Delusions have traditionally been considered the hallmark of mental illness, and their conception, diagnosis and treatment raise many of the fundamental conceptual and practical questions of psychopathology. One of these fundamental questions is whether delusions are understandable. In this paper, we propose to consider the question of understandability of delusions from a philosophy of language perspective. For this purpose, we frame the question of how delusions can be understood as a question about the meaning of delusional utterances. Accordingly, we ask: (...) “what meaning(s) can delusional utterances possibly have?”. We argue that in the current literature, there is a standard approach to the meaning of delusional utterances, namely the descriptive account which assumes that a delusional utterance “p” means that p is the case. Drawing on Speech Act Theory, we argue that solely relying on the descriptive account disregards essential ways of how linguistic meaning is constituted. Further, we show that Speech Act Theory can prove a helpful addition to the theoretical and clinical “toolbox” used for attempting to understand delusional utterances. This, we believe, may address some of the theoretical and clinical shortcomings of using only the currently predominant descriptive account. (shrink)

Predictability is a prerequisite for effective human control of artificial intelligence (AI). The inability to predict malfunctioning of AI, for example, impedes timely human intervention. In this paper, we empirically investigate how AI’s predictability compares to the predictability of humans in a real-effort task. We show that humans are worse at predicting AI performance than at predicting human performance. Importantly, participants are not aware of the differences in relative predictability of AI and overestimate their prediction skills. These results raise doubts (...) about the human ability to effectively exercise control of AI — at least in certain contexts. (shrink)

Weakness of the will remains a perplexing issue. Though philosophers have made substantial progress in homing in on what counts as a weak will, there is little agreement on whether weakness of the will is irrational, and if so, why. In this paper, we take an empirical approach towards the rationality of weakness of the will. After introducing the philosophical debate, we present the results of an empirical study that reveals that people take a “dual sensitivity”, as we shall put (...) it, towards assessing the rationality of weak-willed behavior. Put succinctly, intending X against your value judgements is assessed irrational; yet, in the same situation, intending X is assessed significantly less irrational if you judge X as something you ought to do. After discussing this result, we turn to the question of whether there is a plausible theory of rationality than can account for the dual sensitivity of the rationality assessments. We show that a success-based account can make sense of the dual sensitivity our empirical results reveal. (shrink)

Julian Dodd; Discussions: Hornsby on the Identity Theory of Truth, Proceedings of the Aristotelian Society, Volume 99, Issue 1, 1 June 1999, Pages 225–232, http.

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

This chapter considers the prospect of generating human organs within chimeric animals comprised of a mix of human and animal cells. Although seemingly farfetched – the term ‘chimera’ even means, in some modern usage, a “mere wild fancy” or “unfounded conception” (Oxford English Dictionary (n.d.) ‘chimera | chimaera, n.’, OED Online. Oxford University Press. Available at: https://www.oed.com/view/Entry/31708) – recent research into interspecies blastocyst complementation is paving the way toward growing human organs inside of human-animal chimeras, potentially within the not-too-distant (...) future Zheng et al. (Development 148(12), 2021). These human-animal chimeras promise important advances within regenerative medicine and medical research. They also raise some profound bioethical issues, which we survey below. (shrink)

Retraction note: Rueda-Mahecha, Y. M., Martínez Rincón. J. A., Silva-Giraldo, C. A., & Martínez García. C. A. (2022). Analysis of the work and of the professional in safety and health at work. HUMAN REVIEW. International Humanities / Revista Internacional De Humanidades, 12(6), 2–12. https://doi.org/10.37467/revhuman.v11.4111 The Editorial Office of Eurasia Academic Publishing Group has retracted this article. An investigation carried out by our Research Integrity Department has found a group of articles, among which this one is found, that are not (...) within the thematic scope of the journal. We believe that the editorial process was manipulated and, furthermore, acceptance decisions were made under possibly inappropriate peer review. (shrink)

We have a reason to use information which is available about such genes in our reproductive decision-making; (3) couples should selec.

According to what we call the Principle of Procreative Beneficence, couples who decide to have a child have a significant moral reason to select the child who, given his or her genetic endowment, can be expected to enjoy the most well-being. In the first part of this paper, we introduce PB, explain its content, grounds, and implications, and defend it against various objections. In the second part, we argue that PB is superior to competing principles of procreative selection such as (...) that of procreative autonomy. In the third part of the paper, we consider the relation between PB and disability. We develop a revisionary account of disability, in which disability is a species of instrumental badness that is context- and person-relative. Although PB instructs us to aim to reduce disability in future children whenever possible, it does not privilege the normal. What matters is not whether future children meet certain biological or statistical norms, but what level of well-being they can be expected to have. (shrink)

According to the free energy principle biological agents resist a tendency to disorder in their interactions with a dynamically changing environment by keeping themselves in sensory and physiological states that are expected given their embodiment and the niche they inhabit :127–138, 2010. doi: 10.1038/nrn2787). Why would a biological agent that aims at minimising uncertainty in its encounters with the world ever be motivated to seek out novelty? Novelty for such an agent would arrive in the form of sensory and physiological (...) states that are unexpected. Such an agent ought therefore to avoid novel and surprising interactions with the world one might think. Yet humans and many other animals find play and other forms of novelty-seeking and exploration hugely rewarding. How can this be understood in frameworks for studying the mind that emphasise prediction error minimisation? This problem has been taken up in recent research concerned with epistemic action—actions an agent engages in to reduce uncertainty. However that work leaves two questions unanswered, which it is the aim of our paper to address. First, no account has been given yet of why it should feel good to the agent to engage the world playfully and with curiosity. Second an appeal is made to precision-estimation to explain epistemic action, yet it remains unclear how precision-weighting works in action more generally, or active inference. We argue that an answer to both questions may lie in the bodily states of an agent that track the rate at which free energy is being reduced. The recent literature on the predictive brain has connected the valence of emotional experiences to the rate of change in the reduction of prediction error :e1003094, 2013. doi: 10.1371/journal.pcbi.1003094; Van de Cruys, in Metzinger and Wiese Philosophy and predictive processing, vol 24, MIND Group, Frankfurt am Main, 2017. doi: 10.15502/9783958573253). In this literature valenced emotional experiences are hypothesised to be identical with changes in the rate at which prediction error is reduced. Experiences are negatively valenced when overall prediction error increases and are positively valenced when the sum of prediction errors decrease. We offer an ecological-enactive interpretation of the concept of valence and its connection to rate of change of prediction error. We show how rate of change should be understood in terms of embodied states of affordance-related action readiness. We then go on to apply this ecological-enactive account of error dynamics to provide an answer to the first question we have raised: It may explain why it should feel good to an agent to be curious and playful. Our ecological-enactive account also allows us to show how error dynamics may provide an answer to the second question we have raised regarding how precision-weighting works in active inference. An agent that is sensitive to rates of error reduction can tune precision on the fly. We show how this ability to tune precision on the go can allow agents to develop skills for adapting better and better to the unexpected, and search out opportunities for resolving uncertainty and progressing in its learning. (shrink)

Neuroimaging studies of brain-damaged patients diagnosed as in the vegetative state suggest that the patients might be conscious. This might seem to raise no new ethical questions given that in related disputes both sides agree that evidence for consciousness gives strong reason to preserve life. We question this assumption. We clarify the widely held but obscure principle that consciousness is morally significant. It is hard to apply this principle to difficult cases given that philosophers of mind distinguish between a range (...) of notions of consciousness and that is unclear which of these is assumed by the principle. We suggest that the morally relevant notion is that of phenomenal consciousness and then use our analysis to interpret cases of brain damage. We argue that enjoyment of consciousness might actually give stronger moral reasons not to preserve a patient's life and, indeed, that these might be stronger when patients retain significant cognitive function. (shrink)

This paper argues that a consideration of the problem of providing truthmakers for negative truths undermines truthmaker theory. Truthmaker theorists are presented with an uncomfortable dilemma. Either they must take up the challenge of providing truthmakers for negative truths, or else they must explain why negative truths are exceptions to the principle that every truth must have a truthmaker. The first horn is unattractive since the prospects of providing truthmakers for negative truths do not look good neither absences, nor totality (...) states of affairs, nor Graham Priest and J.C. Beall’s ‘polarities’ (Beall, 2000; Priest, 2000) are up to the job. The second horn, meanwhile, is problematic because restricting the truthmaker principle to atomic truths, or weakening it to the thesis that truth supervenes on being, undercuts truthmaker theory’s original motivation. The paper ends by arguing that truthmaker theory is, in any case, an under-motivated doctrine because the groundedness of truth can be explained without appeal to the truthmaker principle. This leaves us free to give the ommonsensical and deflationary explanation of negative truths that common-sense suggests. (shrink)

Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multi-picture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent linguistic vs pictorial discourses, (...) and (iii) the phenomenon of co-referencing across pictures. We extend Segmented Discourse Representation Theory to spell out a formal Super Pragmatics that applies to linguistic, pictorial and mixed discourses, while respecting the particular ‘genius’ of either medium and computing their distinctive pragmatic interpretations. (shrink)

Principles of distributive justice are normative principles designed to guide the allocation of the benefits and burdens of economic activity.

The smooth integration of the natural sciences with everyday lived experience is an important ambition of radical embodied cognitive science. In this paper we start from Koffka’s recommendation in his Principles of Gestalt Psychology that to realize this ambition psychology should be a “science of molar behaviour”. Molar behavior refers to the purposeful behaviour of the whole organism directed at an environment that is meaningfully structured for the animal. Koffka made a sharp distinction between the “behavioural environment” and the “geographical (...) environment”. We show how this distinction picks out the difference between the environment as perceived by an individual organism, and the shared publicly available environment. The ecological psychologist James Gibson was later critical of Koffka for inserting a private phenomenal reality in between animals and the shared environment. Gibson tried to make do with just the concept of affordances in his explanation of molar behaviour. We argue however that psychology as a science of molar behaviour will need to make appeal both to the concepts of shared publicly available affordances, and of the multiplicity of relevant affordances that invite an individual to act. A version of Koffka’s distinction between the two environments remains alive today in a distinction we have made between the field and landscape of affordances. Having distinguished the two environments, we go on to provide an account of how the two environments are related. Koffka suggested that the behavioural environment forms out of the causal interaction of the individual with a pre-existing, ready-made geographical environment. We argue that such an account of the relation between the two environments fails to do justice to the complex entanglement of the social with the material aspects of the geographical environment. To better account for this sociomaterial reality of the geographical environment, we propose a process-perspective on our distinction between the landscape and field of affordances. While the two environments can be conceptually distinguished, we argue they should also be viewed as standing in a relation of reciprocal and mutual dependence. (shrink)

The publication of the first study to use gene editing techniques in human embryos (Liang et al., 2015) has drawn outrage from many in the scientific community. The prestigious scientific journals Nature and Science have published commentaries which call for this research to be strongly discouraged or halted all together (Lanphier et al., 2015; Baltimore et al., 2015). We believe this should be questioned. There is a moral imperative to continue this research.

Following a brief reconstruction of Hutto & Satne’s paper we focus our critical comments on two issues. First we take up H&S’s claim that a non-representational form of ur-intentionality exists that performs essential work in setting the scene for content-involving forms of intentionality. We will take issue with the characterisation that H&S give of this non-representational form of intentionality. Part of our commentary will therefore be aimed at motivating an alternative account of how there can be intentionality without mental content, (...) which we have called skilled intentionality. Skilled intentionality is the individual’s selective openness and responsiveness to a rich landscape of affordances.A second issue we take up concerns the distinction between ur-intentionality and content-involving intentionality. We will argue that our notion of skilled intentionality as it is found in humans cuts across these two categories. Instead of distinguishing between different forms of intentionality we recommend focusing on how skilled intentionality takes different forms in different forms of life. (shrink)

This book, the first comprehensive study in English of Heidegger's philosophy of art, starts in the mid-1930s with Heidegger's discussion of the Greek temple and his Hegelian declaration that a great artwork gathers together an entire culture in affirmative celebration of its foundational 'truth', and that, by this criterion, art in modernity is 'dead'. His subsequent work on Hölderlin, whom he later identified as the decisive influence on his mature philosophy, led him into a passionate engagement with the art of (...) Rilke, Ce;zanne, Klee and Zen Buddhism, liberating him not only from the overly restrictive conception of art of the mid-1930s but also from the disastrous politics of the period. Drawing on material hitherto unknown in the anglophone world, Young establishes a new account of Heidegger's philosophy of art and shows that his famous essay 'The Origin of the Work of Art' is its beginning, not its end. (shrink)

Immanuel Kant is widely recognised as one of the most important Western philosophers since Aristotle. His thought has had, and continues to have, a profound effect on every branch of philosophy, including aesthetics, ethics, metaphysics, epistemology, political philosophy, and philosophy of religion. This Lexicon contains detailed and original entries by 130 leading Kant scholars, covering Kant's most important concepts as well as each of his writings. Part I covers Kant's notoriously difficult philosophical concepts, providing entries on these individual 'trees' of (...) Kant's philosophical system. Part II, by contrast, provides an overview of the 'forest' of Kant's philosophy, with entries on each of his published works and on each of his sets of lectures and personal reflections. This part is arranged chronologically, revealing not only the broad sweep of Kant's thought but also its development over time. Professors, graduate students, and undergraduates will value this landmark volume. (shrink)

Cognition has traditionally been understood in terms of internal mental representations, and computational operations carried out on internal mental representations. Radical approaches propose to reconceive cognition in terms of agent-environment dynamics. An outstanding challenge for such a philosophical project is how to scale-up from perception and action to cases of what is typically called ‘higher-order’ cognition such as linguistic thought, the case we focus on in this paper. Perception and action are naturally described in terms of agent-environment dynamics, but can (...) a person’s thoughts about absent, abstract or counterfactual states of affairs also be accounted for in such terms? We argue such a question will seem pressing so long as one fails to appreciate how richly resourceful the human ecological niche is in terms of the affordances it provides. The explanatory work that is supposedly done by mental representations in a philosophical analysis of cognition, can instead be done by looking outside of the head to the environment structured by sociomaterial practices, and the affordances it makes available. Once one recognizes how much of the human ecological niche has become structured by activities of talking and writing, this should take away at least some of the motivation for understanding linguistic thinking in terms of content-bearing internal representations. We’ll argue that people can think about absent, abstract or counterfactual because of their skills for engaging with what we will call “enlanguaged affordances”. We make use of the phenomenological analysis of speech in Merleau-Ponty to show how the multiple affordances an individual is ready to engage with in a particular situation will typically include enlanguaged affordances. (shrink)

ABSTRACTWhat is John Cage's 4′33″? This paper disambiguates this question into three sub-questions concerning, respectively, the work's ontological nature, the art form to which it belongs, and the genre it is in. We shall see that the work's performances consist of silence, that it is a work of performance art, and that it belongs to the genre of conceptual art. Seeing the work in these ways helps us to understand it better, and promises to assuage somewhat the puzzlement and irritation (...) of those who are at first resistant to its charms. (shrink)

Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...) ontology of art: a form that does not quarrel with the possibility of revisionism in matters of ‘fundamental metaphysics’, but which argues that special features of the arts make descriptivism in this particular sphere obligatory. David Davies, Andrew Kania and Stephen Davies are local descriptivists in this sense. I argue that the burden of proof lies with the local descriptivist, but that this burden is too heavy for him to carry. Specifically, it emerges that the only way in which the local descriptivist can motivate his position is by arguing that our artistic practices determine the art ontological facts: a thesis that local descriptivists typically appeal to, but have not been able to argue for successfully. My conclusion is that the methodological debate in the ontology of art should now proceed by focussing on the case for global descriptivism: i.e. that form of descriptivism that opposes the possibility of revisionism in ontological matters across the board. (shrink)

Chapter 1 Idealism § 1 Introduction Schopenhauer says that his philosophy grows out of Kant's, as from its "parent stem" (WR I p.501). ...

This paper asks whether we should accept a weakened version of the truthmaker principle: namely, the claim that truth supervenes on being, in which 'being' is understood as whether things are. I consider a number of positive answers to this question, including the following: that the truthmaker principle is a requirement of any plausible explanation of truth; that the principle must be accepted, if we are to do justice to the Wittgensteinian insight that the world is the totality of facts, (...) not of things; and that the correctness of the principle is a necessary condition of a realist metaphysics. In my view, none of these attempts to motivate the truthmaker principle is satisfactory. (shrink)

Our emotional lives are full of temporal asymmetries. Salient among these is that we tend to feel differently about painful or unpleasant events depending on their temporal location: we feel anxiety or trepidation about painful events we anticipate in the future, and relief when they are over. One question, then, is whether temporally asymmetric emotions such as relief have any ramifications for the metaphysics of time. On what has become the standard way of finessing this question, the asymmetry of relief (...) is an instance of the phenomenon of future-bias, a tendency to prefer painful events to be located in the past than in the future. The main question then posed is whether this pattern of preferences can be justified in the light of different metaphysical theories of time. In this paper I argue that this whole dialectic is misconceived. While many people may have future-biased preferences and these are a legitimate object of psychological study, this should be distinguished from the more basic phenomenon of relief that an unpleasant experience is over. Acknowledging the distinctness of these phenomena has two main consequences. First, if relief is not a manifestation of a time-biased preference, it is unclear what it would be for it to be justified or unjustified. This, in turn, should lead us to reassess how the psychology of relief bears on our metaphysical commitments. As I shall suggest, the real significance of the temporally asymmetric emotions for the metaphysics of time is that they manifest, and so reflection on them serves to draw our attention to, a structural feature of our awareness of the passage of time that resists re-articulation in other terms. (shrink)

In much of the current academic and public discussion, conspiracy theories are portrayed as a negative phenomenon, linked to misinformation, mistrust in experts and institutions, and political propaganda. Rather surprisingly, however, philosophers working on this topic have been reluctant to incorporate a negatively evaluative aspect when either analyzing or engineering the concept conspiracy theory. In this paper, we present empirical data on the nature of the concept conspiracy theory from five studies designed to test the existence, prevalence and exact form (...) of an evaluative dimension to the ordinary concept conspiracy theory. These results reveal that, while there is a descriptive concept of conspiracy theory, the predominant use of conspiracy theory is deeply evaluative, encoding information about epistemic deficiency and often also derogatory and disparaging information. On the basis of these results, we present a new strategy for engineering conspiracy theory to promote theoretical investigations and institutional discussions of this phenomenon. We argue for engineering conspiracy theory to encode an epistemic evaluation, and to introduce a descriptive expression—such as ‘conspiratorial explanation’—to refer to the purely descriptive concept conspiracy theory. (shrink)

The psychedelic psilocybin has shown promise both as treatment for psychiatric conditions and as a means of improving well-being in healthy individuals. In some jurisdictions (e.g., Oregon, USA), psilocybin use for both purposes is or will soon be allowed and yet, public attitudes toward this shift are understudied. We asked a nationally representative sample of 795 US Americans to evaluate the moral status of psilocybin use in an appropriately licensed setting for either treatment of a psychiatric condition or well-being enhancement. (...) Showing strong bipartisan support, participants rated the individual’s decision as morally positive in both contexts. These results can inform effective policy-making decisions around supervised psilocybin use, given robust public attitudes as elicited in the context of an innovative regulatory model. We did not explore attitudes to psilocybin use in unsupervised or non-licensed community or social settings. (shrink)

Postcolonial theory has enjoyed wide influence in the humanities but it has left sociology comparatively unscathed. Does this mean that postcolonial theory is not relevant to sociology? Focusing upon social theory and historical sociology in particular, this article considers if and how postcolonial theory in the humanities might be imported into North American sociology. It argues that postcolonial theory offers a substantial critique of sociology because it alerts us to sociology’s tendency to analytically bifurcate social relations. The article also suggests (...) that a postcolonial sociology can overcome these problems by incorporating relational social theories to give new accounts of modernity. Rather than simply studying non-Western postcolonial societies or only examining colonialism, this approach insists upon the interactional constitution of social units, processes, and practices across space. To illustrate, the article draws upon relational theories (actor-network theory and field theory) to offer postcolonial accounts of two conventional research areas in historical sociology: the industrial revolution in England and the French Revolution. (shrink)

Bruineberg and colleagues' critique of Friston blankets relies on what we call the “literalist fallacy”: the assumption that in order for Friston blankets to represent real boundaries, biological systems must literally possess or instantiate Markov blankets. We argue that it is important to distinguish a realist view of Friston blankets from the literalist view of Bruineberg and colleagues’ critique.

Since 1945, and particularly since the facts of the 'Heidegger case' became widely known in 1987, an enormous number of words have been devoted to establishing not only Heidegger's involvement with Nazism, but also that his philosophy is irredeemably discredited thereby. This book, while in no way denying the depth or seriousness of Heidegger's political involvement, challenges this tide of opinion, arguing that his philosophy is not compromised in any of its phases, and that acceptance of it is fully consistent (...) with a deep commitment to liberal democracy. This striking thesis is grounded in an astute examination of Heidegger's thought that will provide the reader with a clear and valuable exposition of the philosophy of one of the twentieth century's greatest thinkers. (shrink)

The importance of fairness in machine learning models is widely acknowledged, and ongoing academic debate revolves around how to determine the appropriate fairness definition, and how to tackle the trade-off between fairness and model performance. In this paper we argue that besides these concerns, there can be ethical implications behind seemingly purely technical choices in fairness interventions in a typical model development pipeline. As an example we show that the technical choice between in-processing and post-processing is not necessarily value-free and (...) may have serious implications in terms of who will be affected by the specific fairness intervention. The paper reveals how assessing the technical choices in terms of their ethical consequences can contribute to the design of fair models and to the related societal discussions. (shrink)

Reasoning that compares two objects or situations to draw conclusions about previously unknown properties of one of them has traditionally been taken to be ampliative and probabilistic. I propose that it is apodeictic reasoning from a premise about isomorphic structures that is often uncertain, but which we may have good reasons to believe. I characterize the structures and their isomorphism, describe patterns of reasoning appropriate to them, and discuss some complications not immediately obvious.

What are the main features that influence our attribution of moral responsibility? It is widely accepted that there are various factors which strongly influence our moral judgments, such as the agent’s intentions, the consequences of the action, the causal involvement of the agent, and the agent’s freedom and ability to do otherwise. In this paper, we argue that this picture is incomplete: We argue that social roles are an additional key factor that is radically underestimated in the extant literature. We (...) will present an experiment to support this claim. (shrink)

In “All Play and No Work,” Andrew Kania claims that standard form jazz involves no works, only performances. This article responds to Kania by defending one of the alternative ontological proposals that he rejects, namely, that jazz works are ontologically continuous with works of classical music. I call this alternative “the standard view,” and I argue that it is the default position in the ontology of standard form jazz. Kania has three objections to the standard view. The bulk of the (...) article is devoted to explaining why none of these objections succeed. (shrink)

The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...) meta-ontological questions in the ontology of music. (shrink)

Peter Kivy has become convinced that it is impossible for pure, instrumental music to be profound. This is because he takes works of such music to be incapable of meeting what he claims to be two necessary conditions for artistic profundity: that the work denotes something profound, and that the work expresses profound propositions about its profound denotatum. The negative part of this paper argues as follows. Although works of pure, instrumental music do, indeed, fail to meet these conditions, the (...) said conditions are not themselves necessary for artistic profundity. In fact, each is a misinterpretation of a distinct, genuinely necessary condition for a work’s being profound: respectively, that the work has a profound subject matter, and that the work handles its profound subject matter in such a way as to elicit a deeper understanding of it in the suitably situated and prepared appreciator. The positive part of the paper elaborates these genuinely necessary conditions for artistic profundity and then argues that, once they have been disentangled from Kivy’s misconstruals of them, it becomes evident that they can be met by pieces of pure, instrumental music. (shrink)