoting and even mandating evidence-less theory and bad practice. This blisteringly incisive and urgent text is essential reading for all teachers, teacher training students, policy makers, head teachers, researchers and academics around the world. (shrink)

This book draws on both the historical context & contemporary research evidence to present the roles of mental health social work, AMHP & BIA, within an ethical framework. Codes of practice & statutory legal requirements, such as the Mental Health Act, Mental Capacity Act & the Human Rights Act, are all considered.

In a professional learning community, teachers are organized into teams, committed to meeting on a regular basis to study their teaching strategies and the effects of those strategies on the students in their classrooms. Whatever the organizational structure, the teams have one goal, that is to improve teaching so that student learning is improved.

Any intelligent debate on the ethical treatment of animals hinges on understanding their mental processes. The idea that consciousness in animals is beyond comprehension is usually traced to the 17th-century philosopher Ren? Descartes whose concept of animals as beast machines lacking consciousness influenced arguments for more than 200 years. But in reviewing Descartes' theory of mind, Daisie and Michael Radner demonstrate in Animal Consciousness that he did not hold the view so frequently attributed to him. In fact, they contend that (...) Descartes distinguished two types of consciousness, which make it easier to discuss the conscious experiences of animals and to trace the debate into the post-Darwinian era. (shrink)

Reference is a central topic in philosophy of language, and has been the main focus of discussion about how language relates to the world. R. M. Sainsbury sets out a new approach to the concept, which promises to bring to an end some long-standing debates in semantic theory. Lucid and accessible, and written with a minimum of technicality, Sainsbury's book also includes a useful historical survey. It will be of interest to those working in logic, mind, and metaphysics (...) as well as essential reading for philosophers of language. (shrink)

Art viewers and critics talk as if visual artworks say things, express messages, or have meanings. For instance, Picasso’s 'Guernica' has been described as a “generic plea against the barbarity and terror of war”, forming a “powerful anti-war statement”. One way of understanding meaning in art is to draw analogies with language. My thesis explores how the notion of a speech act – an utterance with a performative aspect – can illuminate art’s power to ‘speak’. In recent years, philosophers of (...) art have explored speech act theory in relation to literary art, though barely at all in relation to visual art. Given the way we talk about painting, sculpture, installation, film, and photography, and given that artists have investigated performativity through their art, this neglect is surprising. My thesis develops two main arguments. First, artwork meaning is active. I argue that visual artworks, under certain conditions, are speech acts. They have propositional content, and they have a certain force: they can do things such as assert, protest, and criticise – things we would normally do with words. I defend these contested claims against several dissenters, and explore some consequences: in particular, I explore how art can lie, a hitherto neglected question. Second, artwork meaning is flexible. I argue that what an artwork says and does is affected by the context in which it’s displayed, and in particular, by its curation. As a result, an artwork’s content and force can vary from context to context. This goes against a dominant view in the philosophy of art – what I call ‘Originalism’ – that the meaning of an artwork is fixed by factors which held at the time of the work’s creation, and so cannot change across time. I argue that this is mistaken: artworks can change in meaning. Curatorial factors can affect an artwork’s content and force, and consequently its social effects. It is known that our verbal speech has the power to oppress and liberate people in a society. My thesis aims to show that art also has this power to shape society; through what it says, and through what it does. (shrink)

R. M. Sainsbury; III*—Tolerating Vagueness, Proceedings of the Aristotelian Society, Volume 89, Issue 1, 1 June 1989, Pages 33–48, https://doi.org/10.1093/arist.

Sainsbury and Tye present a new theory, 'originalism', which provides natural, simple solutions to puzzles about thought that have troubled philosophers for centuries. They argue that concepts are to be individuated by their origin, rather than epistemically or semantically. Although thought is special, no special mystery attaches to its nature.

Starts by showing that semantic complexity is not as such a barrier to being a referring expression, using the example of compound names. Goes on to consider whether definite descriptions, at least in some uses, should be counted as referring expressions and concludes that they should be, even if one endorses Russellian truth conditions for sentences containing definite descriptions.

Shows how well the book’s theory applies to existential statements, providing a very straightforward account of true negative ones. The theory also applies reasonably well to fiction, and the remaining problems are problematic for all theories.

Hume seems to tell us that our ideas are copies of our corresponding impres-sions, that we have an idea of necessary connection, but that we have no corresponding impression, since nothing can be known to be really necessarily connected. The paper considers two ways of reinterpreting the doctrine of the origins of ideas so as to avoid the apparent inconsistency. If we see the doctrine as concerned primarily with establishing conditions under which we possess an idea, there is no need (...) for an idea’s “corresponding” impression to be one of which the idea is true. It would be enough that the impression be in some way appropriate for making us master of the idea. Alternatively, if we see the doctrine as concerned primarily with fixing the content of ideas, we might see it operating in the case of causation rather as it must in the case of secondary qualities, conceived in a certain distinctive way. Even if there is “really” no red in the objects , we may regard the idea of red as properly ascribed to any object apt to cause typical sensations in us . Likewise, we may regard the idea of necessary connection as properly ascribed to any pair of objects apt to cause typical habits in us . This view may do justice to Hume’s wish to affirm both that there is such a thing as necessity, resident in the mind, and that there are no knowable necessary connections.Hume parece nos dizer que nossas idéias são cópias de nossas impressões correspondentes, que temos uma idéia de conexão necessária, mas que não temos nenhuma impressão correspondente, visto que nada pode ser conhecido como estando realmente conectado necessariamente. O artigo considera dois modos de se reinterpretar a doutrina das origens das idéias de forma a evitar a aparente inconsistência. Se interpretarmos a doutrina como dizendo respeito fundamentalmente ao estabelecimento das condições sob as quais possuímos uma idéia, não há nenhuma necessidade de uma impressão “correspondente” da idéia ser aquela da qual a idéia é verdadeira. Seria suficiente que a impressão fosse, de alguma maneira, apropriada para que apreendêssemos a idéia. Caso contrário, se interpretarmos a doutrina como interessada fundamentalmente em fixar o conteúdo das idéias, poderíamos ver isto como operando no caso de causação mais propriamente que no caso de qualidades secundárias, concebido de certo modo característico. Mesmo que “realmente” não exista vermelho nos objetos , nós podemos considerar a idéia de vermelho como bem aplicada a qualquer objeto capaz de causar sensações típicas em nós . Igualmente, podemos considerar a idéia de conexão necessária como bem aplicada a qualquer par de objetos apropriado para nos causar hábitos típicos . Esta visão pode fazer justiça à intenção de Hume de afirmar tanto que há tal coisa como necessidade, residente na mente, como que não há nenhuma relação necessária que se possa conhecer. (shrink)

This article explores the intersections of power within transnational surrogacy in India, using the lens of geography to examine surrogate women’s and commissioning parents’ experiences and perceptions of space and mobility. The author analyzes ethnographic data within a geographical framework to examine how actors embody and experience power relations through space and movement, revealing how power is not simply about who moves and who doesn’t. Rather, in recognizing the specificity of the Indian context, and how different actors inhabit and move (...) through distinct spaces, a geographical lens reveals the shifting complexity of structures of agency and power. Drawing on extensive ethnographic fieldwork in India, the author traces how both surrogate mothers and commissioning parents experience moments of mobility and movement punctuated by intervals of immobility and stillness, in distinct ways that illuminate the power relations inherent in transnational reproduction. (shrink)

Are fictional characters such as Sherlock Holmes real? What can fiction tell us about the nature of truth and reality? In this excellent introduction to the problem of fictionalism R. M. Sainsbury covers the following key topics: what is fiction? realism about fictional objects, including the arguments that fictional objects are real but non-existent; real but non-factual; real but non-concrete the relationship between fictional characters and non-actual worlds fictional entities as abstract artefacts fiction and intentionality and the problem of (...) irrealism fictionalism about possible worlds moral fictionalism. R. M. Sainsbury makes extensive use of examples from fiction, such as Sherlock Holmes, Anna Karenina and Madame Bovary and examines the work of philosophers who have made significant contributions to the topic, including Meinong, David Lewis, and Bas Van Fraassen. Additional features include chapter summaries, annotated further reading and a glossary of technical terms, making _Fiction and Fictionalism_ ideal for those coming to the issue for the first time. (shrink)