Cognitive Science, Volume 46, Issue 6, June 2022.

Sale of Sperm, Health Records, Minimally Conscious States, and Duties of Candour Content Type Journal Article Category Recent Developments Pages 7-14 DOI 10.1007/s11673-011-9347-6 Authors Cameron Stewart, Centre for Health Governance, Law and Ethics, Sydney Law School, University of Sydney, Sydney, NSW, Australia 2006 Bernadette Richards, Law School, University of Adelaide, Adelaide, SA, Australia 5005 Richard Huxtable, Centre for Ethics in Medicine, University of Bristol, Bristol, BS8 1TH UK Bill Madden, School of Law, University of Western Sydney, Sydney, NSW, (...) Australia Tina Cockburn, School of Law, Queensland University of Technology, Brisbane, QLD, Australia Journal Journal of Bioethical Inquiry Online ISSN 1872-4353 Print ISSN 1176-7529 Journal Volume Volume 9 Journal Issue Volume 9, Number 1. (shrink)

Contemporary discussion of biological teleology has been dominated by a complacent orthodoxy. Responsibility for this shortcoming rests primarily, I think, with those who ought to have been challenging dogma but have remained silent, leaving the orthodox to grow soft, if happily. In this silence, champions of orthodoxy have declared a signal victory, proclaiming the dominance of their view as one of philosophy’s historic successes. But this declaration is premature at best—this would be neither the first nor probably the last time (...) that a narrow school of philosophy has declared the resolution of age-old problems only to have those problems rise from the ashes of their better selves when a broader view is articulated. I propose to challenge orthodoxy by undermining its fundamental assumption and to enlist the help of others in articulating a formidable heterodox alternative to contemporary dogma concerning biological teleology, perhaps on the model I sketch below. (shrink)

As the capabilities of artificial intelligence systems improve, it becomes important to constrain their actions to ensure their behaviour remains beneficial to humanity. A variety of ethical, legal and safety-based frameworks have been proposed as a basis for designing these constraints. Despite their variations, these frameworks share the common characteristic that decision-making must consider multiple potentially conflicting factors. We demonstrate that these alignment frameworks can be represented as utility functions, but that the widely used Maximum Expected Utility paradigm provides insufficient (...) support for such multiobjective decision-making. We show that a Multiobjective Maximum Expected Utility paradigm based on the combination of vector utilities and non-linear action–selection can overcome many of the issues which limit MEU’s effectiveness in implementing aligned AI. We examine existing approaches to multiobjective AI, and identify how these can contribute to the development of human-aligned intelligent agents. (shrink)

For Emily Dickinson, perhaps no more so than for the rest of us, there was a powerful discrepancy between what was "inner than the Bone"1 and what could be acknowledged. To the extent that her poems are a response to that discrepancy—are, on one hand, a defiant attempt to deny that the discrepancy poses a problem and, on the other, an admission of defeat at the problem's enormity—they have much to teach us about the way in which language articulates our (...) life. There is indeed a sense in which these poems test the limits of what we might reveal if we tried and also of what, despite our exertions, will not give itself over to utterance. The question of the visibility of interior experience is one that will concern me in this essay, for it lies at the heart of what Dickinson makes present to us. In "The Dream of Communication," Geoffrey Hartman writes: "Art represents a self which is either insufficiently present or feels itself as not presentable."2 On both counts one thinks of Dickinson, for her poems disassemble the body in order to penetrate to the places where the feelings lie as if hidden, and they tell us that bodies are not barriers the way we sometimes think they are. Despite the staggering sophistication with which we discuss complex issues, like Dickinson we have few words, if any, for what happens inside us. Perhaps this is because we have been taught to conceive of ourselves as perfectly inexplicable or, if explicable, then requiring the aid of someone else to scrutinize what we are explicating to validate it. We have been taught that we cannot see for ourselves—this despite the current emphasis on our proprioceptive functions. But Dickinson tells us that we can see. More important, she tells us how to name what we see. · 1. The Complete Poems of Emily Dickinson, ed. Thomas H. Johnson , n. 321.· 2. Geoffrey Hartman, "The Dream of Communication," in I. A. Richards: Essays in His Honor, ed. Reuben Brower et al. , p. 173. Sharon Cameron, associate professor of English at Johns Hopkins University, is currently preparing a theoretical study of the lyric and is examining the relationship between obsession and lyrical structures. The present essay is part of her Lyric Time: Dickinson and the Limits of Genre. (shrink)

Our image of Herbert Spencer is that of a bald, dyspeptic bachelor, spending his days in rooming houses, and fussing about government interference with individual liberties. Beatrice Webb, who knew him as a girl and young woman recalls for us just this picture. In her diary for January 4, 1885, she writes: Royal Academy private view with Herbert Spencer. His criticisms on art dreary, all bound down by the “possible” if not probable. That poor old man would miss me on (...) the whole more than any other mortal. Has real anxiety for my welfare—physical and mental. Told him story of my stopping cart horse in Hyde Park and policeman refusing to come off his beat to hold it. Want of public spirit in passers-by not stopping it before. “Yes, that is another instance of my first principle of government. Directly you get state intervention you cease to have public spirit in individuals; that will be a constantly increasing tendency and the State, like the policeman, will be so bound by red-tape rules that it will frequently leave undone the simplest duties.”1 Spencer appears a man whose strangled emotions would yet cling to a woman whose philosophy would be completely alien to his own, as Webb’s Fabian Socialism turned out to be. Our image of Darwin is more complex than our image of Spencer. We might think of him nestled in the bosom of his large family, kindly, and just a little sad. The photo of him taken by Julia Cameron reveals the visage of an Old Testament prophet, though one, not fearsome, but made wise by contemplating the struggle of life on this earth. These images have deeply colored our reaction to the ideas of each thinker. The pictures are not false, but they are cropped portraits that tend to distort our reactions to the theories of each. If we examine the major features of their respective. (shrink)

In artificial intelligence, recent research has demonstrated the remarkable potential of Deep Convolutional Neural Networks (DCNNs), which seem to exceed state-of-the-art performance in new domains weekly, especially on the sorts of very difficult perceptual discrimination tasks that skeptics thought would remain beyond the reach of artificial intelligence. However, it has proven difficult to explain why DCNNs perform so well. In philosophy of mind, empiricists have long suggested that complex cognition is based on information derived from sensory experience, often appealing to (...) a faculty of abstraction. Rationalists have frequently complained, however, that empiricists never adequately explained how this faculty of abstraction actually works. In this paper, I tie these two questions together, to the mutual benefit of both disciplines. I argue that the architectural features that distinguish DCNNs from earlier neural networks allow them to implement a form of hierarchical processing that I call “transformational abstraction”. Transformational abstraction iteratively converts sensory-based representations of category exemplars into new formats that are increasingly tolerant to “nuisance variation” in input. Reflecting upon the way that DCNNs leverage a combination of linear and non-linear processing to efficiently accomplish this feat allows us to understand how the brain is capable of bi-directional travel between exemplars and abstractions, addressing longstanding problems in empiricist philosophy of mind. I end by considering the prospects for future research on DCNNs, arguing that rather than simply implementing 80s connectionism with more brute-force computation, transformational abstraction counts as a qualitatively distinct form of processing ripe with philosophical and psychological significance, because it is significantly better suited to depict the generic mechanism responsible for this important kind of psychological processing in the brain. (shrink)

This book provides a framework for thinking about foundational philosophical questions surrounding machine learning as an approach to artificial intelligence. Specifically, it links recent breakthroughs in deep learning to classical empiricist philosophy of mind. In recent assessments of deep learning's current capabilities and future potential, prominent scientists have cited historical figures from the perennial philosophical debate between nativism and empiricism, which primarily concerns the origins of abstract knowledge. These empiricists were generally faculty psychologists; that is, they argued that the active (...) engagement of general psychological faculties-such as perception, memory, imagination, attention, and empathy-enables rational agents to extract abstract knowledge from sensory experience. This book explains a number of recent attempts to model roles attributed to these faculties in deep neural network based artificial agents by appeal to the faculty psychology of philosophers such as Aristotle, Ibn Sina (Avicenna), John Locke David Hume, William James, and Sophie de Grouchy. It illustrates the utility of this interdisciplinary connection by showing how it can provide benefits to both philosophy and computer science: computer scientists can continue to mine the history of philosophy for ideas and aspirational targets to hit on the way to more robustly rational artificial agents, and philosophers can see how some of the historical empiricists' most ambitious speculations can be realized in specific computational systems. (shrink)

I respond to Tim Smartt’s (2023) skepticism about epistemic blame. Smartt’s skepticism is based on the claims that (i) mere negative epistemic evaluation can better explain everything proponents of epistemic blame say we need epistemic blame to explain; and (ii) no existing account of epistemic blame provides a plausible account of the putative force that any response deserving the label “blame” ought to have. He focuses primarily on the prominent “relationship-based” account of epistemic blame to defend these claims, arguing that (...) the account is explanatorily idle, and cannot distinguish between epistemically excused and epistemically blameworthy agents. I argue that Smartt mischaracterizes the account’s role for judgments of epistemic relationship impairment, leading to mistaken claims about the account’s predictions. I also argue that the very feature of the account that Smartt mischaracterizes is key to understanding what epistemic blame does for our epistemic responsibility practices that mere negative epistemic evaluation cannot. (shrink)

How should we determine the distribution of psychological traits—such as Theory of Mind, episodic memory, and metacognition—throughout the Animal kingdom? Researchers have long worried about the distorting effects of anthropomorphic bias on this comparative project. A purported corrective against this bias was offered as a cornerstone of comparative psychology by C. Lloyd Morgan in his famous “Canon”. Also dangerous, however, is a distinct bias that loads the deck against animal mentality: our tendency to tie the competence criteria for cognitive capacities (...) to an exaggerated sense of typical human performance. I dub this error “anthropofabulation”, since it combines anthropocentrism with confabulation about our own prowess. Anthropofabulation has long distorted the debate about animal minds, but it is a bias that has been little discussed and against which the Canon provides no protection. Luckily, there is a venerable corrective against anthropofabulation: a principle offered long ago by David Hume, which I call “Hume’s Dictum”. In this paper, I argue that Hume’s Dictum deserves a privileged place next to Morgan’s Canon in the methodology of comparative psychology, illustrating my point through a discussion of the debate over Theory of Mind in nonhuman animals. (shrink)

We regularly make graded normative judgements in the epistemic domain. Recent work in the literature examines degrees of justification, degrees of rationality, and degrees of assertability. This paper addresses a different dimension of the gradeability of epistemic normativity, one that has been given little attention. How should we understand degrees of epistemic criticizability? In virtue of what sorts of factors can one epistemic failing be worse than another? The paper develops a dual-factor view of degrees of epistemic criticizability. According to (...) the view, degrees of epistemic criticizability are (i) an inverse function of degrees of doxastic justification and (ii) a function of degrees of agent culpability. The paper develops an account of each factor, and explains how they should be weighted. The paper also addresses the importance of modelling degrees of epistemic criticizability in a broader context. I focus on the role that such a model can play in the ethics of epistemic criticism. (shrink)

The paper critically examines recent work on justifications and excuses in epistemology. I start with a discussion of Gerken’s claim that the “excuse maneuver” is ad hoc. Recent work from Timothy Williamson and Clayton Littlejohn provides resources to advance the debate. Focusing in particular on a key insight in Williamson’s view, I then consider an additional worry for the so-called excuse maneuver. I call it the “excuses are not enough” objection. Dealing with this objection generates pressure in two directions: one (...) is to show that excuses are a positive enough normative standing to help certain externalists with important cases; the other is to do so in a way that does not lead back to Gerken’s objection. I show how a Williamson-inspired framework is flexible enough to deal with both sources of pressure. Perhaps surprisingly, I draw on recent virtue epistemology. (shrink)

Our prominent definitions of cognition are too vague and lack empirical grounding. They have not kept up with recent developments, and cannot bear the weight placed on them across many different debates. I here articulate and defend a more adequate theory. On this theory, behaviors under the control of cognition tend to display a cluster of characteristic properties, a cluster which tends to be absent from behaviors produced by non-cognitive processes. This cluster is reverse-engineered from the empirical tests that comparative (...) psychologists use to determine whether a behavior was generated by a cognitive or a non-cognitive process. Cognition should be understood as the natural kind of psychological process that non-accidentally exhibits the properties assessed by these tests (as well as others we have not yet discovered). Finally, I review two plausible neural accounts of cognition's underlying mechanisms?one based in localization of function to particular brain regions and another based in the more recent distributed networks approach to neuroscience?which would explain why these properties non-accidentally cluster. While this notion of cognition may be useful for a number of debates, I here focus on its application to a recent crisis over the distinction between cognition and association in comparative psychology. (shrink)

Why comply with epistemic norms? In this paper, I argue that complying with epistemic norms, engaging in epistemically responsible conduct, and being epistemically trustworthy are constitutive elements of maintaining good epistemic relations with oneself and others. Good epistemic relations are in turn both instrumentally and finally valuable: they enable the kind of coordination and knowledge acquisition underpinning much of what we tend to associate with a flourishing human life; and just as good interpersonal relations with others can be good for (...) their own sake, standing in good epistemic relations is good for its own sake. On my account, we have reason to comply with epistemic norms because it is a way of respecting the final value of something that also tends to be an instrumentally valuable thing: good epistemic relations. Situating the account within the recent social turn in debates about epistemic instrumentalism, I argue that the dual‐value aspect of good epistemic relations can explain important anti‐instrumentalist intuitions, in a well‐motivated way, within a broadly instrumentalist framework. (shrink)

. Moral systems are described as systems of indirect reciprocity, existing because of histories of conflicts of interest and arising as outcomes of the complexity of social interactions in groups of long‐lived individuals with varying conflicts and confluences of interest and indefinitely iterated social interactions. Although morality is commonly defined as involving justice for all people, or consistency in the social treatment of all humans, it may have arisen for immoral reasons, as a force leading to cohesiveness within human groups (...) but specifically excluding and directed against other human groups with different interests. (shrink)

Philosophers and cognitive scientists have worried that research on animal mind-reading faces a ‘logical problem’: the difficulty of experimentally determining whether animals represent mental states (e.g. seeing) or merely the observable evidence (e.g. line-of-gaze) for those mental states. The most impressive attempt to confront this problem has been mounted recently by Robert Lurz. However, Lurz' approach faces its own logical problem, revealing this challenge to be a special case of the more general problem of distal content. Moreover, participants in this (...) debate do not agree on criteria for representation. As such, future debate should either abandon the representational idiom or confront underlying semantic disagreements. (shrink)

The functionalist approach to kinds has suffered recently due to its association with law-based approaches to induction and explanation. Philosophers of science increasingly view nomological approaches as inappropriate for the special sciences like psychology and biology, which has led to a surge of interest in approaches to natural kinds that are more obviously compatible with mechanistic and model-based methods, especially homeostatic property cluster theory. But can the functionalist approach to kinds be weaned off its dependency on laws? Dan Weiskopf has (...) recently offered a reboot of the functionalist program by replacing its nomological commitments with a model-based approach more closely derived from practice in psychology. Roughly, Weiskopf holds that the natural kinds of psychology will be the functional properties that feature in many empirically successful cognitive models, and that those properties need not be localized to parts of an underlying mechanism. I here skeptically examine the three modeling practices that Weiskopf thinks introduce such non-localizable properties: fictionalization, reification, and functional abstraction. In each case, I argue that recognizing functional properties introduced by these practices as autonomous kinds comes at clear cost to those explanations’ counterfactual explanatory power. At each step, a tempting functionalist response is parochialism: to hold that the false or omitted counterfactuals fall outside the modeler’s explanatory aims, and so should not be counted against functional kinds. I conclude by noting the dangers this attitude poses to scientific disagreement, inviting functionalists to better articulate how the individuation conditions for functional kinds might outstrip the perspective of a single modeler. (shrink)

Epistemological Disjunctivism is a view about paradigm cases of perceptual knowledge. Duncan Pritchard claims that it is particularly well suited to accounting for internalist and externalist intuitions. A number of authors have disputed this claim, arguing that there are problems for Pritchard’s way with internalist intuitions. I share the worry. However, I don’t think it has been expressed as effectively as it can be. My aim in this paper is to present a new way of formulating the worry, in terms (...) of an “explanatory challenge”. The explanatory challenge is a simple, yet powerful and illuminating challenge for Epistemological Disjunctivism. It is illuminating in the sense that it shows us why Epistemological Disjunctivism must take on certain internalistically problematic commitments. A secondary aim of this paper is to examine whether the recently much-discussed distinction between justifications and excuses in epistemology can support an adequate response. I will argue that it cannot. (shrink)

The application of digital humanities techniques to philosophy is changing the way scholars approach the discipline. This paper seeks to open a discussion about the difficulties, methods, opportunities, and dangers of creating and utilizing a formal representation of the discipline of philosophy. We review our current project, the Indiana Philosophy Ontology (InPhO) project, which uses a combination of automated methods and expert feedback to create a dynamic computational ontology for the discipline of philosophy. We argue that our distributed, expert-based approach (...) to modeling the discipline carries substantial practical and philosophical benefits over alternatives. We also discuss challenges facing our project (and any other similar project) as well as the future directions for digital philosophy afforded by formal modeling. (shrink)

We offer an overview of what we take to be the main themes in Annalisa Coliva’s book, Moore and Wittgenstein: Scepticism, Certainty and Common Sense. In particular, we focus on the ‘framework reading’ that she offers of Wittgenstein’s On Certainty and its anti-sceptical implications. While broadly agreeing with the proposal that Coliva puts forward on this score, we do suggest one important supplementation to the view—viz., that this way of dealing with radical scepticism needs to be augmented with an account (...) of the meta-sceptical problem which this proposal generates, which we call epistemic vertigo. (shrink)

Mais do que nunca, pensar em comunicação significa pensar em imagens. Já se repetiu exaustivamente que vivemos em uma cultura imagética, marcada pela crescente proliferação de telas e tecnologias de produção audiovisual. E se passamos de regimes analógicos para digitais, isso só fez aumentar a vitalidade da imagem e multiplicar suas potencialidades. Nesse sentido, o presente número de Logos nos oferece uma amostragem da riqueza que também podemos encontrar hoje no campo das pesquisas sobre o audiovisual. O crescimento da pós-graduação (...) em comunicação no Brasil parece apontar para um futuro promissor em termos de exploração das artes e formas de comunicação audiovisuais. Os artigos aqui reunidos dão igualmente prova da força e da amplitude desse campo, congregando temáticas tão diversas quanto a relação entre o espectador e o documentário ou a cinefilia como forma de consumo contemporâneo. Ocorre que o audiovisual não é apenas um domínio de pesquisa de crescente popularidade na academia, senão também uma das mais poderosas expressões criativas e comunicacionais do homem, capaz de despertar as paixões mais intensas. Isso porque, desde sua origem, as tecnologias audiovisuais sempre se caracterizaram como artes do espanto e do maravilhamento. Numa das lembrança mais marcantes da minha infância, ainda consigo me ver na entrada de um dos belos cinemas da Tijuca (hoje inteiramente desaparecidos, mas tema do cativante estudo histórico de Talitha Ferraz) enquanto espero minha mãe convencer o lanterninha de que tenho mesmo 10 anos de idade – o mínimo exigido para poder assistir à 2001, uma Odisséia no Espaço , obra prima de Stanley Kubrick. Saí do filme sem entender grande coisa, mas inteiramente seduzido pelas impressionantes imagens do vasto espaço sideral e pela sedutora musica de Richard Strauss. Desde esse dia, o cinema se tornou, para mim, uma espécie de religião sem deus (ou com muitos deuses). Nessa cultura das telas em que hoje habitamos, as imagens parecem ter adquirido vida própria. Elas estão em toda parte, conferindo ao mundo certo sabor de permanente fantasmagoria. Aliás, tem sido um tema constante do pensamento apocalíptico esse processo de virtualização da realidade por efeito da multiplicação das imagens eletrônicas. Mas no fundo sabemos que nunca houve para o homem uma realidade que não fosse constituída por imagens. E as fantasmagorias, boas ou ruins, são aquilo que nos oferece suporte e sustentação para um mundo que, de outro modo, provavelmente se encontraria muito mais esvaziado de sentido. Se Edgar Morin inicia seu livro Le Cinema, ou l’Homme Imaginaire com a menção a duas grandes tecnologias legadas a nós pelo século XIX – o cinema e a aviação – é também porque as imagens nos transportam a outros mundos, nos alçam em vôos da imaginação e do pensamento. Da fotografia à arte digital, do televisão ao político, os artigos que reunimos neste numero de Logos compartilham, de diferentes modos, desse sentido de maravilhamento com as imagens. Afinal, elas acrescentam ao mundo uma dimensão suplementar de sentido. Mesmo o extraordinário impacto das imagens digitais, percebido com clareza no êxito de blockbusters tecnológicos como o recente Avatar , de James Cameron, não alteraram esse dado básico de nossa experiência com o audiovisual. De certo modo, é como se estivéssemos ainda nos sentando na sala escura para nos maravilharmos com a ilusão do movimento, lado a lado com os espectadores dos primeiros filmes dos Lumière e de Méliès. Mesmo a pesquisa e a investigação critica do audiovisual não podem furtar-se inteiramente dessa sensação de espanto com as imagens. Um saber que não é temperado pela paixão não tem sentido de existir. E sem uma pincelada de olhar infantil, o que nos poderia ensinar de sempre novo nossa curiosidade com o mundo e nossas estratégias de representá-lo? (shrink)

A prominent objection to the knowledge norm of belief is that it is too demanding or too strong. The objection is commonly framed in terms of the idea that there is a tight connection between norm violation and the appropriateness of criticism or blame. In this paper I do two things. First, I argue that this way of motivating the objection leads to an impasse in the epistemic norms debate. It leads to an impasse when knowledge normers invoke excuses to (...) explain away a prima facie connection between blamelessness and justified belief. Second, I argue that a way out of the impasse becomes available when we take a closer look at some distinctions in the theory of responsibility. There are at least three different notions of responsibility relevant here. I argue that a weaker notion of responsibility – attributability – should be used to motivate the objection that the knowledge norm of belief is too strong. Insofar as the proposal motivates the objection without appeal to blamelessness, it opens up space to move beyond the impasse. (shrink)

Fictional realists claim that fictional characters like Spiderman exist in reality. Against this view, Anthony Everett (2005; 2013) argues that fictional realists cannot determine whether characters α and β are identical if the relevant fiction states that α and β are identical and distinct at the same time. Some fictional re-alists, such as Ross Cameron (2013) and Richard Woodward (2017), respond to this objection by saying that the sense in which α and β are identical differs from the (...) sense in which they are distinct. In this paper, I argue that Cameron and Woodward cannot handle all cases without undermining the theoretical foundation of their approach, namely, the thesis that the identity of fictional characters must be determined by the content of the relevant fiction. (shrink)

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

_The Hidden God_ revisits the origins of American pragmatism and finds a nascent "posthumanist" critique shaping early modern thought. By reaching as far back as the Calvinist arguments of the American Puritans and their struggle to know a "hidden God," this book brings American pragmatism closer to contemporary critical theory. Ryan White reads the writings of key American philosophers, including Jonathan Edwards, Ralph Waldo Emerson, William James, and Charles Sanders Peirce, against modern theoretical works by Niklas Luhmann, Richard Rorty, (...) Jacques Derrida, Sharon Cameron, Cary Wolfe, and Gregory Bateson. This juxtaposition isolates the distinctly posthumanist form of pragmatism that began to arise in these early texts, challenging the accepted genealogy of pragmatic discourse and common definitions of posthumanist critique. Its rigorously theoretical perspective has wide implications for humanities research, enriching investigations into literature, history, politics, and art. (shrink)

In this short paper, I critically examine Veli Mitova’s proposal that social-identity groups can have collective epistemic reasons. My primary focus is the role of privileged access in her account of how collective reasons become epistemic reasons for social-identity groups. I argue that there is a potentially worrying structural asymmetry in her account of two different types of cases. More specifically, the mechanisms at play in cases of “doxastic reasons” seem fundamentally different from those at play in cases of “epistemic-conduct (...) reasons”. The upshot is a need for further explanation of what unifies these dimensions of the account. (shrink)

Richard Rorty (1931–2007) was one of the most provocative and controversial philosophers of the past 50 years. He had a rare ability to combine sophisticated arguments with wit, charm, and humor. He was never dull – and he reached a wide public throughout the world. Originally trained in the history of philosophy and the grand tradition of metaphysics, he became fascinated with the linguistic turn in philosophy. During his early philosophical career, he wrote articles that were at the cutting (...) edge of analytic philosophy. He developed a new approach to the mind-body problem and raised troubling questions about the viability of the conceptual analysis of ordinary language. Soon, he began to question what he called the “Kantian foundations” of analytic philosophy. In 1979, he published Philosophy and the Mirror of Nature, a book that became an immediate sensation. Rorty, employing ingenious arguments, questioned the basis of analytic philosophy, and more generally the very idea of systematic philosophy. He called into question the Descartes-Locke-Kant tradition and claimed that the metaphor of the “mirror of nature” had misled philosophers into thinking that the task of philosophy is to “get things right” by representing objective reality. In the mid-twentieth century, the analytic-continental split in philosophy became bitterly entrenched. Many Anglo-American philosophers were convinced that linguistic analytic philosophy is “the only game in town.” They disdained what they took to be the lack of clarity and argumentative rigor among continental thinkers. The “compliment” was returned by continental thinkers who thought that much of analytic philosophy was trivial and insignificant. Rorty employed clever analytic techniques to challenge the pretentions of analytic philosophy. Many of his professional colleagues were furious. At the same time, Rorty engaged thinkers like Sartre, Heidegger, Gadamer, Habermas, Derrida, and Foucault. This delighted aficionados of continental philosophy – although they frequently judged his interpretations of these thinkers to be distorted caricatures. Rorty was one of the rare philosophers who transcended the analytic-continental split. At the same time, Rorty increasingly identified himself with the American pragmatic tradition. He entitled his 1982 collection of essays, “Consequences of Pragmatism,” which included his famous 1979 presidential address to the American Philosophical Association: “‘Pragmatism’ is a vague, ambiguous, and overworked word. Nevertheless it names the glory of our country’s intellectual tradition. No other American writers have offered so radical suggestion for making our future different from the past, as have James and Dewey” (Rorty 1982, p. 160). Rorty helped to revive a serious interest in James and Dewey. In the Introduction to Philosophy and the Mirror of Nature, he declared that the three most important philosophers of the twentieth century were Wittgenstein, Heidegger, and Dewey. Analytic philosophers might agree about the importance of Wittgenstein; continental thinkers might acknowledge the importance of Heidegger; but virtually no professional philosopher (except devotees of Dewey) would have ranked Dewey with the other two. Rorty claimed that each of these three thinkers had originally sought to find a new way to make philosophy “foundational,” but they came to realize that their earlier work was self-deceptive and they spent the rest of their time warning us against the temptations to which they had succumbed. “Their later work is therapeutic rather than constructive, edifying rather than systematic, designed to make the reader question his own motives for philosophizing rather than supply him with a new philosophical program.” (Rorty 1979, pp. 5–6) Rorty acknowledged that Dewey lacked Wittgenstein’s “dialectical acuity” and Heidegger’s “historical learning,” but Dewey articulated a vision of a new type of society. “In his ideal society, culture is no longer dominated by the ideal of objective cognition but by that of aesthetic enhancement. In that culture, as he said, the arts and sciences would be the ‘unforced flowers of life.” (Rorty 1979, p. 13) This was also Rorty’s vision of a liberal utopia. He developed this vision in Contingency, Irony, and Solidarity, where the central figure becomes the liberal ironist. Whereas Philosophy and the Mirror and Nature was filled with brilliant (although controversial) arguments, Rorty now debunked the role of argument in philosophy. “On the view of philosophy which I am offering, philosophers should not be asked for arguments against, for example, the correspondence theory of truth or the idea of the ‘intrinsic nature of reality’.” (Rorty 1989, p. 8) He favored redescription rather than argument. “I am not going to offer arguments against the vocabulary I want to replace. Instead, I am going to try to make the vocabulary I favor look attractive by showing how it may redescribe a variety of topics.” (Rorty 1989, p. 9) Interesting philosophy is not really a matter of argument at all but rather “a contrast between an entrenched vocabulary which has become a nuisance and a half-formed vocabulary which vaguely promises great things” (Rorty 1989, p. 9). Rorty deflated what many philosophers took to be the central concerns of philosophy, the nature of truth, reality, objectivity, knowledge, and morality. He sought to replace the appeal to objectivity with the appeal of solidarity. He is famous for his slogan “Take care of freedom and truth will take care of itself” (Rorty 1989, p. 176). Even admirers of Philosophy and the Mirror of Nature were distressed by the radical turn of Contingency where he suggested that novels, journalism, and literary reflection might be more effective than philosophical argumentation in bringing about his liberal utopia. Some of his fiercest critics claimed that Rorty could no longer be taken seriously as a philosopher. Contingency was savagely criticized and ridiculed, so much so that Rorty was provoked to write his revealing and delightful autobiographical sketch, “Trotsky and the Wild Orchids.” “I am sometimes told, by critics from both ends of the political spectrum, that my views are so weird as to be merely frivolous. They suspect that I will say anything to get a gasp, that I am just amusing myself by contradicting everybody else. This hurts. So I have tried, in what follows, to say something about how I got into my present position—how I got into philosophy, and then found myself unable to use philosophy for the purpose I had originally in mind.” (Rorty 1999, p. 5) What follows is an account of how Rorty grew up in a family that was deeply committed to furthering social justice. (“Trotsky” is a synecdoche for social justice.) Rorty also tells of his early nerdish love of the wild orchids of New Jersey. (“Wild orchids” is the synecdoche for private pleasures.) When Rorty became interested in philosophy, he wanted to find some intellectual or esthetic framework that would hold reality and justice in a single vision – one that would integrate social justice and private idiosyncratic pleasures. He tells the story of his eventual discovery that there was no such overarching framework and his growing realization that there was no need for such a framework. As a public citizen, one can be deeply committed to advancing social justice and at the same time, as a private person, enjoy idiosyncratic pleasures. There is no need to reconcile or synthesize these two incommensurable dimensions of human life. (shrink)

Academic freedom and tenure, both cherished institutions of higher education, are currently under attack by many both outside and within the academy. Richard DeGeorge argues that they can be defended on ethical grounds only if they are joined with appropriate accountability, publicly articulated and defended standards, and conscientious enforcement of these standards by academic institutions and the members of the academic community.

Objective: The objective of this study was to evaluate the psychometric properties of the Chinese version of the decision regret scale. Methods: The data of 704 patients who completed the DRSc were used for the analyses. We evaluated the construct, convergent/discriminant, and known-group validity; internal consistency and test–retest reliability; and the item invariance of the DRSc. A receiver operating characteristic curve was employed to confirm the optimal cutoff point of the scale. Results: A confirmatory factor analysis indicated that a one-factor (...) model fits the data. The internal consistency and test–retest reliability [intraclass correlation coefficient = 0.71] of the DRSc were acceptable. The DRSc demonstrated unidimensionality and invariance for use across the sexes. It was confirmed that an optimal cutoff point of 25 could discriminate between patients with high and low decisional regret during clinical practice. Conclusion: The DRSc is a parsimonious instrument that can be used to measure the uncertainty inherent in medical decisions. It can be employed to provide knowledge, offer support, and elicit patient preferences in an attempt to promote shared decision-making. (shrink)

With this book, Richard A. Epstein provides a spirited and systematic defense of classical liberalism against the critiques mounted against it over the past thirty years. One of the most distinguished and provocative legal scholars writing today, Epstein here explains his controversial ideas in what will quickly come to be considered one of his cornerstone works. He begins by laying out his own vision of the key principles of classical liberalism: respect for the autonomy of the individual, a strong (...) system of private property rights, the voluntary exchange of labor and possessions, and prohibitions against force or fraud. Nonetheless, he not only recognizes but insists that state coercion is crucial to safeguarding these principles of private ordering and supplying the social infrastructure on which they depend. Within this framework, Epstein then shows why limited government is much to be preferred over the modern interventionist welfare state. Many of the modern attacks on the classical liberal system seek to undermine the moral, conceptual, cognitive, and psychological foundations on which it rests. Epstein rises to this challenge by carefully rebutting each of these objections in turn. For instance, Epstein demonstrates how our inability to judge the preferences of others means we should respect their liberty of choice regarding their own lives. And he points out the flaws in behavioral economic arguments which, overlooking strong evolutionary pressures, claim that individual preferences are unstable and that people are unable to adopt rational means to achieve their own ends. Freedom, Epstein ultimately shows, depends upon a skepticism that rightly shuns making judgments about what is best for individuals, but that also avoids the relativistic trap that all judgments about our political institutions have equal worth. A brilliant defense of classical liberalism, Skepticism and Freedom will rightly be seen as an intellectual landmark. (shrink)