This paper explores some phenomenological consequences of the ontological affinity between films and pop songs. Given the central place of the recording technology in both films and pop songs, one can wonder whether pop songs can elicit from their listeners the same kind of experience that films elicit from their spectators. In other words, one can wonder whether pop songs encourage us to play a ‘game of make-believe’ analogous to that we play when we engage with films. The main part (...) of the paper is meant to provide a positive answer to this question. The remaining sections illustrate and test the proposed account by contrasting paradigmatic pop songs with borderline cases. (shrink)

It is argued that explanations of shock waves display explanatory emergence in two different ways. Firstly, the use of discontinuities to model jumps in flow variables is an example of “physics avoidance”. This is where microphysical details can be ignored in an abstract model thus allowing us access to modal information which cannot be attained in principle in any other way. Secondly, Whitham’s interleaving criterion for continuous shock structure is an example of the way different characteristic scales interact in shock (...) dynamics. To fully explain the shock structure one must take account of these different scales, and by doing so explanations of shock structure have irreducible aspects. Lastly, the implications of this explanatory irreducibility are examined in the context of explanatory indispensability arguments used in realism debates elsewhere in the philosophy of science. It is concluded that explanatory emergence on its own only supports an epistemic form of emergence. Yet this epistemic emergence is fully objective. (shrink)

Bernard Williams thought that philosophy should address real human concerns felt beyond academic philosophy. But what wider concerns are addressed by Ethics and the Limits of Philosophy, a book he introduces as being ‘principally about how things are in moral philosophy’? In this article, we argue that Williams responded to the concerns of his day indirectly, refraining from explicitly claiming wider cultural relevance, but hinting at it in the pair of epigraphs that opens the main text. This was Williams’s solution (...) to what he perceived as the stylistic problem of how to pursue philosophy as cultural critique. Taking the epigraphs as interpretative keys to the wider resonances of the book, we show how they reveal Williams’s philosophical concerns – with the primacy of character over method, the obligation to follow orders, and the possibility of combining truth, truthfulness, and a meaningful life in a disillusioned world – to be recognisably rooted in the cultural concerns of post-war Britain. In the light of its epigraphs, the book emerges as the critique of a philosophical tradition’s inadequacies to the special difficulties of its cultural moment. (shrink)

Do sensory measurements deserve the label of “measurement”? We argue that they do. They fit with an epistemological view of measurement held in current philosophy of science, and they face the same kinds of epistemological challenges as physical measurements do: the problem of coordination and the problem of standardization. These problems are addressed through the process of “epistemic iteration,” for all measurements. We also argue for distinguishing the problem of standardization from the problem of coordination. To exemplify our claims, we (...) draw on olfactory performance tests, especially studies linking olfactory decline to neurodegenerative disorders. (shrink)

The book is an attempt to explore the affinities between contemporary critical theories and modernist and postmodernist American poetry. The analysis focuses on poststructuralist theories, notorious for their tendency to destabilize generic boundaries between literary, philosophical and critical discourses. The main argument and the structure of the book derive from Jacques Derrida’s essay “Che cos’è la poesia” [What is poetry?] in which the philosopher postulates the impossibility of defining poetry by comparing a poem to a hedgehog – prickly, solitary, untamed, (...) fragile and protective, rolling itself up into a ball at the first sign of danger or when in the hands of the reader-intruder. The metaphor captures thus the fragility of the relationship between poetry and the world. The book examines this relationship as exemplified by the erinaceous poetics of high modernists and their postmodernist followers In the study I employ also other oststructuralist theories, such as the notion of the text and the pleasure of the text formulated by Roland Barthes, the heories of metaphor as seen by Paul Ricoeur or Paul de Man, and gender-sensitive theories of Helene Cixous and Luce Irigaray. (shrink)