Online research in philosophy

Trenton Merricks argues that on any reasonable account, warrant must entailtruth. I demonstrate three theses about the properties ofwarrant: (1) Warrant is not unique;there are many properties that satisfy the definition of warrant. (2) Warrant need not entail truth; there are some warrant properties that entailtruthand others that do not. (3) Warrant need not be closed under entailment, even if knowledge is. If knowledge satisfies closure, then some warrant properties satisfy closure while others do not;if knowledge violates closure, then allwarrant properties violate closure.

One evening years ago I was watching a performance of the Chinese Magic Circus of Taiwan when it suddenly came to me that the fundamental characteristics of comedy were being acted out before my eyes. The discovery seems ironic in retrospect, as I did not find the performance very amusing, but the crude simplicity of the act illuminated the underlying dynamics of the genre. Two Taiwanese clowns came on stage dressed in the traditional white coverall and floppy hat that signify a chef. One of them announced that he and his companion were Puerto Rican chefs, and they proceeded to set up a row of nine springy bamboo poles, each about seven feet high, each one stuck vertically into a firm base and separated from the ..

Coleridge among the spectra -- Purple haze -- Thoughts and things -- Contemporary theories of derealization and mistrust -- Appearance and acceptance in Kant -- From mere to necessary appearance -- No fault -- The right to a phenomenal world -- Legalize it -- No right : phenomenality and self-denial in Nietzsche -- Genealogy of phenomenality -- Stolen phenomenality -- The disappearance of appearance -- Court of appeal or Adorno -- Critique of facticity -- Illusion in total illusion -- Circus colors -- Court of appeal.

In this paper we focus on transmission and failure of transmission of warrant. We identify three individually necessary and jointly sufficient conditions for transmission of warrant, and we show that their satisfaction grounds a number of interesting epistemic phenomena that have not been sufficiently appreciated in the literature. We then scrutinise Wright's analysis of transmission failure and improve on extant readings of it. Nonetheless, we present a Bayesian counterexample that shows that Wright's analysis is partially incoherent with our analysis of warrant transmission and prima facie defective. We conclude exploring three alternative lines of reply: developing a more satisfactory account of transmission failure, which we outline; dismissing the Bayesian counterexample by rejecting some of its assumptions; reinterpreting Wright’s analysis to make it immune to the counterexample.

That there is a sucker born every minute is the cynical slogan most often attributed to the great nineteenth-century circus entreprenuer Phineas Taylor Barnum. Though there is in fact no record that he ever made such a remark, Barnum did claim that his success depended on providing in his shows “a little something for everybody.” Both the cynicism and his recipe for success are relevant to understanding the persistent tendency for people to embrace fake personality descriptions as uniquely their own. This in turn gives a particular aptness to Paul Meehl’s phrase, the Barnum Effect, to describe the phenomenon.19..

: This essay concerns the dignity of nonhuman animals. It is composed of three sections. The first recounts my experience of a Moscow Circus performance and records some of my thoughts, feelings, and observations of this circus' famous bears. As is obvious from that account, the performance and presentation of the bears seemed to me to be undignified in a nontrivial, that is, morally objectionable sense of the word. The second section of the essay tries to specify that sense, to identify the wrong(s) with these sorts of undignified performances, by developing a moral sense of dignity that might extend, generally, to nonhuman animals. I believe that the setting of this performance and my own frame of mind—the fact that it took place in Moscow and in the midst of my exposure to sites and stories of communist oppression—helped me to see the oppression of human and nonhuman animals as linked and the performance as a performance of power relations. The third section of the essay explores these power relations from an ecofeminist perspective through the circus' depiction of the 'momma bear.'.