Online research in philosophy

1826 is the date attributed to the very first known photograph, Nicephore Niepce's "View from the Window at Gras." For traditional historians of photography this date marks the moment when the genius of man was finally able to merge the knowledge of chemistry with that of optics to create the most amazing technology of visual representation. However, those same historians recognize that the two essential components of photography---the camera and the properties of silver halides---had been known for centuries before the first photograph was ever taken.

It is “the received wisdom” that any intuitively natural and consistent resolution of a class of semantic paradoxes immediately leads to other paradoxes just as bad as the first. This is often called the “revenge problem”. Some proponents of the received wisdom draw the conclusion that there is no hope of any natural treatment that puts all the paradoxes to rest: we must either live with the existence of paradoxes that we are unable to treat, or adopt artificial and ad hoc means to avoid them. Others (“dialetheists”) argue that we can put the paradoxes to rest, but only by licensing the acceptance of some contradictions (presumably in a paraconsistent logic that prevents the contradictions from spreading everywhere).

According to Roger Scruton, it is not possible for photographs to be representational art. Most responses to Scruton’s scepticism are versions of the claim that Scruton disregards the extent to which intentionality features in photography; but these cannot force him to give up his notion of the ideal photograph. My approach is to argue that Scruton has misconstrued the role of causation in his discussion of photography. I claim that although Scruton insists that the ideal photograph is defined by its ‘merely causal’ provenance, in fact he fails to take the causal provenance of photographs seriously enough. To replace Scruton’s notion of the ideal photograph, I offer a substantive account of the causal provenance of photographs, centred on the distinctive role of ‘the photographic event’. I conclude that, with a proper understanding of the photographic process, we have good reason to re-open the question of photography as a representational art.

We present an order-theoretic analysis of set-theoretic paradoxes. This analysis will show that a large variety of purely set-theoretic paradoxes (including the various Russell paradoxes as well as all the familiar implementations of the paradoxes of Mirimanoff and Burali-Forti) are all instances of a single limitative phenomenon.

Zeno''s paradoxes of motion and the semantic paradoxes of the Liar have long been thought to have metaphorical affinities. There are, in fact, isomorphisms between variations of Zeno''s paradoxes and variations of the Liar paradox in infinite-valued logic. Representing these paradoxes in dynamical systems theory reveals fractal images and provides other geometric ways of visualizing and conceptualizing the paradoxes.

This updated second edition is the essential guide to paradoxes and takes the reader on a lively tour of puzzles that have taxed thinkers from Zeno to Galileo ...

This enjoyable book presents a potpourri of paradoxes with the purpose of showing how they connect to serious philosophical issues. The main paradoxes are Zeno's, the sorites, Newcomb's problem, the paradoxes of confirmation, the surprise examination, and the paradoxes of self-reference. A final chapter defends the assumption that contradictions are unacceptable and an appendix throws in sixteen minor paradoxes. Along the way, R. M. Sainsbury peppers the reader with helpful queries and provocative asides.

We identify a class of paradoxes that are neither set-theoretical or semantical, but that seem to depend on intensionality. In particular, these paradoxes arise out of plausible properties of propositional attitudes and their objects. We try to explain why logicians have neglected these paradoxes, and to show that, like the Russell Paradox and the direct discourse Liar Paradox, these intensional paradoxes are recalcitrant and challenge logical analysis. Indeed, when we take these paradoxes seriously, we may need to rethink the commonly accepted methods for dealing with the logical paradoxes.

In 2003, a photograph taken by Richard Prince, Untitled (Cowboy) , sold at auction for $332,300. Some might be surprised that a photograph could garner such a sum, but, in this case at least, none more so than Jim Krantz. Krantz might be allowed a certain level of incredulity, for Prince's photograph was a photograph of another photograph, this one taken by Krantz himself. As far as copyright is concerned, Krantz's photograph and Prince's are the same work, and so Krantz is almost certainly infringing on Prince. Copyright protects ‘authored works’, and not art works per se . And unfortunately, while copyright law assumes some metaphysical basis to its objects, this basis tends to go largely uninvestigated. In this paper, I work to develop a comprehensive, coherent, and consistent account of the ontology of authored works suitable for the purposes of copyright law.

For the metaphysician, photographs are very puzzling entities indeed. And even from the non-philosopher's intuitive point of view, it is not that clear what sort of thing a photograph is. Typically, if a client wants to purchase a photograph, she can mean very different things by 'buying a photograph' : she can mean to buy a print or a number of prints, or she can mean to buy a negative (when traditional film photographs are concerned) or a file (when digital photography is concerned), or she can mean to buy a right to use a photograph a precisely determined number of times in a number of brochures or on a website, and so on. When facing a new client, I always, without exception, face the problem of explaining to her what it is that she is actually buying – and it is not always clear that she is ever buying a photograph. As a metaphysician, I face a much more difficult challenge : find out to what ontological category photographs belong to. Are they concrete spatio-temporal entities like prints, are they universals since there can be many 'prints-instances' of a same photograph, are they sets or aggregates of prints, or something even different ? This is the task that I wish to undertake in this paper : examine all plausible metaphysical categories to which photographs could belong to, and see which one is the fittest. As we shall see, in this 'survival for the fittest' competition between traditional metaphysical categories, there will be no real winner : several categories will reveal themselves to be enlightening and useful when describing features of what photographs are, but none will prove to be entirely satisfactory. Photographs, it seems, are a sort of borderline entities that share some but not all aspects of several traditional metaphysical categories. Is it then justified to postulate a new ontological category to which photographs would properly belong ? On mainly methodological grounds, I shall argue that it is not, and I will suggest a different way out of this metaphysician's trouble by defending a nihilism about photographs. To put it bluntly, I will defend the claim that photographs do not exist – but I will also argue that this is not a very revisionary or anti-commonsensical claim.