It is sometimes held that rules of inference determine the meaning of the logical constants: the meaning of, say, conjunction is fully determined by either its introduction or its elimination rules, or both; similarly for the other connectives. In a recent paper, Panu Raatikainen argues that this view—call it logical inferentialism—is undermined by some “very little known” considerations by Carnap (1943) to the effect that “in a definite sense, it is not true that the standard rules of inference” themselves suffice (...) to “determine the meanings of [the] logical constants” (p. 2). In a nutshell, Carnap showed that the rules allow for non-normal interpretations of negation and disjunction. Raatikainen concludes that “no ordinary formalization of logic [... ] is sufficient to ‘fully formalize’ all the essential properties of the logical constants” (ibid.). We suggest that this is a mistake. Pace Raatikainen, intuitionists like Dummett and Prawitz need not worry about Carnap’s problem. And although bilateral solutions for classical inferentialists—as proposed by Timothy Smiley and Ian Rumfitt—seem inadequate, it is not excluded that classical inferentialists may be in a position to address the problem too. (shrink)

Modality is a category of linguistic meaning having to do with the expression of possibility and necessity. A modalized sentence locates an underlying or prejacent proposition in the space of possibilities. Sandy might be home says that there is a possibility that Sandy is home. Sandy must be home says that in all possibilities, Sandy is home. The counterpart of modality in the temporal domain should be called “temporality”, but it is more common to talk of tense and aspect, the (...) prototypical verbal expressions of temporality. Together, modality and temporality are at the heart of the property of “displacement” that enables natural language to talk about affairs beyond the actual here and now. (shrink)

This paper presents a sequential search model where consumers look for several products and multiproduct …rms compete in prices. In such a multiproduct search market, both consumer behavior and …rm behavior exhibit di¤erent features from the single-product case: a consumer often returns to previously visited …rms before running out of options; and prices can decrease with search costs and increase with the number of …rms. The framework is then extended in two directions. First, by introducing both single-product and multiproduct searchers, (...) the model can explain the phenomenon of countercyclical pricing, i.e., prices of many retail products decline during peak-demand periods. Second, by allowing …rms to use bundling strategies, the model sheds new light on how bundling a¤ects market performance. In a search environment, bundling tends to reduce consumer search intensity, which can soften competition and reverse the usual welfare assessment of competitive bundling in a perfect information setting. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related (...) to the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

How do researchers and/or practitioners know when change efforts are bringing about significant transformation? Here we draw on a theory of change put forward by the feminist economic geographers, Julie Graham and Katherine Gibson. Proposing “a postcapitalist politics” that builds on possibility rather than probability, they direct theoretical attention and community engaged action research to recognizing and supporting non-capitalist economic practices and sensibilities that already exist despite the dominance of capitalism that keeps them hidden and ignored and to understanding the (...) “reluctant subject” of change efforts. We enter into a conversation with their theory of change by inferring criteria for assessing significance and using those criteria in dialogue with two social movements we have researched: the feminist movement in Bogotá in the 1970s and 1980s and the contemporary local food movement in North Carolina. Lessons from these movements, in turn, help refine the criteria. Gibson-Graham are unusual – and consequently resonant with cultural-historical activity theory and related social practice theories of identity – in that they bring into dialogue theorists of the political and those interested in embodiment and the micro-politics of everyday life enabling both to better understand and support conditions for positive social and economic transformation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:OwlJohn HollanderOwlNow that the owl-light—in the time between Dog and wolf, as some call it—ends, we wait As you alight on an unseen Branch to interrogateThe listener and the rememberer; Lost outlines heighten—as last colors fade— The sounder darkness you confer Upon the spruce’s shade.Deluded by the noonlight’s wide display Of everything, our vision floats through thin Spaces of ill-illumined day: How we are taken inBy what we take (...) in with our roving eyes! Your constant ones, if moved to track or trace, Take their head with them, lantern-wise Taking heed, keeping faceIn the society of night, and keeping Faith with the spirit of pure fixity That sets the mind’s great heart to leaping At what you more than see. [End Page 163]Medusa’s visage gazed our bodies to Literal stone unshaded: your face, caught In our glance widely eyes us through, Astonishing our thought. You who debated with the nightingale The rectitude of northern wisdom, cold Against the love-stuff of the tale The laid-back south had told; And yet who stood amid the lovely, thick Leaves of the ivy, while in all their folly The larks and thrushes sought the prick And berries of the holly; You who confounded the rapacious crow Thus to be favored by the great sky-eyed Queen of the air and all who know, Now ever by her side; With silent wing and interrogative Cry in lieu of a merely charming song, You sound the dark in which you live Perched above right and wrong. Resonance is not vacancy: although He could hear nothing in your hollow howls But woe and his own guilt, Thoreau Rejoiced that there were owls. Scattered and occasional questionings With here and there too late a warning shout, Wisdom arises on the wings Of darkness and of doubt. Where in day’s vastnesses does truth reside? In noon’s uncompromising light and heat When even our own shadows hide Under our very feet? Or in the hidden center of the quick Resilient dark on which your narrowed sight So pointedly alights to pick Not the day, but the night, [End Page 164] Its fruitful flower, petaled a hundredfold? Oh it is there, truth, with the poor blind prey Trembling with prescience or cold Waiting for how your way Of well-tuned suddenness and certitude Tight-strung and execution highly wrought Leads to the pounced-on object, food For something beyond thought, By overlooking nothing, overseeing In all the stillness hidden, tiny motions Squirming with the life of being Inferences and notions. With patient agency the beak and claws Of fierce sublime awareness pluck it clean Deriving what for us are laws Governing the unseen. Under torn canvas we put out to sea Trusting, though puzzled by what glows above, To something like philosophy To be the helmsman of Life (but whose life?). Your lessons of the land, Down-to-tree, then, if not -to-earth, indict Our helplessness to understand Just what we are at night. Immensities of starlight told us lies Of what and where we are; but, we allow, Drunk with the Milky Way, our eyes Are on the Wagon now, Fugitive slaves, leaving despair for dread As if in search of the cold, freeing North, Keep gazing steadily ahead Keep on Keep knowing forth You urge us, as your silences address The power that Minerva chose you for: Great-winged, far-ranging consciousness Now come to rest in your [End Page 165] Olympian attentiveness that finds The affrighted heartbeat on the ground, perceives The flutter of substances, the mind’s Life in the fallen leaves.John HollanderYale UniversityCopyright © 1996 The Johns Hopkins University Press... (shrink)

This is the editors' introduction to a new anthology of commissioned articles covering the various branches of philosophy of physics. We introduce the articles in terms of the three pillars of modern physics: relativity theory, quantum theory and thermal physics. We end by discussing the present state, and future prospects, of fundamental physics.