In lieu of an abstract, here is a brief excerpt of the content:Production Determines CategoryAn Ontology of ArtMichael Weh (bio)1. Are There Singular Artworks?It is a mainstream view within the ontology of art that there are singular as well as multiple artworks, but it is also a view that is contested. In what follows, I will investigate whether the singular/multiple distinction can be sustained and will argue for a new way to determine the category to which an artwork belongs. Though (...) this seems to be an enterprise of rather theoretical concern, it has a direct practical dimension to it as well. Whether we are right to distinguish between singular and multiple artworks, and on what grounds such a distinction could be made, is of course affecting our treatment of artworks and our whole practice of exhibiting, selling, and appreciating works of art because it is based on the assumption that certain works are unique (and thus exhibited in museums and sold for considerable prices), whereas others exist in several instances (which make them widely available and not to be identified with a single object of appreciation). I hope to show that our practice of categorizing art is mostly appropriate but for different reasons than it has been suggested before.The first question to consider is, What defines a singular artwork? The most obvious characteristic is that it is singular—that is, it exists in only one instance. There is only one Mona Lisa, and there cannot be multiple instances of the Mona Lisa, whereas there can be multiple instances of Ulysses. But a little more precision is advisable. The criterion to decide whether a given work is singular cannot be if there actually is just one instance of the work.1 There might be a multiple artwork, say the novel x, of which there is only one instance—the manuscript. But this does not make x a singular artwork because there could be many copies of x, and they would all be instances of x if they fulfilled the necessary identity criteria between type and token.A copy of the Mona Lisa, on the other hand, would not—according to the common understanding of "singular artworks"—be an instance of the [End Page 84] painting but just that: a copy of the Mona Lisa. Thus, a singular artwork can only exist in one exemplar, and it is impossible that there is more than one. There can only be copies, reproductions, posters, forgeries, facsimiles, or pictures of the Mona Lisa but not an exemplar of the Mona Lisa other than the original. Talking of one exemplar or instance of the Mona Lisa might even be slightly misleading, as it is not supposed to suggest that there is some abstract entity Mona Lisa of which Leonardo's painting is the one and only possible instance. The claim is rather that in the case of singular artworks, there is no type the painting would be a token of at all but only the original physical object. The original is the work.The view that paintings and sculptures are singular artworks that are to be identified with physical objects is held by many ontologists of art, including Richard Wollheim, Jerrold Levinson, and Nicholas Wolterstorff. The view is not unchallenged, however, and some people think that what would normally be considered as singular artworks can—at least in principle—exist in several instances as well. In other words, there are no singular artworks at all. And if there could be several instances of the Mona Lisa, this not only means that the Mona Lisa is not a singular work of art but also that it is not a physical object; rather, it is an abstract object like a literary or musical work.2 This view is defended by, amongst others, Gregory Currie, Maria Reicher, and Peter Strawson.But let us first look at some reasons why one might want to insist that some artworks are concrete particulars. To begin with, this is how we deal with and think about paintings and sculptures. The assumption that, say, paintings are singular artworks is implied in our social practices concerning paintings. We put the originals in museums and not copies of them. We buy and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art as PerformanceMichael WehArt As Performance, by David Davies. Oxford: Blackwell Publishing, 2004, 278 pp.If we accepted the claims that David Davies makes in his Art as Performance, we would have to rigorously revise our conception of what kinds of entities artworks are. Art as Performance is a study in the ontology of art, and whereas other well-known theories about the ontological status of artworks say that artworks are (...) to be identified with, forexample, types, classes, or kinds, Davies holds that they are performances that lead to the production of a "focus of appreciation" — the latter being the objects we usually take to be artworks. So according to Davies, a painting presented in a museum or a novel we can buy in a bookshop is in fact not the artwork x.The artwork is rather the performance that cumulated in bringing x into existence.Davies characterizes our "common sense theory" of art as including views about the epistemology, ontology,axiology, and definition of art. It maintains that in order to appreciate an artwork, a direct experiential encounter with it is sufficient; that artworks are those things that are exhibited in our museums or performed on stages; that the value of artworks lies in immediately experiencing them; and that artworks differ from other objects by virtue of possessing aesthetic properties. But the common sense theory conflicts with many, if not most, of the art phenomena of the twentieth century. The puzzlement of audiences in the face of certain contemporary pieces of art is caused by the incompatibility of the common sense theory with those artworks. A philosopher of art can try to solve this problem by either accommodating modern art to the common sense theory or by dismissing the theory as inappropriate. With his performance theory, Davies goes for the [End Page 114] second option, while at the same time constraining his theory to the principle that an ontology of art should not contradict our dealing with art — at least after we have critically revised it — too excessively.Davies's first major step in elaborating his theory is a discussion of whether it is necessary to take contextual properties of artworks into account in order to be able to appreciate and understand them. Defenders of "aesthetic empiricism" (a term coined by Gregory Currie) deny that an artwork's history of production is relevant and would be the philosophical business partners of the common sense theory. According to empiricism, only an artwork's manifest properties matter. The context of an artwork's making is at best of art-historical interest. Building upon the works of Currie, Jerrold Levinson, Arthur Danto, and others, Davies forcefully argues against empiricism in defense of a contextualist epistemology of art. And since he takes an artwork's history of production to be epistemologically indispensable, Davies infers that it also has to be considered concerning the ontology of art.Davies's ontology of art is monistic. He claims that all artworks are not the products of creative activities, but rather "intentionally guided generative performances that eventuate in contextualized structures or objects...or events...performances completed by what I am terming a focus of appreciation" (p. 98). The focus of appreciation, in turn, is defined as "an artistic statement as articulated in an artistic medium realized in a vehicle" (p. 60). Davies understands an artistic medium as a set of social conventions or understandings of how to describe the way an artist articulated his statement — for example by manipulating a physical object. The vehicle can be — as in the case of painting — exactly that physical object, or, for example, an action in the case of conceptual art. The main point is that the focus of appreciation is not the artwork. The focus of appreciation — for example, the object Les Demoiselles d'Avignon — completes the performance that was carried out by the artist, and that performance is the artwork.If artworks are performances, it is clear that artworks possess the properties on whose existence contextualism insists and that are ignored by empiricism. But though Davies emphasizes the role of the properties an artwork has due to its provenance, he is also concerned about the weaknesses of... (shrink)

The first edition of The Scientific Background to Modern Philosophy took the dialogue of science and philosophy from Aristotle through to Newton. This second edition adds eight chapters, taking the dialogue through the Enlightenment and up to Darwin. This anthology is an attempt to help bridge the gap between the history of science and the history of philosophy.

Part I: The representation of life -- Can life be given a real definition? -- The representation of the living individual -- The representation of the life-form itself -- Part II: Naive action theory -- Types of practical explanation -- Naive explanation of action -- Action and time -- Part III: Practical generality -- Two tendencies in practical philosophy -- Practices and dispositions as sources of the goodness of individual actions -- Practice and disposition as sources of individual action.

At the University of Sheffield during 2011 and 2012, a leading group of philosophers, psychologists, and others gathered to explore the nature and significance of implicit bias. The two volumes of Implicit Bias and Philosophy emerge from these workshops. Each volume philosophically examines core areas of psychological research on implicit bias as well as the ramifications of implicit bias for core areas of philosophy. Volume I: Metaphysics and Epistemology is comprised of two parts: “The Nature of Implicit Attitudes, Implicit Bias, (...) and Stereotype Threat,” and “Skepticism, Social Knowledge, and Rationality.” The first part contains chapters examining the relationship between implicit attitudes and “dual process” models of the mind; the role of affect in the formation and change of implicit associations; the unity (or disunity) of implicit attitudes; whether implicit biases are mental states at all; and whether performances on stereotype-relevant tasks are automatic and unconscious or intentional and strategic. The second part contains chapters examining implicit bias and skepticism; the effects of implicit bias on scientific research; the accessibility of social stereotypes in epistemic environments; the effects of implicit bias on the self-perception of members of stigmatized social groups as rational agents; the role of gender stereotypes in philosophy; and the role of heuristics in biased reasoning. (shrink)

In this engaging and spirited text, Michael Lynch argues that truth does matter, in both our personal and political lives. He explains that the growing cynicism over truth stems in large part from our confusion over what truth is.

Dignity plays a central role in current thinking about law and human rights, but there is sharp disagreement about its meaning. Combining conceptual precision with a broad historical background, Michael Rosen puts these controversies in context and offers a novel, constructive proposal. “Penetrating and sprightly...Rosen rightly emphasizes the centrality of Catholicism in the modern history of human dignity. His command of the history is impressive...Rosen is a wonderful guide to the recent German constitutional thinking about human dignity...[Rosen] is in (...) general an urbane and witty companion, achieving his aim of accessibly written philosophy.” —Samuel Moyn, The Nation “[An] elegant, interesting and lucid exploration of the concept of dignity...Drawing on classical, liberal and Catholic traditions, Rosen hopes to rehabilitate dignity to its rightful place near the centre of moral thought...Rosen's admirable book deserves wide attention from political theorists, jurisprudes and political philosophers.” —Simon Blackburn, Times Higher Education “Dignity deserves to be widely read, not only for its intrinsic interest, but also as a corrective to the habit of discussing such topics in abstraction from their social context. Whether or not one agrees with Rosen's arguments, there can be no doubt he has widened our horizons.” —Rae Langton, Times Literary Supplement. (shrink)

Causation: A Realist Approach Traditional empiricist accounts of causation and laws of nature have been reductionist in the sense of entailing that given a complete specification of the non-causal properties of and relations among particulars, it is therefore logically determined both what laws there are and what events are causally related. It is argued here, however, that reductionist accounts of causation and of laws of nature are exposed to decisive objections, and thus that the time has come for empiricists to (...) break with that tradition. -/- The basic goal of this book, therefore, is to set out and defend realistic accounts of those concepts. In the case of causal relations, for example, Tooley maintains that causation is basically a matter of theoretical relations between states of affairs that underlie and explain relative frequencies. He also argues that such an approach avoids the objections that tell against reductionist accounts and that it does so without making causal relations epistemologically inaccessible. (shrink)

In this book, Slote offers the first full-scale foundational account of virtue ethics to have appeared since the recent revival of interest in the ethics of virtue. Slote advocates a particular form of such ethics for its intuitive and structural advantages over Kantianism, utilitarianism, and common-sense morality, and he argues that the problems of other views can be avoided and a contemporary plausible version of virtue ethics achieved only by abandoning specifically moral concepts for general aretaic notions like admirability and (...) virtue. Although this study is not bound by particular Aristotelian doctrines, it places an Aristotelian emphasis on both self-benefiting and other-benefiting virtues. Slote criticizes Kantian and common-sense morality for internal incoherencies and for downgrading the moral individual and her well-being in some previously unnoticed ways. By contrast, this book defends a distinctive, intuitive, and symmetric ethical principle according to which we should balance self-concern with concern for others, but it also concludes that there is, contrary to utilitarianism, no single basis for status as a virtue nor any simple relation between the virtues and human well-being. (shrink)

Michael G. Titelbaum presents a new Bayesian framework for modeling rational degrees of belief—the first of its kind to represent rational requirements on agents who undergo certainty loss.

Keine ausführliche Beschreibung für "Der Andere" verfügbar.

This commentary on Philip Kitcher’s book What’s the Use of Philosophy? addresses two questions. First, must philosophers be methodologically self-conscious to do good work? Second, is there value in the questions pursued in the traditional areas of analytic philosophy?

At the heart of ethics reside the concepts of good and bad; they are at work when we assess whether a person is virtuous or vicious, an act right or wrong, a decision defensible or indefensible, a goal desirable or undesirable. But there are many varieties of goodness and badness. At their core lie intrinsic goodness and badness, the sort of value that something has for its own sake. It is in virtue of intrinsic value that other types of value (...) may be understood, and hence that we can begin to come to terms with questions of virtue and vice, right and wrong, and so on. This book investigates the nature of intrinsic value: just what it is for something to be valuable for its own sake, just what sort of thing can have such value, just how such a value is to be computed. In the final chapter, the fruits of this investigation are applied to a discussion of pleasure, pain, and displeasure and also of moral virtue and vice, in order to determine just what value lies within these phenomena. (shrink)

In this paper I propose to shed new light on the role of feeling in Kant’s psychology of moral motivation by focusing on the concept of an incentive (Triebfeder), a term he borrowed from one of his most important rationalist predecessors, Alexander Gottlieb Baumgarten. I argue that, similar to Baumgarten, Kant understands an incentive to refer to the ground of desire and that feelings function as a specific kind of ground within Kant’s psychology of moral action, namely as the ‘impelling (...) cause’ of desire. I claim that this interpretation has several advantages over the alternatives currently on offer in the literature. (shrink)

We ordinarily suppose that there is a difference between having and failing to exercise a rational capacity on the one hand, and lacking a rational capacity altogether on the other. This is crucial for our allocations of responsibility. Someone who has but fails to exercise a capacity is responsible for their failure to exercise their capacity, whereas someone who lacks a capacity altogether is not. However, as Gary Watson pointed out in his seminal essay ’Skepticism about Weakness of Will’, the (...) idea of an unexercised capacity is much more difficult to make sense of than it initially appears. The aim of ’Rational Capacities’ is to provide the needed explication of this idea. (shrink)

Modern physics has revealed the universe as a much stranger place than we could have imagined. The puzzle at the centre of our knowledge of the universe is time. Michael Lockwood takes the reader on a fascinating journey into the nature of things. He investigates philosophical questions about past, present, and future, our experience of time, and the possibility of time travel. We zoom in on the behaviour of molecules and atoms, and pull back to survey the expansion of (...) the universe. We learn about entropy and gravity, black holes and wormholes, about how it all began and where we are all headed. Things will never seem the same again after a voyage through The Labyrinth of Time. (shrink)

In _On The Soul_ (425a-b), Aristotle drew a distinction between those qualities that are perceptible only via a single sense and those that are perceptible by more than one. The latter qualities he called.

Imagination is important for many things in science: solving problems, interpreting data, designing studies, etc. Philosophers of imagination typically account for the productive role played by imagination in science by focusing on how imagination is constrained, e.g., by using self-imposed rules to infer logically, or model events accurately. But the constraints offered by these philosophers either constrain too much, or not enough, and they can never account for uses of imagination that are needed to break today’s constraints in order to (...) make progress tomorrow. Thus, epistemology of imagination needs to make room for an element of epistemological anarchy. (shrink)

The phenomenon of commitment is a cornerstone of human social life. Commitments make individuals' behavior predictable, thereby facilitating the planning and coordination of joint actions involving multiple agents. Moreover, commitments make people willing to rely upon each other, and thereby contribute to sustaining characteristically human social institutions such as jobs, money, government and marriage. However, it is not well understood how people identify and assess the level of their own and others' commitments. The Philosophy and Psychology of Commitment explores and (...) explains the philosophical and cognitive issues that underpin commitment. John Michael considers how commitments motivate us and their often implicit and tacit nature. To flesh out the philosophical framework of his argument he draws on experimental work with young children, adults and human-robot interaction within the context of joint action, considering the role of the emotions and whether very young children are capable of joint action. Providing an important account of the nature and operation of commitment, this book is essential reading for those working in philosophy of psychology, cognitive science, experimental philosophy, and social and developmental psychology. It will also be of interest to those working in emerging fields such as human-robot interaction and behavioural economics. (shrink)

This volume presents a selection of the most influential recent discussions of the crucial metaphysical questions: what is it for one event to cause another? The subject of causation bears on many topics, such as time, explanation, mental states, the laws of nature, and the philosphy of science.

Begins by explaining then proving a generalized language dependence result similar to Goodman's "grue" problem. I then use this result to cast doubt on the existence of an objective evidential favoring relation (such as "the evidence confirms one hypothesis over another," "the evidence provides more reason to believe one hypothesis over the other," "the evidence justifies one hypothesis over the other," etc.). Once we understand what language dependence tells us about evidential favoring, our options are an implausibly strong conception of (...) the a priori, a hard externalism on which agents are unable to determine what their evidence favors, or a subjectivist view that makes evidential favoring relative to features of the agent. (shrink)

While philosophers hold that it is patently absurd to blame robots or hold them morally responsible [1], a series of recent empirical studies suggest that people do ascribe blame to AI systems and robots in certain contexts [2]. This is disconcerting: Blame might be shifted from the owners, users or designers of AI systems to the systems themselves, leading to the diminished accountability of the responsible human agents [3]. In this paper, we explore one of the potential underlying reasons for (...) robot blame, namely the folk's willingness to ascribe inculpating mental states or "mens rea" to robots. In a vignette-based experiment (N=513), we presented participants with a situation in which an agent knowingly runs the risk of bringing about substantial harm. We manipulated agent type (human v. group agent v. AI-driven robot) and outcome (neutral v. bad), and measured both moral judgment (wrongness of the action and blameworthiness of the agent) and mental states attributed to the agent (recklessness and the desire to inflict harm). We found that (i) judgments of wrongness and blame were relatively similar across agent types, possibly because (ii) attributions of mental states were, as suspected, similar across agent types. This raised the question - also explored in the experiment - whether people attribute knowledge and desire to robots in a merely metaphorical way (e.g., the robot "knew" rather than really knew). However, (iii), according to our data people were unwilling to downgrade to mens rea in a merely metaphorical sense when given the chance. Finally, (iv), we report a surprising and novel finding, which we call the inverse outcome effect on robot blame: People were less willing to blame artificial agents for bad outcomes than for neutral outcomes. This suggests that they are implicitly aware of the dangers of overattributing blame to robots when harm comes to pass, such as inappropriately letting the responsible human agent off the moral hook. (shrink)

Introduction : from victims and perpetrators to implicated subjects -- The transmission belt of domination : theorizing the implicated subject -- On (not) being a descendant : implicated subjects and the legacies of slavery -- Progress, progression, procession : William Kentridge's implicated aesthetic -- From Gaza to Warsaw : multidirectional memory and the perpetuator -- Under the sign of suitcases : the Holocaust internationalism of Marceline Loridan-Ivens -- "Germany is in Kurdistan" : Hito Steyerl's images of implication -- Conclusion : (...) transfiguring implication : eleven theses. (shrink)

Can an ugly experiment be a good experiment? Philosophers have identified many beautiful experiments and explored ways in which their beauty might be connected to their epistemic value. In contrast, the present chapter seeks out (and celebrates) ugly experiments. Among the ugliest are those being designed by AI algorithms. Interestingly, in the contexts where such experiments tend to be deployed, low aesthetic value correlates with high epistemic value. In other words, ugly experiments can be good. Given this, we should conclude (...) that beauty is not generally necessary or sufficient for epistemic value, and increasing beauty will not generally tend to increase epistemic value. (shrink)

Using an approach deeply informed by philosophy of art, art history and perceptual psychology, this book places seeing at the centre of an original theory of pictorial representation and explores the ramifications such a theory has for the visual arts.

Chapter 1 addresses some preliminary issues that it is important to think about in formulating arguments from evil. Chapter 2 is then concerned with the question of how an incompatibility argument from evil is best formulated, and with possible responses to such arguments. Chapter 3 then focuses on skeptical theism, and on the work that skeptical theists need to do if they are to defend their claim of having defeated incompatibility versions of the argument from evil. Finally, Chapter 4 discusses (...) evidential arguments from evil, and four different kinds of evidential argument are set out and critically examined. (shrink)

A paradigm-shifting work that revolutionizes our understanding of the origins and structure of science. Captivatingly written, interwoven with tantalizing illustrations and historical vignettes ranging from Newton's alchemy to quantum mechanics to the storm surge of Hurricane Sandy, Michael Strevens's wholly original investigation of science asks two fundamental questions: Why is science so powerful? And why did it take so long, two thousand years after the invention of philosophy and mathematics, for the human race to start using science to learn (...) the secrets of nature? The Knowledge Machine's radical answer is that science calls on its practitioners to do something irrational: by willfully ignoring religion, theoretical beauty, and, especially, philosophy-essentially stripping away all previous knowledge-scientists embrace an unnaturally narrow method of inquiry, channeling unprecedented energy into observation and experimentation. Like Yuval Harari's Sapiens or Thomas Kuhn's 1962 classic, The Structure of Scientific Revolutions, The Knowledge Machine overturns much of what we thought we knew about the origins of the modern world. (shrink)

In this new work, political theorist Michael J. Thompson argues that modern societies are witnessing a decline in one of the core building blocks of modernity: the autonomous self. Far from being an illusion of the Enlightenment, Thompson contends that the individual is a defining feature of the project to build a modern democratic culture and polity. One of the central reasons for its demise in recent decades has been the emergence of what he calls the cybernetic society, a (...) cohesive totalization of the social logics of the institutional spheres of economy, culture and polity. These logics have been progressively defined by the imperatives of economic growth and technical-administrative management of labor and consumption, routinizing patterns of life, practices, and consciousness throughout the culture. Evolving out of the neoliberal transformation of economy and society since the 1980s, the cybernetic society has transformed how that the individual is articulated in contemporary society. Thompson examines the various pathologies of the self and consciousness that result from this form of socialization--such as hyper-reification, alienated moral cognition, false consciousness, and the withered ego--in new ways to demonstrate the extent of deformation of modern selfhood. Only with a more robust, more socially embedded concept of autonomy as critical agency can we begin to reconstruct the principles of democratic individuality and community. (shrink)

Imagination is necessary for scientific practice, yet there are no in vivo sociological studies on the ways that imagination is taught, thought of, or evaluated by scientists. This article begins to remedy this by presenting the results of a qualitative study performed on two systems biology laboratories. I found that the more advanced a participant was in their scientific career, the more they valued imagination. Further, positive attitudes toward imagination were primarily due to the perceived role of imagination in problem-solving. (...) But not all problem-solving episodes involved clear appeals to imagination, only maximally specific problems did. This pattern is explained by the presence of an implicit norm governing imagination use in the two labs: only use imagination on maximally specific problems, and only when all other available methods have failed. This norm was confirmed by the participants, and I argue that it has epistemological reasons in its favour. I also found that its strength varies inversely with career stage, such that more advanced scientists do (and should) occasionally bring their imaginations to bear on more general problems. A story about scientific pedagogy explains the trend away from (and back to) imagination over the course of a scientific career. Finally, some positive recommendations are given for a more imagination-friendly scientific pedagogy. (shrink)

Die philosophische Frage nach der Identität einer Person ist nicht wohlbestimmt. Es handelt sich keineswegs, wie der Gebrauch des Begriffes im Alltag oder auch in der Philosophie nahe legt, um ein einheitliches Phänomen. Vielmehr muss die Identität einer Person als Zusammenspiel von folgenden Fragen analysiert werden: Was macht die Ganzheit einer Person aus? Was muss der Fall sein, damit eine Person gestern mit der Person von heute "identisch" ist? Was verstehen wir unter Identität im Sinne von Selbstverstehen und Selbstbewusstsein? Es (...) wird gezeigt, wie sich die beiden "Identitäten" menschlicher Personen - Persistenz und Persönlichkeit -in unserem alltäglichen Verständnis miteinander verschränken. (shrink)

This book has two main concerns. The first is to isolate the fundamental issues that must be resolved if one is to be able to formulate a defensible position on the question of the moral status of abortion. The second is to determine the most plausible answer to that question. With respect to the first question, the author argues that the following issue–most of which are ignored in public debate on the question of abortion–need to be considered. First, can the (...) abortion question be decided without resolving the issue of the moral status of the fetus? Second, is the fact that the fetus belongs to the biologically defined species Homo Sapiens morally significant in itself? Third, what non-potential properties and necessary and/or sufficient to endow something with a right to life? Fourth, do the corresponding potentialities also make it wrong to destroy something? Fifth, does any property that suffices to give something a right to life admit of degrees, and if so, is it morally significant regardless of the extent to which it is present? Sixth, is it morally permissible to refrain from producing additional people who would lead satisfactory lives? And finally, at what point do developing human beings acquire those properties that give something a right to life – at conception, or at some later point? Alternative answers to these central questions are set out and discussed in a detailed way. Some of the issues are difficult, but it is argued that plausible answers can be advanced, and that they support a liberal position on the morality of abortion. (shrink)

How does a poet repeatedly over a lifetime make art out of an arbitrary assignment of fate? By asking this question of the work of four American poets - two men of the postwar generation, two young women writing today - Helen Vendler suggests a fruitful way of looking at a poet's career and a new way of understanding poetic strategies as both mastery of forms and forms of mastery.

My goal in this paper is to provide characterizations of matter, form and constituency in a way that avoids what I take to be the three main drawbacks of other hylomorphic theories: (i) commitment to the universal-particular distinction; (ii) commitment to a primitive or problematic notion of inherence or constituency; (iii) inability to identify viable candidates for matter and form in nature, or to characterize them in terms of primitives widely regarded to be intelligible.

As Nelson Goodman highlighted, there are two main senses of “abstract” that can be found in discussions about abstract art. On the one hand, a representation is abstract if it leaves out certain features of its target. On the other hand, something can be abstract to the extent that it does not represent a concrete subject. The first sense of “abstract” is well-known in philosophy of science. For example, philosophers discuss mathematical models of physical, biological, and economic systems as being (...) abstract in this sense. However, it is the second sense that dominates discussions of abstract art in aesthetics. For example, abstract art was (and is) considered revolutionary precisely for being non-figurative. Through an analysis of artists including Kandinsky, Malevich, and Mondrian, we develop a reading of this second sense, which we call “generative abstraction,” as opposed to “subtractive” abstraction. Generative abstraction is a process in which a new artifact is created which does not represent the initial concrete target system that inspired it (if there was one), where the artifact’s features are explored for their own sake, and where the “language” of the new artifact is in some way more “universal.” Focusing on this sense of abstraction is helpful in revealing the complexity of the process of crafting an abstract artifact, in problematizing the notion that abstraction can always be un-done (or concretized), as well as revealing new ways for abstractions to be epistemically (un)successful. (shrink)

In this article, I examine an ostensible case of the reincarnation type previously investigated and analyzed by Jim Tucker, M.D. of the University of Virginia. The case concerns James Leininger, a young boy who beginning around age two in 2000 and for several years thereafter began exhibiting behaviors and making claims that were later believed to resemble the life and death of World War II fighter pilot James Huston, Jr. The James Leininger story is widely regarded as a superior American (...) case of reincarnation. After a two-year investigation of this case, I present my findings and their implications for the evaluation of this case as evidence for reincarnation. The favorable assessment of the case is based on the assumption that there is a sufficiently robust and credible narrative of James Leininger’s experiences, behaviors, and claims. I will argue that the chronology of events which provide the factual scaffolding of this case is neither robust nor credible, especially with respect to what are presumed to be the case’s strongest features. The official narrative is not robust because it excludes salient contextual details related to James’s exposure to ordinary sources of information which plausibly shaped his experience. The narrative is not credible because the presumed facts of the case are based almost exclusively on the testimony of James Leininger’s parents, but their testimony suffers from a variety of significant credibility problems. These two defects – lack of narrative robustness and credibility – also vitiate Jim Tucker’s investigation and presentation. Consequently, his favorable assessment of this case as evidence for reincarnation is unwarranted. (shrink)

J.S. Mill famously equated physical things with "permanent possibilities of sensation." This view, known as phenomenalism, holds that a rock is a tendency for experiences to occur as they do when people perceive a rock, and similarly for all other physical things. In _Phenomenalism_, Michael Pelczar develops Mill's theory in detail, defends it against the objections responsible for its current unpopularity, and uses it to shed light on important questions in metaphysics, the philosophy of science, and the philosophy of (...) mind. Identifying physical things with possibilities of sensation establishes a transparent connection between the world of physics and the world of sense, provides an attractive alternative to currently fashionable structuralist and panpsychist metaphysics, offers a fresh perspective on the problem of consciousness, and yields a satisfying theory of perception, all by taking two things notoriously resistant to reduction, chance and experience, and constructing everything else out of them. (shrink)

In this article we defend a moral conception of cosmopolitanism and its relevance for moral education. Our moral conception of cosmopolitanism presumes that persons possess an inherent dignity in the Kantian sense and therefore they should be recognised as ends‐in‐themselves. We argue that cosmopolitan ideals can inspire moral educators to awaken and cultivate in their pupils an orientation and inclination to struggle against injustice. Moral cosmopolitanism, in other words, should more explicitly inform the work that moral educators do. Real‐world constraints (...) on moral action and the need to prioritise one’s sometimes conflicting responsibilities will often qualify cosmopolitan justice as supererogatory. This fact does not absolve persons from aspiring to see themselves as having the moral obligation to help others in need, while recognising that their factual obligations are more modest in being bound by what they are actually able to do. (shrink)

For the first time an award-winning Harvard professor shares the lessons from his wildly popular course on classical Chinese philosophy, showing you how these ancient ideas can guide you on the path to a good life today. The lessons taught by ancient Chinese philosophers surprisingly still apply, and they challenge our fundamental assumptions about how to lead a fulfilled, happy, and successful life. Self-discovery, it turns out, comes through looking outward, not inward. Power comes from holding back. Good relationships come (...) from small gestures. Spontaneity comes from practice. And excellence comes from what you choose to do, not your “natural” abilities. Counterintuitive. Countercultural. Even revolutionary. These powerful ideas have made Professor Michael Puett's course the third most popular at Harvard University in recent years, with enrollment surging every year since it was first offered in 2006. It's clear students are drawn by a bold promise Professor Puett makes on the first day of class: “These ideas will change your life.” Now he offers his course to the world. (shrink)

Turing computation over a non-linguistic domain presupposes a notation for the domain. Accordingly, computability theory studies notations for various non-linguistic domains. It illuminates how different ways of representing a domain support different finite mechanical procedures over that domain. Formal definitions and theorems yield a principled classification of notations based upon their computational properties. To understand computability theory, we must recognize that representation is a key target of mathematical inquiry. We must also recognize that computability theory is an intensional enterprise: it (...) studies entities as represented in certain ways, rather than entities detached from any means of representing them. (shrink)