Dasgupta poses a serious challenge to realism about natural properties. He argues that there is no acceptable explanation of why natural properties deserve the value realists assign to them and are consequently absent of value. In response, this paper defines and defends an alternative non-explanatory account of normativity compatible with realism. Unlike Lewis and Sider, who believe it is sufficient to defend realism solely on realist terms, I engage with the challenge on unfriendly grounds by revealing a tu quoque. Dasgupta (...) and anti-realists face a similar challenge to that directed against realism: one that not only undermines the objection to realism by legitimising non-explanatory normativity but leaves them facing a significant dilemma. (shrink)

Super-Humeans argue that the most parsimonious ontology of the natural world compatible with our best physical theories consists exclusively of particles and the distance relations between them. This paper argues by contrast that Super-Humean reduction goes insufficiently far, by showing there to be a more parsimonious ontology compatible with physics: Ultimate-Humeanism. This novel view posits an ontology consisting solely of the particles and distance relations required for the existence of a single brain. Super-Humeans impose conditions on what counts as an (...) ontology of the natural world to avoid their view slipping into this kind of ontology, but these conditions are arbitrarily imposed and once this is exposed, Super-Humeans face a dilemma. Either they can embrace Ultimate-Humeanism as the minimal ontology of the natural world compatible with physics, or (more likely) they can rethink the methodology that got them there. Overall, this paper argues that Super-Humeanism currently lacks principled motivation, outlines a framework for naturalistic ontological reductions, and exposes the consequences of unchecked adherence to a simplicity-driven methodology. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and wellbeing, (...) with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

Ethnic groups are universal and unique to human societies. Such groups sometimes have norms of behavior that are adaptively linked to their social and ecological circumstances, and ethnic boundaries may function to protect that variation from erosion by interethnic interaction. However, such interaction is often frequent and voluntary, suggesting that individuals may be able to strategically reduce its costs, allowing adaptive cultural variation to persist in spite of interaction with out-groups with different norms. We examine five mechanisms influencing the dynamics (...) of ethnically distinct cultural norms, each focused on strategic individual-level choices in interethnic interaction: bargaining, interaction-frequency-biased norm adoption, assortment on norms, success-biased interethnic social learning, and childhood socialization. We use Bayesian item response models to analyze patterns of norm variation and interethnic interaction in an ethnically structured Amazonian population. We show that, among indigenous Matsigenka, interethnic education with colonial Mestizos is more strongly associated with Mestizo-typical norms than even extensive interethnic experience in commerce and wage labor is. Using ethnographic observations, we show that all five of the proposed mechanisms of norm adoption may contribute to this effect. However, of these mechanisms, we argue that changes in relative bargaining power are particularly important for ethnic minorities wishing to preserve distinctive norms while engaging in interethnic interaction in domains such as education. If this mechanism proves applicable in a range of other ethnographic contexts, it would constitute one cogent explanation for when and why ethnically structured cultural variation can either persist or erode given frequent, and often mutually beneficial, interethnic interaction. (shrink)

Natural environments differ from artworks in two ways: (a) they are surroundings filled with objects, processes, and the observer, (b) they are natural, not intentionally created to be appreciated. I show that this serious problem for accounts of aesthetic appreciation of nature has led many thinkers in environmental aesthetics (e.g., Carlson and Rolston) to claim that appreciators should be actively engaged with a natural environment. But how? One suggestion has been that appreciators play the role of creative performers in the (...) arts. I explore this analogy, distinguishing three different kinds of performance. I argue that none is a good fit as a model of nature appreciation but that the analogy sheds considerable light on environmental art, especially the site-specific artworks of Andy Goldsworthy. (shrink)

In the current paper, we present and discuss a series of experiments in which we investigated people’s willingness to ascribe intentions, as well as blame and praise, to groups. The experiments draw upon the so-called “Knobe Effect”. Knobe [2003. “Intentional action and side effects in ordinary language.” Analysis 63: 190–194] found that the positiveness or negativeness of side-effects of actions influences people’s assessment of whether those side-effects were brought about intentionally, and also that people are more willing to assign blame (...) for negative side-effects of actions than they are to assign praise for positive side-effect of actions. Building upon this research, we found evidence that the positiveness or negativeness of side-effects of group actions influences people’s willingness to attribute intentions to groups, and that people are more willing to assign blame to groups for negative side-effects of actions than they are to assign praise to groups for positive side-effects of... (shrink)

I define "perfect realism" as a style of replicative sculpture: exact replicas of inanimate objects or humans. Differentiating perfect realism from "photo" or "super" realism, and from representation, I criticize various defenses of this type of art. I argue that to understand perfect realism we need a theory of replication, which I sketch. Part of the account involves X (a replica) causing the perceptual experience that it is a Y when it is not. Hence perfect realism turns on the generic (...) identities of things; it involves a metaphysical exploration of the way we constitute everyday reality. (shrink)

This book reconstructs key aspects of the early career of Descartes from 1618 to 1633; that is, up through the point of his composing his first system of natural philosophy, Le Monde, in 1629-33. It focuses upon the overlapping and intertwined development of Descartes’ projects in physico-mathematics, analytical mathematics, universal method, and, finally, systematic corpuscular-mechanical natural philosophy. The concern is not simply with the conceptual and technical aspects of these projects; but, with Descartes’ agendas within them and his construction and (...) presentation of his intellectual identity in relation to them. Descartes’ technical projects, agendas and senses of identity shifted over time, entangled and displayed great successes and deep failures, as he morphed from a mathematically competent, Jesuit trained graduate in neo-Scholastic Aristotelianism to aspiring prophet of a systematised corpuscular-mechanism, passing through stages of being a committed physico-mathematicus, advocate of a putative ‘universal mathematics’, and projector of a grand methodological dream. In all three dimensions—projects, agendas and identity concerns—the young Descartes struggled and contended, with himself and with real or virtual peers and competitors, hence the title ‘Descartes-Agonistes’. (shrink)

This chapter contains sections titled: Aesthetic preservationism Aesthetic value The biophilia hypothesis What is an aesthetic response to nature? Perceiving nature as nature Positive aesthetics Mixed and influenced environments Conclusion.

There has been a surprising absence of a general philosophical overview of progress as a method of articulating human meaning. This book attempts to fill this gap.

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The question ‘Is it worth it?’, as originally applied to artworks by Tolstoy and here reintroduced by Sheila Lintott, opens a fruitful avenue for understanding land art. It is, however, a question...

Where do ideas fit into historical accounts that take an expansive, global view of human movements and events? Teaching scholars of intellectual history to incorporate transnational perspectives into their work, while also recommending how to confront the challenges and controversies that may arise, this original resource explains the concepts, concerns, practice, and promise of "global intellectual history," featuring essays by leading scholars on various approaches that are taking shape across the discipline. The contributors to _Global Intellectual History_ explore the different (...) ways in which one can think about the production, dissemination, and circulation of "global" ideas and ask whether global intellectual history can indeed produce legitimate narratives. They discuss how intellectuals and ideas fit within current conceptions of global frames and processes of globalization and proto-globalization, and they distinguish between ideas of the global and those of the transnational, identifying what each contributes to intellectual history. A crucial guide, this collection sets conceptual coordinates for readers eager to map an emerging area of study. (shrink)

It is difficult to place jazz within a philosophy of music dominated by the concepts and practices of classical music. One key puzzle concerns the nature and role, if any, of musical works in jazz. I briefly describe the debate between those who deny that there are musical works in jazz (Kania) and those who affirm that there are such (Dodd and others). I argue that musical works are performed in jazz but that jazz performance of works is very different (...) from performance of classical music works. The first step toward resolving the puzzle is to embrace the descriptive concept of a musical work and reject inappropriate normative concepts of a musical work. In particular, I argue against the accounts of musical works by Kania and Goehr, each of which implies a no-works thesis for jazz performance. I contrast the norms governing work performance in classical music with the practices governing performances of works in jazz, which I call realization or staging. Finally, I propose a model of jazz appreciation that incorporates a role for jazz works and that differs from the appreciation of classical music. (shrink)

The most comprehensive collection of essays on Descartes' scientific writings ever published, this volume offers a detailed reassessment of Descartes' scientific work and its bearing on his philosophy. The 35 essays, written by some of the world's leading scholars, cover topics as diverse as optics, cosmology and medicine, and will be of vital interest to all historians of philosophy or science.

The last twenty years or so have seen a surge of interest in the philosophy of music. However there is comparatively little philosophical literature devoted specifically to songs, singing and vocal music in general. This new collection of essays on the philosophical aspects of song and singing includes articles on the relationship between words and music in songs, the ontology of songs and recordings, meaning in songs, the metaphysics of vocal music in opera and the movies, and the ethical challenges (...) raised in song performance. The essays discuss a large range of examples, including rock, lieder, jazz songs, blues, doo wop, and rap. New essays by leading philosophers of art, including Peter Kivy (on "realistic song" in film), Jerrold Levinson (on jazz singing), Lee B. Brown (on the "minstrel hypothesis" in popular music), and Ted Gracyk (on linguistic pragmatics and song meaning). Papers that offer ground-breaking theories of the appreciation of rock recordings, the ethical implications of popular songs, the ontology of ephemeral artworks, the ontological status of cover versions, and of how a genre of popular music can both express and be a function of its social context papers that challenge existing accounts of much-debated topics, including operatic metaphysics and of the ontology of recorded music. Interdisciplinary essays that cut across aesthetics, philosophy of music, cultural music studies and musicology. Essays that are clearly written and engaging. (shrink)