When all sorts of material entities from atoms to people and from bacilli to stars are plotted on a scale of time and a scale of mass some very interesting alignments and symmetries emerge. It is observed that the data of the physical, biological, psychological, and social sciences form a neat isosceles triangle as shown in Figure 1 below. The facts are simple as graphed in Figure 1 on logarithmic scales; their explanation or interpretation is not apparent. Is Figure 1 (...) merely an interesting diagram useful in teaching the masses and evolutionary ages of the phenomena of various classes of science, or has it some more fundamental scientific significance? The graph will be first described and then its uncertainties and possible implications will be discussed. (shrink)

This paper develops a synthesis of three basic societal dimensions. These three qualify as basic dimensions by virtue of being collectively inclusive, mutually exclusive to a higher degree than any alternative dimensions we have explored, and universally applicable, i.e., to all social situations. We take the six transact dimensions to be such a set. Of these six we here develop a synthesis of three (acts, people, and time) which we take to be most basic, not in the sense of relative (...) importance to human life and welfare, but in the sense of being completely mutually exclusive, of being explicitly as well as implicitly necessary in the modelling of a very large proportion of social situations, and of being not at all elusive when observed as here in all-or-none units for the acts, “noses counted” for the people, and discrete units of time. For these reasons we consider this set of dimensions especially suitable for first attempts at synthesized rational and predictive models (as distinct from purely analytical, empirical and descriptive models). It is anticipated, however, that as initial efforts increase our scientific skill, essentially the same modelbuilding techniques will be applicable when the “trickiest” or most compounded of the transact dimensions, namely values and circumstances, are also dealt with. Other systems of synthesized, predictive models which we are exploring are described briefly in a later note. (shrink)

Derek Parfit presents his Mere Addition Paradox in order to demonstrate that it is extremely difficult to avoid the Repugnant Conclusion. And in order to avoid it, Parfit has embraced perfectionism. However, Stuart Rachels and Larry Temkin, taking their lead from Parfit, have concluded, instead, that the Repugnant Conclusion can be avoided by denying the axiom of transitivity with respect to the all-things-considered-better-than relation. But this seems to present a major challenge to how we evaluate normatively. In this article (...) I show how the Mere Addition Paradox and the Repugnant Conclusion can both be avoided without subscribing to perfectionism, and without sacrificing the axiom of transitivity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.4 (2001) 355-363 [Access article in PDF] Plato on Power, Moral Responsibility and the Alleged Neutrality of Gorgias' Art of Rhetoric (Gorgias 456c-457b) James Stuart Murray 1. Introduction You are sitting in your office on a quiet Thursday afternoon when an agitated university administrator enters with news that the students in your "Plato class" have just been interviewed on the city's largest radio station. According (...) to them, their professor claimed that the demise of their university is a direct result of the fact that senior administrative positions are held by a motley assortment of business-oriented, academically cynical, "renewal"-promoting "innovators" whose main preoccupation is "government funding opportunities" in areas of dubious academic importance.Your response might be: "That's not what I taught them." Or perhaps you might say, "That's not exactly what I taught them--I didn't say it was a 'motley' assortment." In either case, you would be relying on some form of what Robert Wardy (170, n.r 20) has dubbed the "blame students, not teachers defence." He asserts, perhaps correctly, that this defense gained the status of topos within the ancient rhetorical tradition. A version of it certainly does seem to show up in Isocrates' Antidosis (250-52) and perhaps in his Nicocles (3-4), and it is suggested by remarks in both Aristotle's Rhetoric (1355b) and Quintilian's Institutio Oratoria (II,16,5). On this occasion, however, I am concerned with only one rendition, probably its earliest extant instance in Greek literature. In Plato's Gorgias, the eponymous sophist argues as follows: Imagine someone who after attending wrestling school, 1 getting his body into good shape and becoming a boxer, went on to strike his father and mother or any other family member or friend. By Zeus, that's no reason to hate physical trainers... and to exile them from their cities! For while these people imparted their skills to be used justly against enemies and wrongdoers, and in [End Page 355] defense, not aggression, their pupils pervert their strength and skill and misuse them. So it's not their teachers who are wicked, nor is this a reason why the craft should be a cause of wickedness; the ones who misuse it are supposedly the wicked ones. And the same is true for oratory as well. The orator has the ability to speak against everyone on every subject, so as in gatherings to be more persuasive, in short, about anything he likes, but the fact that he has the ability to rob doctors or other craftsmen of their reputations doesn't give him any more of a reason to do it. He should use oratory justly, as he would any competitive skill. And I suppose that if a person who has become an orator goes on with this ability and this craft to commit wrongdoing, we shouldn't hate his teacher and exile him from our cities. For while the teacher imparted it to be used justly, the pupil is making the opposite use of it. So it's the misuser whom it's just to hate and exile or put to death, not the teacher. (Gorgias 456d, 457a-b) 2Change "exile from our cities" to "fire from our universities" and this makes a good passage to remember when confronted by that agitated administrator mentioned above. Blame the students, not the teachers.Not much comment has been provoked by this defense of Gorgianic rhetoric and its underlying rhetor/boxer analogy, except over the question of whether we should read the passage as an accurate reflection of the words of the historical Gorgias or as a Platonic invention. In a previous generation, E. R. Dodds (212) reckoned that this defense was "probably the standpoint of the historical Gorgias," while E. A. Havelock (195) cautioned that "there is little--very little--that he [i.e., Plato] lets Gorgias say in the Gorgias." In our own day, and on a more general level, Thomas Cole (151) states that "Plato's... (shrink)

In some developed nations, corporations are today legally regarded as “people”. But if that were literally true of the Weyland‐Yutani Corporation in the Alien franchise, the least it would deserve is a swift left‐hook to the jaw from Ripley and the few unfortunate persons who survive with her in each of the movies. The question of what constitutes good business practices is what business ethics is all about. In Alien, Carter Burke is the quintessential corporate weasel, and in many (...) ways it's almost as if Gordon Gekko was transported into science fiction. The problem of deferring accountability is unavoidable in any large company, and Weyland‐Yutani is no exception. There are two major approaches to ethics that can help us to understand the extent to which cost‐benefit reasoning is ethical. The first, defended and popularized by Immanuel Kant, is deontology. The second major approach to ethics is utilitarianism, whose most famous early proponent was John Stuart Mill. (shrink)

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

Despite the profound potential of MacIntyre’s revolutionary virtue paradigm, management scholars have struggled to make sense of one of the most contentious and insightful philosophers of our time. This conceptual paper attempts to move past the transliteration of MacIntyre in favour of a translation of his contribution in a manner than retains something closer to its full meaning, while helpfully guiding empirical efforts to apply this emerging paradigm to modern organisations. This translation entails a dismissal of MacIntyre’s hypercritical bias in (...) order to accommodate an expansion of his ideas into the language and logic of management theory and practice. Schein’s methodological roadmap for deciphering culture is offered, as is theory-building using comparative case research, as offering two particularly promising directions for future empirical studies that seek to use the theory of virtue in order to reconceptualise and study the modern organisation. (shrink)

I argue that believing that p implies having a credence of 1 in p. This is true because the belief that p involves representing p as being the case, representing p as being the case involves not allowing for the possibility of not-p, while having a credence that’s greater than 0 in not-p involves regarding not-p as a possibility.

This paper argues that a consideration of the problem of providing truthmakers for negative truths undermines truthmaker theory. Truthmaker theorists are presented with an uncomfortable dilemma. Either they must take up the challenge of providing truthmakers for negative truths, or else they must explain why negative truths are exceptions to the principle that every truth must have a truthmaker. The first horn is unattractive since the prospects of providing truthmakers for negative truths do not look good neither absences, nor totality (...) states of affairs, nor Graham Priest and J.C. Beall’s ‘polarities’ (Beall, 2000; Priest, 2000) are up to the job. The second horn, meanwhile, is problematic because restricting the truthmaker principle to atomic truths, or weakening it to the thesis that truth supervenes on being, undercuts truthmaker theory’s original motivation. The paper ends by arguing that truthmaker theory is, in any case, an under-motivated doctrine because the groundedness of truth can be explained without appeal to the truthmaker principle. This leaves us free to give the ommonsensical and deflationary explanation of negative truths that common-sense suggests. (shrink)

In this paper I argue for a doctrine I call ?infallibilism?, which I stipulate to mean that If S knows that p, then the epistemic probability of p for S is 1. Some fallibilists will claim that this doctrine should be rejected because it leads to scepticism. Though it's not obvious that infallibilism does lead to scepticism, I argue that we should be willing to accept it even if it does. Infallibilism should be preferred because it has greater explanatory power (...) than fallibilism. In particular, I argue that an infallibilist can easily explain why assertions of ?p, but possibly not-p? (where the ?possibly? is read as referring to epistemic possibility) is infelicitous in terms of the knowledge rule of assertion. But a fallibilist cannot. Furthermore, an infallibilist can explain the infelicity of utterances of ?p, but I don't know that p? and ?p might be true, but I'm not willing to say that for all I know, p is true?, and why when a speaker thinks p is epistemically possible for her, she will agree (if asked) that for all she knows, p is true. The simplest explanation of these facts entails infallibilism. Fallibilists have tried and failed to explain the infelicity of ?p, but I don't know that p?, but have not even attempted to explain the last two facts. I close by considering two facts that seem to pose a problem for infallibilism, and argue that they don't. (shrink)

Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...) ontology of art: a form that does not quarrel with the possibility of revisionism in matters of ‘fundamental metaphysics’, but which argues that special features of the arts make descriptivism in this particular sphere obligatory. David Davies, Andrew Kania and Stephen Davies are local descriptivists in this sense. I argue that the burden of proof lies with the local descriptivist, but that this burden is too heavy for him to carry. Specifically, it emerges that the only way in which the local descriptivist can motivate his position is by arguing that our artistic practices determine the art ontological facts: a thesis that local descriptivists typically appeal to, but have not been able to argue for successfully. My conclusion is that the methodological debate in the ontology of art should now proceed by focussing on the case for global descriptivism: i.e. that form of descriptivism that opposes the possibility of revisionism in ontological matters across the board. (shrink)

ABSTRACTWhat is John Cage's 4′33″? This paper disambiguates this question into three sub-questions concerning, respectively, the work's ontological nature, the art form to which it belongs, and the genre it is in. We shall see that the work's performances consist of silence, that it is a work of performance art, and that it belongs to the genre of conceptual art. Seeing the work in these ways helps us to understand it better, and promises to assuage somewhat the puzzlement and irritation (...) of those who are at first resistant to its charms. (shrink)

This paper asks whether we should accept a weakened version of the truthmaker principle: namely, the claim that truth supervenes on being, in which 'being' is understood as whether things are. I consider a number of positive answers to this question, including the following: that the truthmaker principle is a requirement of any plausible explanation of truth; that the principle must be accepted, if we are to do justice to the Wittgensteinian insight that the world is the totality of facts, (...) not of things; and that the correctness of the principle is a necessary condition of a realist metaphysics. In my view, none of these attempts to motivate the truthmaker principle is satisfactory. (shrink)

Japanese pop idols occupy an ambiguous position in the broader popular music landscape, straddling a line between fiction and non-fiction, simultaneously characterological yet physically instantiated. As idealized representations of the girl or boy next door, idols serve as both ‘image characters’ who can be used to sell a variety of products, as well as ‘quasi companions’ meant to provide fans with a manufactured sense of intimacy. Using a joint quantitative and qualitative approach, this article analyses the lyrics of female idol (...) groups. Specifically, I demonstrate how the combination of first- and second-person pronouns and sentence-final expressions are utilized to construct both female-coded and male-coded gendered personae, revealing that idol lyrics engage in the process of cross-gender performance. As a result, through their performance of these personae, female idol groups explicitly reinforce a binary imagination of normative gender expressions, allowing such idol groups to capitalize on idealized heterosexual adolescence through affective resonance and nostalgia. (shrink)

In “All Play and No Work,” Andrew Kania claims that standard form jazz involves no works, only performances. This article responds to Kania by defending one of the alternative ontological proposals that he rejects, namely, that jazz works are ontologically continuous with works of classical music. I call this alternative “the standard view,” and I argue that it is the default position in the ontology of standard form jazz. Kania has three objections to the standard view. The bulk of the (...) article is devoted to explaining why none of these objections succeed. (shrink)

The main thesis of this paper is that John McDowell (in his Mind and World) tries to occupy a position that is not coherently statable; namely, that facts have objects and properties as constituents and are yet identical with true (Fregean) Thoughts. This position is contrasted with two other identity theories of truth: the robust theory, in which true propositions are identified with facts (which are understood to have objects and properties as constituents); and the modest theory, in which facts (...) are identified with true Fregean Thoughts. I argue that the modest theory is to be preferred. (shrink)

This paper challenges the notion that Bitcoin is ‘trust-free’ money by highlighting the social practices, organizational structures and utopian ambitions that sustain it. At the paper's heart is the paradox that if Bitcoin succeeds in its own terms as an ideology, it will fail in practical terms as a form of money. The main reason for this is that the new currency is premised on the idea of money as a ‘thing’ that must be abstracted from social life in order (...) for it to be protected from manipulation by bank intermediaries and political authorities. The image is of a fully mechanized currency that operates over and above social life. In practice, however, the currency has generated a thriving community around its political ideals, relies on a high degree of social organization in order to be produced, has a discernible social structure, and is characterized by asymmetries of wealth and power that are not dissimilar from the mainstream financial system. Unwittingly, then, Bitcoin serves as a powerful demonstration of the relational character of money. (shrink)

According to the discovery model in the ontology of art, the facts concerning the ontological status of artworks are mind-independent and, hence, are facts about which the folk may be substantially ignorant or in error. In recent work Amie Thomasson has claimed that the most promising solution to the ‘ qua problem’—a problem concerning how the reference of a referring-expression is fixed—requires us to give up the discovery model. I argue that this claim is false. Thomasson's solution to the qua (...) problem—a hybrid descriptive/causal theory of reference-fixing—has a superior competitor, in the form of the account of reference-fixing suggested by Gareth Evans; and Evans's theory leaves the discovery model untouched. (shrink)

Concessive knowledge attributions (CKAs) are knowledge attributions of the form ‘S knows p, but it’s possible that q’, where q obviously entails not-p (Rysiew, Nous (Detroit, Mich.) 35:477–514, 2001). The significance of CKAs has been widely discussed recently. It’s agreed by all that CKAs are infelicitous, at least typically. But the agreement ends there. Different writers have invoked them in their defenses of all sorts of philosophical theses; to name just a few: contextualism, invariantism, fallibilism, infallibilism, and that the knowledge (...) rules for assertion and practical reasoning are false. In fact, there is a lot of confusion about CKAs and their significance. I try to clear some of this confusion up, as well as show what their significance is with respect to the debate between fallibilists and infallibilists about knowledge in particular. (shrink)

Timothy Williamson's epistemology leads to a fairly radical version of scepticism. According to him, all knowledge is evidence. It follows that if S knows p, the evidential probability for S that p is 1. I explain Williamson's infallibilist account of perceptual knowledge, contrasting it with Peter Klein's, and argue that Klein's account leads to a certain problem which Williamson's can avoid. Williamson can allow that perceptual knowledge is possible and that all knowledge is evidence, while at the same time avoiding (...) Klein's problem. But while Williamson can allow that we know some things through experience, there are very many things he must say we cannot know. Given just how very many these are, he should be considered a sceptic. (shrink)

The relationship between first and second language literacy was examined by identifying the skills and processes developed in the first language that were transferred to the second language. The performance of 40 university students from The People's Republic of China, Hong Kong, Vietnam and Australia were compared on a series of tasks that assessed phonological awareness and reading and spelling skills in English. The results indicated that the Hong Kong students (with non-alphabetic first language literacy) had limited phonological awareness compared (...) to those students with alphabetic first language literacy. The reading and spelling tasks showed no differences between the groups on real word processing. However, the students from Hong Kong had difficulty processing nonwords because of their poor phonological awareness. The results supported the hypothesis that people learning English as a second language (ESL) transfer their literacy processing skills from their first language to English. When the phonological awareness required in English had not been developed in the first language, ESL students were limited to a whole-word, visual strategy. The findings indicate that students from non-alphabetic written language backgrounds might have difficulties with new, or unfamiliar words when attending universities where English is the medium of instruction. (shrink)

This paper argues that, within the Western ‘classical’ tradition of performing works of music, there exists a performance value of authenticity that is distinct from that of complying with the instructions encoded in the work's score. This kind of authenticity—interpretive authenticity—is a matter of a performance's displaying an understanding of the performed work. In the course of explaining the nature of this norm, two further claims are defended: that the respective values of interpretive authenticity and score compliance can come into (...) conflict; and that when this happens, compromising ideal score compliance for the sake of making the performance more interpretively authentic can make for a better performance. (shrink)

Strawson (1994) and Peacocke (1992) introduced thought experiments that show that it seems intuitive that there is, in some way, an experiential character to mental events of understanding. Some (e.g., Siewert 1998, 2011; Pitt 2004) try to explain these intuitions by saying that just as we have, say, headache experiences and visual experiences of blueness, so too we have experiences of understanding. Others (e.g., Prinz 2006, 2011; Tye 1996) propose that these intuitions can be explained without positing experiences of understanding. (...) Call this the debate between Realism and Anti-Realism about experiences of understanding. This paper aims to advance that debate in two ways. In the first half, I develop more precise characterizations of what Realists and Anti-Realists propose. In the second half, I distinguish the four most plausible versions of Anti-Realism and argue that Realism better explains the target intuition than any of them does. (shrink)

It has recently been suggested that the type/token theorist concerning musical works cannot come up with an adequate semantic theory of those sentences in which we purport to talk about such works. Specifically, it has been claimed that, since types are abstract entities, a type/token theorist can only account for the truth of sentences such as “The 1812 Overture is very loud” and “Bach's Two Part Invention in C has an F-sharp in its fourth measure” by adopting an untenable semantic (...) claim: namely, that the predicates in such sentences, once applied to musical works, undergo a systematic shift in their meanings. This article is a sustained explanation of why our talk about musical works in fact provides no problem for the type/token theorist. First, we demonstrate that the aforementioned “meaning shift” approach to the sentences’ predicates is well motivated and very credible. Second, we explain how the type/token theorist can adopt the best available version of an alternative, generic quantificational approach to such sentences. Third, we establish that other semantic theories, presented as undermining the type/token theory by giving us a reason for adopting eliminativism about types, are much less theoretically virtuous than the two theories that a type/token theorist can freely adopt. (shrink)

We distinguish, among other things, between the agent of the context, the speaker of the agent's utterance, the mechanism the agent uses to produce her utterance, and the tokening of the sentence uttered. Armed with these distinctions, we tackle the the ‘answer-machine’, ‘post-it note’ and other allegedly problematic cases, arguing that they can be handled without departing significantly from Kaplan's semantical framework for indexicals. In particular, we argue that these cases don't require adopting Stefano Predelli's intentionalism.

Peter Kivy has become convinced that it is impossible for pure, instrumental music to be profound. This is because he takes works of such music to be incapable of meeting what he claims to be two necessary conditions for artistic profundity: that the work denotes something profound, and that the work expresses profound propositions about its profound denotatum. The negative part of this paper argues as follows. Although works of pure, instrumental music do, indeed, fail to meet these conditions, the (...) said conditions are not themselves necessary for artistic profundity. In fact, each is a misinterpretation of a distinct, genuinely necessary condition for a work’s being profound: respectively, that the work has a profound subject matter, and that the work handles its profound subject matter in such a way as to elicit a deeper understanding of it in the suitably situated and prepared appreciator. The positive part of the paper elaborates these genuinely necessary conditions for artistic profundity and then argues that, once they have been disentangled from Kivy’s misconstruals of them, it becomes evident that they can be met by pieces of pure, instrumental music. (shrink)

This paper sees me clarify, elaborate, and defend the conclusions reached in my ‘Musical Works as Eternal Types’ in the wake of objections raised by Robert Howell, R. A. Sharpe, and Saam Trivedi. In particular, I claim that the thesis that musical works are discovered rather than created by their composers is obligatory once we commit ourselves to thinking of works of music as types, and once we properly understand the ontological nature of types and properties. The central argument of (...) the paper is ‘the argument from the eternal existence of properties’, its moral being that types are eternal entities because they inherit their existence conditions from their eternally existent property-associates. The two key premises in this argument—that properties exist eternally, and that a type exists just in case its property-associate exists—are motivated and then defended at length. (shrink)

The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...) meta-ontological questions in the ontology of music. (shrink)

The philosophical literatures on models and thought experiments have been developing exponentially, and independently, for decades. This independence is surprising, given how similar models and thought experiments are. They each have “lives of their own,” they sit between theory and experience, they are important for both pedagogy and cutting-edge science, they galvanize conceptual changes and paradigm shifts, and they involve entertaining imaginary scenarios and working out what happens. Recently, philosophers have begun to highlight these similarities. This entry aims at taking (...) the idea further, by trying to systematically identify places where insights from one literature can be taken up in the other. Along the way, important differences will also be highlighted. (shrink)

According to the Imprecise Credence Framework (ICF), a rational believer's doxastic state should be modelled by a set of probability functions rather than a single probability function, namely, the set of probability functions allowed by the evidence ( Joyce [2005] ). Roger White ( [2010] ) has recently given an arresting argument against the ICF, which has garnered a number of responses. In this article, I attempt to cast doubt on his argument. First, I point out that it's not an (...) argument against the ICF per se , but an argument for the Principle of Indifference. Second, I present an argument that's analogous to White's. I argue that if White's premises are true, the premises of this argument are too. But the premises of my argument entail something obviously false. Therefore, White's premises must not all be true. (shrink)