In this paper, I will investigate the problem of transparent white, as is it formulated by Ludwig Wittgenstein in Remarks on Colour. I will do so by gathering transparency requirements from RC paragraphs to develop a clear definition of transparency. The impossibility of a transparent white will be explained by pointing to the fact that white conflicts with such a definition. Furthermore, based on Paul Gilbert's and Jonathan Westphal's discussion of the problem of transparent white, I will investigate the problem (...) of transparent black. Although neither transparent white nor transparent black is possible, the impossibility of each is grounded on conflicts with different elements of the definition of transparency. (shrink)

In his book Meinungsverschiedenheiten (engl.: Disagreement) Marc Andree Weber defends a probability based conception of epistemic peerhood. Starting from this conception he proves the equal weight thesis, which prescribes that one should allocate the same weight to the beliefs of epistemic peers as to one's own beliefs. – In the present article I provide a much shorter proof. For that purpose I first formalize Weber's definition and thesis and I close the argumentative gap between the two of them by making (...) relatively few additions. Toward the end, I will document the differences between Weber's proof and my proof and indicate the relevance of a second proof. No judgmental assessment will be sought. (shrink)

In the present paper, it is shown that Kant in his theory of fine art from the Critique of Aes thetic Judgment proves to be a proponent of aesthetic cognitivism, according to which art is, first, a source of non-trivial knowledge and, second, this knowledge also has aesthetic relevance. This issue has been raised several times in the recent research literature, but has not been substantiated, or only briefly. Central to this is Kant's conception of aesthetic ideas, with which fine (...) art symbolizes intellectual ideas of various genesis and with which his theory of art acquires a content-aesthetic dimension. Discussing recent research literature, an interpretation for the conception of aesthetic ideas and the accompanying expressive dimension of fine art is offered in a first part. Based on this, it will be shown in a second part that Kant hereby proves to be a representative of aesthetic cognitivism; this is shown by the fact that his theory of art confirms both criteria of aesthetic cognitivism. (shrink)

Merleau-Ponty's philosophy of the body is often highlighted primarily for its emphasis on the conscious dimension of embodiment. What tends to be over-looked, however, is Merleau-Ponty's attempt to overcome the threat of a bifurcation of the body that this emphasis brings with it. In view of this, I show how Merleau-Ponty develops his theory of the human being as a mind-body-unity and how he aims to bridge the gap between the bodily and the conscious by way of the notion of (...) being-in-the-world. (shrink)