Davies argues that the ontology of artworks as performances offers a principled way of explaining work-relativity of modality. Object oriented contextualist ontologies of art (Levinson) cannot adequately address the problem of work-relativity of modal properties because they understand looseness in what counts as the same context as a view that slight differences in the work-constitutive features of provenance are work-relative. I argue that it is more in the spirit of contextualism to understand looseness as context-dependent. This points to (...) the general problem—the context of appreciation is not robust enough to ground modal intuitions about objective entities. In general, when epistemology dictates ontology there is always a threat of anti-realism, scepticism and relativism. Davies also appeals to the modality principle—an entity’s essential properties are all and only its constitutive properties. Davies understands essentiality in a traditional way: a property P is an essential property of an object o iff o could not exist and lack P. Kit Fine has recently made a convincing case for the view that the notion of essence is not to be understood in modal terms. I explore some of the implications of this view for Davies’ modal argument for the performance theory. (shrink)

Kit Fine advanced a remarkable objection to the Modal Account of Essentialism. Fine’s concern is commonly thought to have put the modal account in serious jeopardy. I believe that Fine’s objection is mainly based on two intuitions. As a reaction to Fine’s argument, while many scholars have abandoned the modal account, others have attempted to save it. The main strategy in the last direction consists in adding to the modal criterion a condition (...) that is supposed to hold universally. For different reasons, this strategy ends up rejecting part of the first Fine’s intuition. I believe that a modal contextualist approach to essentialist claims, through the addition of a ‘particularist’ condition to the modal criterion, can provide an interesting alternative for those who wish to maintain a modal approachto essentialism. I will show that this approach, while rejecting the second Finean intuition, is able to account for his first intuition. (shrink)

The topic of this paper is the role played by context in art. In this regard I examine three theories linked to the names of J. Levinson, G. Currie and D. Davies. Levinson’s arguments undermine the structural theory. He finds it objectionable because it makes the individuation of artworks independent of their histories. Secondly, such a consequence is unacceptable because it fails to recognise that works are created rather than discovered. But, if certain general features of provenance are always (...) work-constitutive, as it seems that Levinson is willing to claim, these features must always be essential properties of works. On the other hand, consideration of our modal practice suggests that whether a given general feature of provenance is essential or non-essential depends upon the particular work in question or is “work relative”. D. Davies builds his performance theory on the basis of the critical evaluation of Currie’s action-type hypotheses (ATH). Performances, says Davies, are not to be identified with “basic actions” to which their times belong essentially, but with “doings” that permit of the sorts of variation in modal properties required by the work-relativity of modality. He is also a fierce critic of the contextualist account. Contextualism is in his view unable to reflect the fact that aspects of provenance bear upon our modal judgements with variable force. In the second part of the paper I consider Davies’s “modality principle”. Davies is inclined to defend the claim that labels used for designation of works are rigid designators. Such a view offers a ground for discussion about the historicity of art. What has been meant when people claim that art is an historical concept? I argue that any historical theory implies a two-dimensional notion of “art”. At the end of the paper I suggest that Davies should embrace the theory of contingent identity and not the colocationist view about the relationship that exists between a particular artwork and its physical bearer. (shrink)

This paper considers the view, recently put forward by David Davies in Art and Performance , that works of art should be identified with the generative performances that result in the object, rather than with the object. It attempts to disarm two of Davies arguments by, first, providing a criterion by which the contextualist can accommodate all and only the relevant generative properties as properties of the work, and, second, providing an alternative explanation for his modal (...) intuitions. Finally, it draws attention to Davies’ difficulties in providing a clear criterion for the identity of the work of art. (shrink)

In Art as Performance , David Davies identifies certain properties relevant to artistic appreciation of artworks that, he suggests, are naturally construed as belonging to the artist’s creative performance rather than to any product of that performance (the “work-product”). He further argues, against an anticipated opponent, that such properties cannot be excluded as irrelevant to artistic appreciation in any principled way. I argue that the cited properties can be intelligibly construed as properties of the associated work-product, whether or (...) not they are relevant to artistic appreciation; but that some are not relevant to artistic appreciation. In doing so, I offer a principle determining when a property of an artwork is relevant to artistic appreciation. I conclude that, on its own, Davies’s argument offers no good grounds to abandon our practice of thinking of the artwork as the product of an artist’s activity, rather than the activity itself. (shrink)

This guide accompanies the following articles: Sonia Roca‐Royes, ‘Essentialism vis‐à‐vis Possibilia, Modal Logic, and Necessitism.’Philosophy Compass 6/1 (2011): 54–64. doi: 10.1111/j.1747‐9991.2010.00363.x. Sonia Roca‐Royes, ‘Essential Properties and Individual Essences.’Philosophy Compass 6/1 (2011): 65–77. doi: 10.1111/j.1747‐9991.2010.00364.x. Author’s Introduction Intuitively, George Clooney could lose a finger and he would still be him. Also intuitively, he could not lose his humanity without ceasing to be altogether. So while he could have one less finger, he could not be other than human. These intuitions suggest (...) that there are two kinds of properties: on the one hand, there are essential properties and, on the other, there are accidental properties. Essentialism is the view that captures those intuitions and claims that some of an object’s properties are essential and some are accidental. Essential properties are often appealed to in metaphysical arguments. Consider the famous Goliath–Lumpl example. Goliath is a clay‐statue, and Lumpl is the piece of clay from which Goliath is made. Are Goliath and Lumpl the same entity, or are they distinct, despite coinciding in the same spatial region (at least for a period of time)? An argument in favour of their distinctness appeals to essential properties. Let s be Goliath’s shape. Lumpl’s current shape is therefore also s. It seems that Lumpl could lose its current shape and still exist. Yet, if Goliath – the statue – were melted, for instance, it would cease to exist. Behind this reasoning is the belief that having shape s is essential to Goliath but not to Lumpl. Goliath and Lumpl can therefore be distinguished by their essential properties. Consequently, and by Leibniz’s Indiscernibility of Identicals– according to which identicals cannot be distinguished – Goliath and Lumpl are distinct objects. The essentialist intuition appealed to in this argument is that shapes are essential to statues but not to pieces of clay. Of course, this particular argument – like any other – can be resisted. It is all the same a good illustration of how essentialism is put to work in metaphysics. A good understanding of the broad phenomenon of essentialism is therefore an unavoidable task, since the credit of a lot of metaphysical arguments partially depends on it. Although the topic has been studied for millenniums, the two papers that this guide accompanies are focused on contemporary issues in essentialism, and so will do this guide too. Author Recommends Fine, Kit. ‘Essence and Modality.’Philosophical Perspectives 8 (1994): 1–16. One of the most cited and influential papers against the modal account of the notion of essence and in favour of what has subsequently been referred to in the literature as ‘the Finean account of the notion of essence’. Forbes, Graeme. The Metaphysics of Modality. Oxford: Clarendon Press, 1985. A foundational work in modality and essentialism. The first two chapters provide a valuable introduction to propositional and first order modal logic. Chapters 5–8 constitute a comprehensive essentialist theory and contain some of the most cited arguments for individual essences. Kripke, Saul. Naming and Necessity, Cambridge, MA: Harvard UP, 1972/1980. Another foundational work. With this book – which is, among other things, a defence of a Direct Theory of Reference – Kripke rescues, after Quine’s powerful attacks against it, and using the semantic rigidity of proper names, (Aristotelian) essentialism. Mackie, Penelope. How Things Might Have Been: Individuals, Kinds and Essential Properties. Oxford: Clarendon Press, 2006. An extremely valuable recent contribution to the field. Here, Mackie defends that, although essentialism is a real phenomenon, there are much fewer essential properties than is standardly believed, and labels this view ‘Minimalist Essentialism’. Beyond the intrinsic interest of the defence of Minimalist Essentialism, the book is also highly recommended for its clear reconstructions – and discussions – of some of the most influential essentialist arguments. In addition, the book’s bibliography is very comprehensive and updated, and it might be a useful resource for students. Plantinga, Alvin. The Nature of Necessity. Oxford: OUP, 1974. Yet another foundational work. Here, Plantinga offers his essentialist theory which, like Forbes’, also incorporates individual essences although of a very different sort from Forbes’. Plantinga believes in purely non‐qualitative individual essences, whereas Forbes’ aims at purely qualitative ones. The book is also excellent to provide a solid background to those unfamiliar with the topic. Roca‐Royes. ‘Essentialism vis‐à‐vis Possibilia, Modal Logic and Necessitism.’Philosophy Compass, 6/1 (2011): 54–64, doi: 10.1111/j.1747‐9991.2010.00363.x. This is one of the two papers this guide accompanies. It contains a comparative examination of two opposed responses to the problem of possibilia. One solution crucially appeals to individual essences and another – compatible with them, but not dependent on them – makes existence a necessary‐whenever‐possible property. Salmon, Nathan. Reference and Essence. Princeton: Princeton UP, 1981. Against what Kripke’s Naming and Necessity might have induced us to believe, Salmon’s Reference and Essence argues that essentialism cannot be derived from the Direct Theory of Reference. Our commitments to essentialism should therefore come from somewhere else. It also contains one of the most cited and influential arguments against the transitivity of the accessibility relation between worlds, which relies on flexible essential properties. Online Materials The Stanford Encyclopedia of Philosophy publishes extremely valuable entries on a vast variety of topics which are conveniently updated and revised. On essentialism, the following are to be highlighted: Teresa Robertson, ‘Essential vs. Accidental Properties’: Takashi Yagisawa, ‘Possible Objects’: Penelope Mackie, ‘Transworld Identity’: PhilPapers is an interactive directory of online philosophical publications to which one can subscribe, and which allows authors to submit their latest work. One might find it useful to check this on a regular basis, since contents are constantly updated. The following link is to the site’s resources on essentialism:. Sample Syllabus Because the phenomenon of essentialism is very broad, one can design an entire course on it, thereby having enough time to see some of the issues in considerable depth. The sample syllabus suggested here is of one such course, focusing exclusively on contemporary issues in essentialism. Less deeply, the topic of essentialism can also be introduced in a general course on metaphysics or on modality. To this effect, focusing on some of the topics suggested in weeks 1–6 below would perhaps be more appropriate than focusing on the more complex issues suggested for weeks 7–10. Week 1. Introduction to Essentialism. Two Notions of Essential Property: The Modal Account and the Finean Account Fine, Kit. ‘Essence and Modality.’Philosophical Perspectives 8 (1994): 1–16. Robertson, Teresa. ‘Essential vs. Accidental Properties.’Stanford Encyclopedia of Philosphy (Fall 2008 Edition). Ed. Edward N. Zalta. URL:. Roca‐Royes, Sonia. ‘Essential Properties and Individual Essences.’Philosophy Compass, 6/1 (2011): 65–77. Sections 1–2. Week 2. Essentialist Principles, I: Three Arguments for the Essentiality of Origin Kripke, Saul. Naming and Necessity. Cambridge, MA: Harvard UP, 1972/1980. Lecture III. Mackie, Penelope. ‘Identity, Time and Necessity.’Proceedings for the Aristotelian Society 98 (1998): 59–78. Rohbraugh, Guy and deRosset, Louis. ‘A New Route to the Necessity of Origin.’Mind 133 (2004): 705–25. Week 3. Essentialist Principles, II: Essentiality of Kind Brody, Baruch. ‘Natural Kinds and Real Essences.’Journal of Philosophy 64 (1967): 431–46. Mackie, Penelope. How Things Might Have Been: Individuals, Kinds and Essential Properties. Oxford: Clarendon Press, 2006. Chapters 7 and 8. Wiggins, David. Sameness and Substance Renewed. Cambridge: Cambridge UP, 2001. Chapter 3. Week 4. Essentialist Principles, III: Natural Kind Essentialism Kripke, Saul. ‘Identity and Necessity.’Identity and Individuation, Ed. M. K. Munitz. New York: New York University Press, 1971. 135–64. Kripke, Saul. Naming and Necessity. Cambridge, MA: Harvard UP, 1972/1980. Lecture III. Putnam, Hilary. ‘The Meaning of “Meaning”.’Minnesota Studies in the Philosophy of Science 7 (1975): 215–71. Week 5. Sufficient‐for‐Existence Properties (and Cross‐World Identification Principles) Chisholm, Roderick. ‘Identity through Possible Worlds: Some Questions.’Noûs 1.1 (1967): 1–8. Mackie, Penelope. How Things Might Have Been: Individuals, Kinds and Essential Properties. Oxford: Clarendon Press, 2006. Chapter 3. Salmon, Nathan. Reference and Essence. Princeton: Princeton UP, 1981. Chapter 7. Week 6. Individual Essences Mackie, Penelope. ‘Transworld Identity.’The Stanford Encyclopedia of Philosophy (Fall 2008 Edition). Ed. Edward N. Zalta. URL:. Section 4. Roca‐Royes, Sonia. ‘Essential Properties and Individual Essences.’Philosophy Compass 6/1 (2011): 65–77. Sections 3–4. Week 7. Flexible Essential Properties and S4 Roca‐Royes, Sonia. ‘Essentialism vis‐à‐vis Possibilia, Modal Logic, and Necessitism.’Philosophy Compass 6/1 (2011): 54–64. Section 3. Salmon, Nathan. Reference and Essence. Princeton: Princeton UP, 1981. Appendix 1. Week 8. Individual Essences and Possibilia Peacocke, Christopher. ‘Principles for Possibilia.’Noûs 36.3 (2002): 486–508. Roca‐Royes, Sonia. ‘Essentialism vis‐à‐vis Possibilia, Modal Logic, and Necessitism.’Philosophy Compass 6/1 (2011): 54–64. Section 2. Week 9. Necessitism and Essentialism: A Third Notion of Essential Property Linsky, Bernard and Zalta, Edward. ‘In Defense of the Contingently Nonconcrete.’Philosophical Studies 84 (1996): 283–94. Roca‐Royes, Sonia. ‘Essentialism vis‐à‐vis Possibilia, Modal Logic, and Necessitism.’Philosophy Compass 6/1 (2011): 54–64. Section 5. Williamson, Timothy. ‘Bare Possibilia.’Erkenntnis 48 (1998): 257–73. Week 10. Essentialism and Modal Logic: The Barcan Formula Menzel, Christopher. ‘Actualism.’The Stanford Encyclopedia of Philosophy (Summer 2010 Edition). Ed. Edward N. Zalta. URL:. Section 2. Roca‐Royes, Sonia. ‘Essentialism vis‐à‐vis Possibilia, Modal Logic, and Necessitism.’Philosophy Compass 6/1 (2011): 54–64. Section 4. Focus Questions • There is a debate as to whether essential properties– as well as individual essences and sufficient‐for‐existence properties– should be specified in purely qualitative terms or whether, by contrast, non‐purely qualitative – or even purely non‐qualitative – specifications are allowed. What are the main arguments against the availability of purely qualitative specifications? • Flexible essential properties seem to be more plausible than non‐flexible ones. Yet, together with sufficient‐for‐existence properties, they imply flexible individual essences. How plausible are these? Should we revise our intuitions supporting flexible essential properties? • What are, ultimately, the ontological differences between a necessitist approach to possibilia and an individual‐essences‐based approach? • According to necessitism, essential properties do not impose necessary conditions for an object’s existence. Can the necessitist, nonetheless, capture this role of essential properties by saying that, when it comes to possibly concrete entities, essential properties provide necessary conditions for an object’s concreteness? Can they, on a similar vein, also offer sufficient‐for‐concreteness properties as a surrogate for the (non‐necessitist’s) sufficient‐for‐existence properties? • Even after the enormous amount of literature that essentialism has generated, we are far from reaching a general agreement as to which properties are essential and which are accidental. Should this be a reason to reflect, critically, on the methodology that is being used in the arguments for or against essential properties? Is reliance on intuitions inescapable? (shrink)

The moral potential of works of art, for good or ill, has been recognised from philosophical antiquity: on the assumption that the moral effects of art are invariably negative, Plato advised the exclusion of artists from any rationally ordered state. Arguably, however, the problem of the moral status of art has become yet more acute in contexts of post-Romantic and other modern artistic exploration of moral ambiguity, and even of some apparent contemporary celebration of the immoral and amoral. Indeed, some (...) tension between commitment to liberal-democratic openness and freedom, on the one hand, and fear about the potential literary and artistic corruption of the young, on the other, is evident in latter-day moralistic trends in children’s literature. However, in the light of some basic exploration of conceptual relationships between the artistic, the aesthetic and the moral, this paper argues that such moralising trends in particular and arguments for artistic censorship in general are mostly wrongheaded and unsustainable. (shrink)

Towards the end of Theta.4 of the Metaphysics, Aristotle appears to endorse the obviously invalid modal principle that the truth of A will entail the truth of B if the possibility of A entails the possibility of B. I attempt to show how Aristotle's endorsement of the principle can be seen to arise from his accepting a non-standard interpretation of the modal operators and I indicate how the principle and its interpretation are of independent interest, quite apart from (...) their role in understanding Aristotle. (shrink)

This paper considers Kripke's (1972, 1980) modal arguments against descriptivism about proper names, the descriptivist reply that the meaning of a name is given by a description involving the modifier ‘actually’, and Kit Fine's (1994) distinction between necessary and essential attributes. It explains how Kripke's modal arguments can be recast in essentialist terms by appealing to Fine's distinction, and it argues that the resulting essentialist arguments are immune to the abovementioned descriptivist reply to the original (...) class='Hi'>modal arguments. (shrink)

Even if we reject the Wollheimian reading of Collingwood as an Idealist in the ontology of art, it remains puzzling how his non-Idealist ontology fits with his idea of art as expression. In trying to clarifying these matters, I argue that (i) the work of art, for Collingwood, is an activity, not the product of an activity; (ii) puzzling features of the Principles arise from attempts to reconcile this claim with the idea of art as expression while preserving the art/craft (...) distinction; and (iii) Collingwood's principal concern in the Principles is with the role of imagination in experience. CiteULike Connotea Del.icio.us What's this? (shrink)

Is ontologizing about art rightly held accountable to artistic practice, and, if so, how? Julian Dodd argues against such accountability. His target is “local descriptivism,” a meta-ontological principle that he contrasts with meta-ontological realism. The local descriptivist thinks that folk-theoretic beliefs implicit in our practices somehow determine the ontological characters of artworks. I argue, however, that according a grounding role to artistic practice in the ontology of art does not conflict with meta-ontological realism. Practice must ground our ontological inquiries because (...) our task is to make sense of the practices into which artworks enter. Terms like ‘musical work,’ as employed by the ontologist, play an essentially explanatory role in this endeavor, and it is only in terms of this role that we can specify the object of our ontological inquiries. But neither our practices nor our folk beliefs are sacrosanct. In taking ontology of art to be reflectively accountable to artistic practice, I also reject Amie Thomasson's claim that it involves conceptual analysis and therefore cannot rightly claim to be directly revisionary of folk understandings. Ontology of art involves not conceptual analysis but the codification of a practice in a way that clarifies that practice. (shrink)

A novel Protocol Ethics Tool Kit (‘Ethics Tool Kit’) has been developed by a multi-stakeholder group of the Multi-Regional Clinical Trials Center of Brigham and Women9s Hospital and Harvard. The purpose of the Ethics Tool Kit is to facilitate effective recognition, consideration and deliberation of critical ethical issues in clinical trial protocols. The Ethics Tool Kit may be used by investigators and sponsors to develop a dedicated Ethics Section within a protocol to improve the consistency and transparency between clinical trial (...) protocols and research ethics committee reviews. It may also streamline ethics review and may facilitate and expedite the review process by anticipating the concerns of ethics committee reviewers. Specific attention was given to issues arising in multinational settings. With the use of this Tool Kit, researchers have the opportunity to address critical research ethics issues proactively, potentially speeding the time and easing the process to final protocol approval. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.2 (2003) 277-278 [Access article in PDF] John Hedley Brooke, Margaret J. Osler, and Jitse M. van der Meer, editors. Science in Theistic Contexts: Cognitive Dimensions. Chicago: University of Chicago Press Journals Division, 2001. Pp. xiii + 376. Cloth, $39.00. Paper, $25.00. Some twenty years ago, when I submitted a dissertation proposal to explore connections between theologies of creation and views of scientific (...) knowledge in the seventeenth century, my doctoral committee was not initially enthusiastic—my idea might make a good dissertation in religion, but was it really history of science? I doubt I would have a similar experience today. Not only has the "warfare" thesis of science and religion been laid permanently to rest, historians have begun seriously to question whether it makes sense even to treat "religion" and "science" in an essentialist manner as separate ways of thinking that do not ordinarily interact. Many detailed case studies demonstrating a variety of fascinating, often important connections between science and religion have appeared from leading scholars in the past two decades. This trend continues in the latest volume of Osiris, which contains sixteen essays documenting various ways in which religious beliefs have influenced the actual content and presentation of science.The volume opens with two companion essays laying out the terrain. First, Brooke engages the new methodological and conceptual problems that confront historians following the demise of the "warfare" thesis. Then Stephen Wykstra offers criteria for sorting out the various roles for metaphysical and religious beliefs (which he distinguishes) in shaping scientific knowledge. The case studies begin with E. Jamil Ragep's essay on medieval Islamic astronomy, arguing that religion sometimes had a constructive role—a rather novel claim for Islamic science, he points out. Noah J. Efron and Menachem Fisch show how early modern Jewish exegetical practices influenced David b. Solomon Gans's interpretations of astronomical texts, and quite possibly his interpretation of nature also. A Christian astronomer is next, as Peter Barker and Bernard R. Goldstein detail how Johannes Kepler's theology contributed directly to the discovery of scientific laws. Maurice A. Finnocchiaro then reviews various accounts of the Galileo affair, finding far more conflict in the subsequent historiography of the events than in the trial itself.Moving from astronomy to natural philosophy, Margaret G. Cook's essay on Robert Boyle examines the web of connections between theology, the mechanical philosophy, and [End Page 277] "the Aristotelian philosophy that he sought to replace." She demonstrates that Boyle used the classical art/nature distinction "to interpret the biblical account of the Creation and to argue that chemical techniques offered experimental confirmation that the world, created by art, worked by the same mechanical principles as artificial objects, not by the inherent agency of Aristotelian nature" (136). Margaret J. Osler also writes about Boyle. Contrary to the traditional view that final causes were expunged from science by the mechanical philosophy—a view that originated in the "positivism and scientific optimism" of the postwar period (168)—she proves that final causality remained central to the thought of Boyle and Pierre Gassendi. The essay by Stephen D. Snobelen presents substantial evidence that the famous General Scholium, appended to the second edition of Isaac Newton's Principia, was a carefully worded declaration of Newton's heterodox theology. "A Trinitarian," Snobelen concludes, "could not have written the General Scholium" (186). He also shows the degree to which Newton's theology shaped his overall natural philosophy, decisively debunking the late Richard S. Westfall's view that such influences could not be found.The final seven essays are mainly devoted to nineteenth-century science. Michael J. Crowe documents several ways in which Christian beliefs about divine goodness and the Incarnation affected astronomy. Martin Fichman shows how Alfred Russel Wallace's theism—not merely a vague spiritualism, as traditional accounts claim—"shaped the cognitive content of his mature evolutionary synthesis, which included a theoretical reconceptualization of the scope of natural selection" (227). In a revisionist account of Charles Darwin's philosophy of "nature," Phillip R. Sloan challenges the received view that... (shrink)

The Lewisean counterpart theorist– despite not defending a genuinely essentialist view of what is possible, de re, of individuals – generally has a way to make essentialist claims come out as true, in those contexts in which they are endorsed by a committed essentialist. In this paper, I am going to show that the normal system that the Lewisean adopts when she wants to make the essentialist a truth-teller does not work with Kit Fine: his essentialist beliefs, which support (...) his counterexamples to the modal account of essentialism, cannot come out as true, in any contexts whatsoever, under the Lewisean view. After arguing that this represents a genuine problem for Lewis’s theory, I will propose a solution. I will indeed show that the Lewisean has a principled way to account for Fine’s essentialist beliefs, consistently with her own counterpart-theorist reading of them. (shrink)

J’évalue de manière critique un certain nombre de thèses concernant la façon dont l’intention peut compléter ou supplanter la convention dans une théorie de l’interprétation. Je soutiens que la signification de l’énonciation ne peut être identifiée aux intentions du locuteur, qu’elles soient réelles ou attribuées. Ou bien l’identification de la signification de l’énonciation aux intentions réelles ne réussit pas à attribuer un rôle déterminant véritable à ces intentions, ou bien elle échoue à rendre compte de la manière dont ces intentions (...) peuvent déterminer la signification de l’énonciation. L’identification de la signification de l’énonciation aux intentions attribuées suppose implicitement : a) que la signification attribuée au locuteur ne détermine pas réellement la signification de l’énonciation ; b) qu’elle n’est pas en mesure de rendre compte des contextes « davidsoniens » dans lesquels un locuteur réalise ses intentions sémantiques par des moyens non conventionnels. Je mets en avant « l’intentionnalisme interprétatif », qui accorde un rôle déterminant à la « saisie » tout en respectant l’idée anti-conventionnaliste selon laquelle les significations de l’énonciation ne peuvent être attribuées qu’à ce que l’on peut supposer être les véhicules d’intentions sémantiques. Ce point de vue permet aussi de fonder une distinction entre l’interprétation dans les arts et l’interprétation dans des contextes conversationnels ordinaires.I critically assess a range of proposals as to how intention supplements or supplants convention in a theory of interpretation. Utterance meaning, I argue, cannot be identified with utterer’s intentions, whether actual or ascribed. Identifying utterance meaning with actual intentions either fails to ascribe a genuine determining role to such intentions, or lacks an account of how such intentions are able to render utterance meaning determinate. Identifying utterance meaning with ascribed intentions either involves the tacit admission that ascribed utterer’s meaning is not the real determinant of utterance meaning, or is unable to account for “Davidsonian” contexts in which a speaker realizes her semantic intentions through unconventional means. I propose an alternative account —“interpretive intentionalism”— that accords a determining role to “uptake” while respecting the anti-conventionalist observation that utterance meanings are only ascribed to presumed vehicles of semantic intentions, and that also grounds a principled distinction between interpretation in the arts and interpretation in ordinary conversational contexts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rehearsal and Hamilton’s “Ingredients Model” of Theatrical PerformanceDavid Davies (bio)IArtistic performances can be thought of as “doings”—things that are done—that share the following features of performances in general: they involve actions aimed at achieving some result; they are open, at least in principle, to public scrutiny and assessment; and they are usually presented to a relevantly informed public with the intention that they be appreciated and assessed, and (...) perhaps also with the intention that some practical goal be achieved. A performance can be classified as “artistic” in a descriptive (rather than normative) sense if it bears in one of the following ways upon the appreciation and evaluation of a focus of artistic appreciation:1 either (a) the performance is itself a focus of artistic appreciation, or (b) the performance plays an essential part in the artistic appreciation and evaluation of something else that is a focus of artistic appreciation by virtue of being an instance of the latter.Many performances in the performing arts are described and treated as performances of something else that is itself an artwork of some kind. We can term the latter a “performed work” and the former a “work-performance.” A work-performance, insofar as it is an instance of a performed work that bears upon its proper artistic appreciation and evaluation, qualifies as artistic in sense (b). Arguably, a work-performance can itself be an object of artistic appreciation and evaluation and thereby also qualify as artistic in sense (a).2 Where we have an artistic practice in which some acknowledged artworks are designed to be performed works, the practice qualifies as what I shall term a “performance art.” The latter is an artistic practice in which our access to, and appreciation of, works (as receivers) is at least in part mediated [End Page 23] by performances of those works. Drama, music, and dance are usually taken to be performance arts in this sense. Intuitively, our access to performed works in the performance arts is at least in part mediated by performances because certain qualities of those works—relevant to their proper appreciation as the particular works they are—are only realizable, and thereby made apparent to receivers, in performances.Philosophical discussion of the performing arts has largely been concerned with performances taking place in the performance arts as characterized above, and thus with performances of performed works. Indeed, most philosophical discussion of the performing arts has focused on performances of performed works of classical music, the assumption being that the model seen to apply to such examples—what we may term “the classical paradigm”—also applies, with very few exceptions, to performances in other musical genres (in particular, jazz and rock) and to performances in other performance media (in particular, theater and dance). In all of these cases, it has been widely assumed, performances are generally of works, and the work-performance relationship is to be understood on the model of the classical paradigm. Performances not obviously open to such an analysis—free improvisations in music or dance, for example—have been viewed either as limiting cases of the classical paradigm or as of only marginal interest for a philosophical treatment of the performing arts.IIOne among the many virtues of James Hamilton’s book is that it challenges the hegemony of the classical paradigm in the performing arts by questioning its applicability to theatrical performances. He argues instead for an “ingredients model” of the relationship between a literary script and a theatrical work. According to the ingredients model, the text produced by a playwright is merely one ingredient that theatrical performance companies take into account when they set out to create a performance.3 It is taken to be a consequence of this that “a [theatrical] performance is... never a performance of some other work nor is it ever a performance of a text or of anything initiated in a text.”4 The alternative idea that theatrical works are to be understood in terms of the classical paradigm is what Hamilton terms the “text-based” view of such works. But adherents of the views that he opposes to the ingredients model may deny that theatrical... (shrink)

In attempting to give a clearer sense to the notion of “applied aesthetics”, I explore analogies and disanalogies between the disciplinary sub‐structure of Aesthetics and the disciplinary sub‐structures of Ethics and Philosophy of Science. I argue that, even if we were to accept the traditional ‘top‐down’ understanding of the distinction between pure and applied fields of Ethics, this distinction admits of only a limited extension to Aesthetics. In Philosophy of the Aesthetic, which seems the most promising area in which to (...) pursue such an extension, the particularity of aesthetic judgment presents an obstacle to thinking of fields like “everyday aesthetics” as applications of more general aesthetic principles even if the definition of such fields presupposes a more general conception of the nature of the aesthetic. In Philosophy of Art, on the other hand, it is other philosophical fields, rather than Aesthetics itself, that may be applied to questions raised by our artistic practices. If, however, we operate with the idea that a philosophical field of inquiry is “applied” insofar as it engages with “specific”, “practical”, or “relevant” questions, then arguably philosophy of the arts as a whole is ‘applied’ if one accepts that even the most foundational questions are rationally accountable to our actual artistic practices. (shrink)

Can new technology enhance purpose-driven, democratic dialogue in groups, governments, and societies? Online Deliberation: Design, Research, and Practice is the first book that attempts to sample the full range of work on online deliberation, forging new connections between academic research, technology designers, and practitioners. Since some of the most exciting innovations have occurred outside of traditional institutions, and those involved have often worked in relative isolation from each other, work in this growing field has often failed to reflect the full (...) set of perspectives on online deliberation. This volume is aimed at those working at the crossroads of information/communication technology and social science, and documents early findings in, and perspectives on, this new field by many of its pioneers. -/- CONTENTS: -/- Introduction: The Blossoming Field of Online Deliberation (Todd Davies, pp. 1-19) -/- Part I - Prospects for Online Civic Engagement -/- Chapter 1: Virtual Public Consultation: Prospects for Internet Deliberative Democracy (James S. Fishkin, pp. 23-35) -/- Chapter 2: Citizens Deliberating Online: Theory and Some Evidence (Vincent Price, pp. 37-58) -/- Chapter 3: Can Online Deliberation Improve Politics? Scientific Foundations for Success (Arthur Lupia, pp. 59-69) -/- Chapter 4: Deliberative Democracy, Online Discussion, and Project PICOLA (Public Informed Citizen Online Assembly) (Robert Cavalier with Miso Kim and Zachary Sam Zaiss, pp. 71-79) -/- Part II - Online Dialogue in the Wild -/- Chapter 5: Friends, Foes, and Fringe: Norms and Structure in Political Discussion Networks (John Kelly, Danyel Fisher, and Marc Smith, pp. 83-93) -/- Chapter 6: Searching the Net for Differences of Opinion (Warren Sack, John Kelly, and Michael Dale, pp. 95-104) -/- Chapter 7: Happy Accidents: Deliberation and Online Exposure to Opposing Views (Azi Lev-On and Bernard Manin, pp. 105-122) -/- Chapter 8: Rethinking Local Conversations on the Web (Sameer Ahuja, Manuel Pérez-Quiñones, and Andrea Kavanaugh, pp. 123-129) -/- Part III - Online Public Consultation -/- Chapter 9: Deliberation in E-Rulemaking? The Problem of Mass Participation (David Schlosberg, Steve Zavestoski, and Stuart Shulman, pp. 133-148) -/- Chapter 10: Turning GOLD into EPG: Lessons from Low-Tech Democratic Experimentalism for Electronic Rulemaking and Other Ventures in Cyberdemocracy (Peter M. Shane, pp. 149-162) -/- Chapter 11: Baudrillard and the Virtual Cow: Simulation Games and Citizen Participation (Hélène Michel and Dominique Kreziak, pp. 163-166) -/- Chapter 12: Using Web-Based Group Support Systems to Enhance Procedural Fairness in Administrative Decision Making in South Africa (Hossana Twinomurinzi and Jackie Phahlamohlaka, pp. 167-169) -/- Chapter 13: Citizen Participation Is Critical: An Example from Sweden (Tomas Ohlin, pp. 171-173) -/- Part IV - Online Deliberation in Organizations -/- Chapter 14: Online Deliberation in the Government of Canada: Organizing the Back Office (Elisabeth Richard, pp. 177-191) -/- Chapter 15: Political Action and Organization Building: An Internet-Based Engagement Model (Mark Cooper, pp. 193-202) -/- Chapter 16: Wiki Collaboration Within Political Parties: Benefits and Challenges (Kate Raynes-Goldie and David Fono, pp. 203-205) -/- Chapter 17: Debian’s Democracy (Gunnar Ristroph, pp. 207-211) -/- Chapter 18: Software Support for Face-to-Face Parliamentary Procedure (Dana Dahlstrom and Bayle Shanks, pp. 213-220) -/- Part V - Online Facilitation -/- Chapter 19: Deliberation on the Net: Lessons from a Field Experiment (June Woong Rhee and Eun-mee Kim, pp. 223-232) -/- Chapter 20: The Role of the Moderator: Problems and Possibilities for Government-Run Online Discussion Forums (Scott Wright, pp. 233-242) -/- Chapter 21: Silencing the Clatter: Removing Anonymity from a Corporate Online Community (Gilly Leshed, pp. 243-251) -/- Chapter 22: Facilitation and Inclusive Deliberation (Matthias Trénel, pp. 253-257) -/- Chapter 23: Rethinking the ‘Informed’ Participant: Precautions and Recommendations for the Design of Online Deliberation (Kevin S. Ramsey and Matthew W. Wilson, pp. 259-267) -/- Chapter 24: PerlNomic: Rule Making and Enforcement in Digital Shared Spaces (Mark E. Phair and Adam Bliss, pp. 269-271) -/- Part VI - Design of Deliberation Tools -/- Chapter 25: An Online Environment for Democratic Deliberation: Motivations, Principles, and Design (Todd Davies, Brendan O’Connor, Alex Cochran, Jonathan J. Effrat, Andrew Parker, Benjamin Newman, and Aaron Tam, pp. 275-292) -/- Chapter 26: Online Civic Deliberation with E-Liberate (Douglas Schuler, pp. 293-302) -/- Chapter 27: Parliament: A Module for Parliamentary Procedure Software (Bayle Shanks and Dana Dahlstrom, pp. 303-307) -/- Chapter 28: Decision Structure: A New Approach to Three Problems in Deliberation (Raymond J. Pingree, pp. 309-316) -/- Chapter 29: Design Requirements of Argument Mapping Software for Teaching Deliberation (Matthew W. Easterday, Jordan S. Kanarek, and Maralee Harrell, pp. 317-323) -/- Chapter 30: Email-Embedded Voting with eVote/Clerk (Marilyn Davis, pp. 325-327) -/- Epilogue: Understanding Diversity in the Field of Online Deliberation (Seeta Peña Gangadharan, pp. 329-358). -/- For individual chapter downloads, go to odbook.stanford.edu. (shrink)

David Lewis, Stewart Cohen, and Keith DeRose have proposed that sentences of the form S knows P are indexical, and therefore differ in truth value from one context to another.1 On their indexical contextualism, the truth value of S knows P is determined by whether S meets the epistemic standards of the speakers context. I will not be concerned with relational forms of contextualism, according to which the truth value of S knows P is determined by the standards of (...) the subject Ss context, regardless of the standards applying to the speaker making the knowledge claim. Relational contextualism is a form of normative relativism. Indexical contextualism is a semantic theory. When the subject is the speaker, as when S is the first person pronoun I, the two forms of contextualism coincide. But otherwise, they diverge. I critically examine the principal arguments for indexicalism, detail linguistic evidence against it, and suggest a pragmatic alternative. (shrink)

Significant research has been devoted to detecting people in images and videos. In this paper we describe a human de- tection method that augments widely used edge-based fea- tures with texture and color information, providing us with a much richer descriptor set. This augmentation results in an extremely high-dimensional feature space (more than 170,000 dimensions). In such high-dimensional spaces, classical machine learning algorithms such as SVMs are nearly intractable with respect to training. Furthermore, the number of training samples is much (...) smaller than the dimensionality of the feature space, by at least an order of magnitude. Finally, the extraction of features from a densely sampled grid structure leads to a high degree of multicollinearity. To circumvent these data characteristics, we employ Partial Least Squares (PLS) analysis, an effi- cient dimensionality reduction technique, one which pre- serves significant discriminative information, to project the data onto a much lower dimensional subspace (20 dimen- sions, reduced from the original 170,000). Our human de- tection system, employing PLS analysis over the enriched descriptor set, is shown to outperform state-of-the-art tech- niques on three varied datasets including the popular INRIA pedestrian dataset, the low-resolution gray-scale Daim- lerChrysler pedestrian dataset, and the ETHZ pedestrian dataset consisting of full-length videos of crowded scenes. (shrink)

It is my aim in this paper to show that the contemporary assimilation of essence to modality is fundamentally misguided and that, as a consequence, the corresponding conception of metaphysics should be given up. It is not my view that the modal account fails to capture anything which might reasonably be called a concept of essence. My point, rather, is that the notion of essence which is of central importance to the metaphysics of identity is not to be understood (...) in modal terms or even to be regarded as extensionally equivalent to a modal notion. The one notion is, if I am right, a highly refined version of the other; it is like a sieve which performs a similar function but with a much finer mesh. (shrink)

This chapter provides shorter version of the previous chapter and develops some of its themes. It argues that the status of Quine’s arguments against quantifying into modal contexts varies depending upon whether a logical or a metaphysical modality is in question. Various ways of making sense of de re logical modality are distinguished.

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 75-79, Winter 2020.

This chapter contains section titled: Preliminaries The Work‐Relativity of Modality A Strategy for Accommodating the Work‐Relativity of Modality Appendix: A Defense of the “Modality Principle”.

Dispositional essentialists argue that physical properties have their causal roles essentially. This is typically taken to mean that physical properties are identical to dispositions. I argue that this is untenable, and that we must instead say that properties bestow dispositions. I explore what it is for a property to have such a role essentially. Dispositional essentialists argue for their view by citing certain epistemological and metaphysical implications, and I appeal to these implications to place desiderata on the concept of essence (...) involved. I argue that the traditional modal theory of essence meets these desiderata, but that the resulting theory wrongly implies that certain dispositions essential to mass are essential to charge, thereby offering a new argument against modal theories of essence. I argue that dispositional essentialism requires a primitive notion of essence, and develop a primitivist theory based on Kit Fine's views. I show that the primitivist theory has all the virtues of the modal alternative, and none of the vices. I develop a novel way of thinking about the relationship between properties, laws and dispositions, and argue that it has distinct advantages over standard dispositional essentialist formulations. (shrink)

It is argued that there are three main forms of necessity --the metaphysical, the natural and the normative--and that none of them is reducible to the others or to any other form of necessity. In arguing for a distinctive form of natural necessity, it is necessary to refute a version of the doctrine of scientific essentialism; and in arguing for a distinctive form of normative necessity, it is necessary to refute certain traditional and contemporary versions of ethical naturalism.

This book concerns the foundations of epistemic modality. I examine the nature of epistemic modality, when the modal operator is interpreted as concerning both apriority and conceivability, as well as states of knowledge and belief. The book demonstrates how epistemic modality relates to the computational theory of mind; metaphysical modality; the types of mathematical modality; to the epistemic status of large cardinal axioms, undecidable propositions, and abstraction principles in the philosophy of mathematics; to the modal profile of rational (...) intuition; and to the types of intention, when the latter is interpreted as a modal mental state. Chapter 2 argues for a novel type of expressivism based on the duality between the categories of coalgebras and algebras, and argues that the duality permits of the reconciliation between modal cognitivism and modal expressivism. Chapter 3 provides an abstraction principle for epistemic intensions. Chapter 4 advances a two-dimensional truthmaker semantics, and provides three novel interpretations of the framework along with the epistemic and metasemantic. Chapter 5 applies the fixed points of the modal $\mu$-calculus in order to account for the iteration of epistemic states, by contrast to availing of modal axiom 4. Chapter 6 advances a solution to the Julius Caesar problem based on Fine's "criterial" identity conditions which incorporate conditions on essentiality and grounding. Chapter 7 provides a ground-theoretic regimentation of the proposals in the metaphysics of consciousness and examines its bearing on the two-dimensional conceivability argument against physicalism. The epistemic two-dimensional truthmaker semantics developed in chapter 4 is availed of in order for epistemic states to be a guide to metaphysical states in the hyperintensional setting. Chapter 8 examines the modal commitments of abstractionism, in particular necessitism, and epistemic modality and the epistemology of abstraction. Chapter 9 examines the modal profile of $\Omega$-logic in set theory. Chapter 10 examines the interaction between epistemic two-dimensional semantics and absolute decidability. Chapter 11 avails of modal coalgebraic automata to interpret the defining properties of indefinite extensibility, and avails of epistemic two-dimensional semantics in order to account for the interaction of the interpretational and objective modalities thereof. The hyperintensional, epistemic two-dimensional truthmaker semantics developed in chapter 4 is applied in chapters 8, 10, and 11. Chapter 12 provides a modal logic for rational intuition. Chapter 13 examines modal responses to the alethic paradoxes. Chapter 14 examines, finally, the modal semantics for the different types of intention and the relation of the latter to evidential decision theory. (shrink)

In this paper we examine a puzzle recently posed by Aaron Preston for the traditional realist assay of property (quality) instances. Consider Socrates (a red round spot) and red1—Socrates’ redness. For the traditional realist, both of these entities are concrete particulars. Further, both involve redness being `tied to’ the same bare individuator. But then it appears that red1 is duplicated in its ‘thicker’ particular (Socrates), so that it can’t be predicated of Socrates without redundancy. According to Preston, this suggests that (...) a concrete particular and its property instances aren’t genuinely related. We argue that Preston’s proffered solution here—to treat property instances as “mental constructs”—is fraught with difficulty. We then go on to show how, by fine-tuning the nature of bare particulars, treating them as abstract modes of things rather than concrete particulars, the traditional realist can neatly evade Preston’s puzzle. (shrink)

There is a common form of problem, to be found in many areas of philosophy, concerning the relationship between our perspective on reality and reality itself. We make statements (or form judgements) about how things are from a given standpoint or perspective. We make the statement ‘it is raining’ from the standpoint of the present time, for example, or the statement‘it is here’ from the standpoint of where we are, or the statement ‘I am glad’ from the standpoint of a (...) subject. In each of these cases, the statement has a certain ‘aspect’ or perspectival character in virtue of which its truth is capable of varying from one standpoint to another. Thus the statement ‘it is raining’ is tensed, the statement ‘it is here’ is ‘spatiocentric’ and the statement ‘I am glad’ is first-personal. The problem we then face is to determine whether this aspect is a feature of the reality which is described or merely a feature of the statement by which it is described. Is reality itself somehow tensed or spatiocentric or firstpersonal or is it merely that we describe a tenseless or spatially uncentered or impersonal reality from a tensed or spatiocentric or first-personal point of view? (shrink)

A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and (...) truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century. (shrink)

How can a statue and a piece of alloy be coincident at any time at which they exist and yet differ in their modal properties? I argue that this question demands an answer and that the only plausible answer is one that posits a difference in the form of the two objects.

In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in this area of aesthetics. Written by prominent scholars covering a wide-range of key topics in aesthetics and the philosophy of art Features revised and expanded entries from the first edition, as well as new chapters on recent developments in aesthetics and a larger number of essays on non-Western thought about art Unique to this edition are six overview essays on (...) the history of aesthetics in the West from antiquity to modern times. (shrink)

This chapter contains section titled: Elaborating the Performance Theory Structure and Focus Heuristics and the Individuation of Artworks Work‐Constitution and Modality on the Performance Theory Performances, Actions, and Doings.

A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and (...) truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century. (shrink)

Philosophical Perspectives on Art is a collection of sixteen articles on the philosophy of art that Stephen Davies published between 1984 and 2006. The book consists of two parts that focus, in turn, on the nature of art and on meaning and interpretation. Although there is unavoidably some overlap between the different chapters, the book is remarkable in its scope, engaging with all the central questions in the philosophy of art in a thorough, coherent and far-reaching manner.The category of (...) art that is under analysis in the first part, is, as Davies explains, one that crosses the boundaries between the natural and the humanly invented and, further, escapes the confines of Western fine art to encompass, for instance, folk or pre-18th century Western art, as well as the art production of non-Western cultures.An all-inclusive category of art, however, sets two challenges for a comprehensive theory of art: on the one hand, with such a wide and varied token …. (shrink)

Locke’s thesis states that no two things of the same sort can be in the same place at the same time. The thesis has recently received extensive discussion, with some philosophers attempting to find arguments in its favour and others attempting to provide counter-examples. However, neither the arguments nor the counter-examples have been especially convincing; and it is my aim, in this short note, to present what I believe is a more convincing counter-example to the thesis.

A growing body of literature critical of ethics review boards has drawn attention to the processes used to determine the ethical merit of research. Citing criticism on the bureaucratic nature of ethics review processes, this literature provides a useful provocation for (re)considering how the ethics review might be enacted. Much of this criticism focuses on how ethics review boards _deliberate,_ with particular attention given to the lack of transparency and opportunities for researcher recourse that characterise ethics review processes. Centered specifically (...) on the conduct of ethics review boards convened within university settings, this paper draws on these inherent criticisms to consider the ways that ethics review boards might enact more communicative and deliberative practices. Outlining a set of principles against which ethics review boards might establish strategies for engaging with researchers and research communities, this paper draws attention to how _Deliberative communication_, _Engagement with researchers_ and the _Distribution of responsibility_ for the ethics review might be enacted in the day-to-day practice of the university human ethics review board. This paper develops these themes via a conceptual lens derived from Habermas’ (The theory of communicative action. Volume 1: Reason and the rationalization of society, 1984 ) articulation of ‘communicative action’ and Fraser’s (Social Text, 25(26), 56–80, 1990 ) consideration of ‘strong publics’ to cast consideration of the role that human ethics review boards might play in supporting university research cultures. _Deliberative communication_, _Engagement with researchers_ and the _Distribution of responsibility_ provide useful conceptual prompts for considering how ethics review boards might undertake their work. (shrink)

It is argued that just as there is a distinction between tensed and tenseless sentences so is there a distinction between worldly and unworldly sentences. This distinction has important implications for questions of possible non-existence, the nature of sortal concepts, such as man or set, and the different ways in which an object might exist.

This paper is part of a general programme of developing and investigating particular first- order modal theories. In the paper, a modal theory of propositions is constructed under the assumption that there are genuinely singular propositions, ie. ones that contain individuals as constituents. Various results on decidability, axiomatizability and definability are established.

It is shown that certain natural constraints trivialize the concept of partial content and it is suggested, in the light of this difficulty, that the principle that partial content is preserved under the substitution of logical equivalents should be given up.

In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights (...) core topics in aesthetics and art theory, including traditional theories about the nature of art, aesthetic appreciation, artistic intentions, performance, and artistic meaning. (shrink)

There is a common form of problem, to be found in many areas of philosophy, concerning the relationship between our perspective on reality and reality itself. We make statements (or form judgements) about how things are from a given standpoint or perspective. We make the statement ‘it is raining’ from the standpoint of the present time, for example, or the statement‘it is here’ from the standpoint of where we are, or the statement ‘I am glad’ from the standpoint of a (...) subject. In each of these cases, the statement has a certain ‘aspect’ or perspectival character in virtue of which its truth is capable of varying from one standpoint to another. Thus the statement ‘it is raining’ is tensed, the statement ‘it is here’ is ‘spatiocentric’ and the statement ‘I am glad’ is first-personal. The problem we then face is to determine whether this aspect is a feature of the reality which is described or merely a feature of the statement by which it is described. Is reality itself somehow tensed or spatiocentric or firstpersonal or is it merely that we describe a tenseless or spatially uncentered or impersonal reality from a tensed or spatiocentric or first-personal point of view? (shrink)

It is now over 15 years since Hilary Putnam first urged that we take the “narrow path” of internal realism as a way of navigating between “the swamps of metaphysics and the quicksands of cultural relativism and historicism” (1983, p. 226). In the opening lines of the Preface toRealism with a Human Face, a collection of Putnam's recent papers edited by James Conant, Putnam reaffirms his allegiance to this narrow path, unmoved by Realist murmurings from the swamps and laconic Rortian (...) suggestions that only the quicksands are a proper metaphilosophical abode for those willing to confront our lack of epistemological and metaphysical foundations. If there are changes to be discerned in these writings, Putnam avers, they pertain only to the burden allotted to different considerations in the overall economy of his argument: “It might be said that the difference between the present volume and my work prior toThe Many Faces of Realismis a shift in emphasis: a shift from emphasizing model-theoretic arguments against metaphysical realism to emphasizing conceptual relativity” (p. xi). (shrink)

I consider some different forms of filtration and raise some questions concerning the scope of the method of filtrations in propositional modal logic.

Modality is standardly thought to come in two varieties: de dicto and de re. De re modality concerns the attribution of modal features to things or individuals, and enshrines a commitment to Aristotelian essentialism. This chapter considers how David Lewis's conception of de re modality fits into his overall metaphysics. The hypothesis is that the driving force behind his metaphysics in general, and his adherence to counterpart theory in particular, is the distinctly Humean thought that necessary connections between (...) distinct existences are literally unintelligible. Lewis's appeal to counterpart theory in his account of truthmakers is explicitly aimed at delivering a truthmaker principle that eschews necessary connections. Lewis's attitude towards several well‐rehearsed debates in contemporary ontology and the reasons underlying that attitude closely mirror Hume's incendiary verdict on "divinity and school metaphysics." Finally, de re modality is connected with his adherence to the doctrine of "Humean supervenience". (shrink)

In this chapter, the author begins with Arthur Danto's reflections upon art and evolution in his 1985 David and Marianne Mandel Lecture in Aesthetics presented at the Annual Meeting of the American Society for Aesthetics. “Primitive” artifacts influenced modernist artists because the “conceptual complexity and aesthetic subtlety” of such artifacts revealed to them artistic possibilities that transcended the “prevailing aesthetic canons” of late nineteenth‐century European art. Danto's argument has drawn widespread criticism, many of his critics, including Vogel herself, questioning (...) the role played in that argument by the anthropological thought experiment. Danto might be more sympathetic to Gell, who prefaces his own proposal by rebuking anthropologists of art for remaining in the thralls of a “reactionary” aesthetic conception of art. (shrink)

Most recently Smart and Thébault revived an almost forgotten debate between Katzav and Ellis on the compatibility of Hamilton’s Principle with Dispositional Essentialism. Katzav’s arguments inter alia aim to show that HP presupposes a kind of metaphysical contingency which is at odds with the basic tenets of DE, and offers explanations of a different type and direction from those given by DE. In this paper I argue that though dispositional essentialists might adequately respond to these arguments, the question about the (...) compatibility of HP with DE has not been answered yet; therefore, dispositional essentialists have not yet provided an illuminating DE-friendly metaphysical account of HP. (shrink)

1. Metaphysical Realists have traditionally relied upon the skeptic to give substance to the idea that truth is, in the words of Hilary Putnam, 'radically non-episternic,’ forever outstripping, in principle at least, the reach of justification. What better model of truth so conceived, after all, than the skeptic's contention that even our firmest convictions might be mistaken in that we might be the victims of demonic deception or the machinations of an evil scientist? But the availability of this favorite model (...) of Realist truth, encapsulated in the claim that we might be ‘brains in a vat,’ has been called into question by Putnam in the opening chapter of Reason, Truth, and History. Putnam contends that, if we grant the Realist notion of truth, as referentially mediated correspondence to THE WORLD, then, given certain plausible constraints on reference, we can know that we are not brains in a vat. (shrink)

Denis Dutton claimed that, to grasp why it matters to the artistic value of a painting like The Disciples at Emmaus that it was painted by van Meegeren in the first half of the twentieth century rather than by Vermeer in the seventeenth century, we need to locate what van Meegeren did in a wider class of ‘artistic crimes’ involving ‘misrepresented artistic performances’. I begin by clarifying how the notions of ‘artistic performance’ and ‘misrepresentation’ are to be understood in the (...) context of Dutton’s paper. I survey a range of examples of misrepresented artistic performances in Dutton’s sense, and ask when they involve ‘artistic crimes’. I then seek a principled way of justifying what seem to be our clear intuitions—apparent in our artistic practice—as to which ‘misrepresented artistic performances’ are artistic crimes and which are not. (shrink)