In this masterful work, both an illumination of Kant's thought and an important contribution to contemporary legal and political theory, Arthur Ripstein gives a comprehensive yet accessible account of Kant's political philosophy. In addition to providing a clear and coherent statement of the most misunderstood of Kant's ideas, Ripstein also shows that Kant's views remain conceptually powerful and morally appealing today.

In this new edition, Arthur Fine looks at Einstein's philosophy of science and develops his own views on realism. A new Afterword discusses the reaction to Fine's own theory. "What really led Einstein . . . to renounce the new quantum order? For those interested in this question, this book is compulsory reading."--Harvey R. Brown, American Journal of Physics "Fine has successfully combined a historical account of Einstein's philosophical views on quantum mechanics and a discussion of some of the (...) philosophical problems associated with the interpretation of quantum theory with a discussion of some of the contemporary questions concerning realism and antirealism. . . . Clear, thoughtful, [and] well-written."--Allan Franklin, Annals of Science "Attempts, from Einstein's published works and unpublished correspondence, to piece together a coherent picture of 'Einstein realism.' Especially illuminating are the letters between Einstein and fellow realist Schrodinger, as the latter was composing his famous 'Schrodinger-Cat' paper."--Nick Herbert, New Scientist "Beautifully clear. . . . Fine's analysis is penetrating, his own results original and important. . . . The book is a splendid combination of new ways to think about quantum mechanics, about realism, and about Einstein's views of both."--Nancy Cartwright, Isis. (shrink)

Faced with realist-resistant sciences and the no-nonsense attitude of the times realism has moved away from the rather grandiose program that had traditionally been characteristic of its school. The objective of the shift seems to be to protect some doctrine still worthy of the "realist" name. The strategy is to relocate the school to where conditions seem optimal for its defense, and then to insinuate that the case for such a " piecemeal realism" could be made elsewhere too, were there (...) but world enough and time. The burden of this paper is to examine this piecemeal approach and to show why, despite the relocation, it cannot escape the difficulties of its grander cousins. For that purpose I begin with some brief historical reminders, and with a quick review of the state of the argument before realism went to pieces. This will help us see what has been abandoned in realism's flight, and what baggage still remains. (shrink)

This paper constructs two classes of models for the quantum correlation experiments used to test the Bell-type inequalities, synchronization models and prism models. Both classes employ deterministic hidden variables, satisfy the causal requirements of physical locality, and yield precisely the quantum mechanical statistics. In the synchronization models, the joint probabilities, for each emission, do not factor in the manner of stochastic independence, showing that such factorizability is not required for locality. In the prism models the observables are not random variables (...) over a common space; hence these models throw into question the entire random variables idiom of the literature. Both classes of models appear to be testable. (shrink)

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact--especially the essay "The End of Art," which dramatically announced that art ended in the 1960s--this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's ideas, _The Philosophical Disenfranchisement (...) of Art_ continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians. (shrink)

In Minkowski spacetime, because of the relativity of simultaneity to the inertial frame chosen, there is no unique world-at-an-instant. Thus the classical view that there is a unique set of events existing now in a three dimensional space cannot be sustained. The two solutions most often advanced are that the four-dimensional structure of events and processes is alone real, and that becoming present is not an objective part of reality; and that present existence is not an absolute notion, but is (...) relative to inertial frame; the world-at-an-instant is a three dimensional, but relative, reality. According to a third view, advanced by Robb, Capek and Stein, what is present at a given spacetime point is, strictly speaking, constituted by that point alone. I argue here against the first of these views that the four-dimensional universe cannot be said to exist now, already, or indeed at any time at all; so that talk of its existence or reality as if that precludes the existence or reality of the present is a non sequitur. The second view assumes that in relativistic physics time lapse is measured by the time co-ordinate function; against this I maintain that it is in fact measured by the proper time, as I argue by reference to the Twin Paradox. The third view, although formally correct, is tarnished by its unrealistic assumption of point-events. This makes it susceptible to paradox, and also sets it at variance with our normal intuitions of the present. I argue that a defensible concept of the present is nonetheless obtainable when account is taken of the non-instantaneity of events, including that of conscious awareness, as that region of spacetime comprised between the forward lightcone of the beginning of a small interval of proper time t and the backward lightcone of the end of that interval. This gives a serviceable notion of what is present to a given event of short duration, as well as saving our intuition of the “reality” or robustness of present events. (shrink)

In The Abuse of Beauty, art critic and philosopher Arthur Danto explains how the notion of beauty as anathema to art arose and flourished and offers a new way of looking at art and beauty. He draws on the thought of artists, critics, and philosophers such as Rimbaud, Fry, Matisse, and Greenberg, to reposition beauty as one of many modes -- along with sexuality, sublimity, disgust, and horror -- through which the human sensibility expresses itself. 20 black-and-white illustrations are (...) included. (shrink)

A long tradition of research including classical rhetoric, esthetics and poetics theory, formalism and structuralism, as well as current perspectives in (neuro)cognitive poetics has investigated structural and functional aspects of literature reception. Despite a wealth of literature published in specialized journals like Poetics, however, still little is known about how the brain processes and creates literary and poetic texts. Still, such stimulus material might be suited better than other genres for demonstrating the complexities with which our brain constructs the world (...) in and around us, because it unifies thought and language, music and imagery in a clear, manageable way, most often with play, pleasure, and emotion (Schrott and Jacobs, 2011 ). In this paper, I discuss methods and models for investigating the neuronal and cognitive-affective bases of literary reading together with pertinent results from studies on poetics, text processing, emotion, or neuroaesthetics, and outline current challenges and future perspectives. (shrink)

(Draft copy published as “Science Made Up: Constructivist Sociology of Scientific Knowledge.” In P. Galison and D. Stump (eds.) The Disunity of Science: Boundaries, Contexts, and Power. Stanford: Stanford University Press, 1996, pp. 231-54.).

In this paper I argue that questions about the semantics of rigid designation are commonly and illicitly run together with distinct issues, such as questions about the metaphysics of essence and questions about the theoretical legitimacy of the possible-worlds framework. I discuss in depth two case studies of this phenomenon – the first concerns the relation between rigid designation and reference, the second concerns the application of the notion of rigidity to general terms. I end by drawing out some conclusions (...) about the relations between rigid designation, semantic frameworks, reference, and essence. (shrink)

What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, _What Art Is _challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the (...) viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in _The Republic_, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production. (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and (...) humanist discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to (...) a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

I argue that institutions charged with giving justice must understand responsibility in terms of norms governing what people are entitled to expect of each other. On this conception, the sort of responsibility that is of interest to private law or distributive justice is not a relation between a person and the consequence, but rather a relation between persons with respect to consequences. As a result, nonrelational facts about a person’s actions and the circumstances in which she performs them will never (...) settle the questions of responsibility that matter to institutions charged with giving justice. I show the significance of this way of thinking about responsibility by contrasting it with prominent conceptions of responsibility which suppose that its moral significance derives from the ways in which an individual person acts in the world. I demonstrate its power by focussing on cases in which responsibility is widely agreed to run out in ways that non-relational conceptions of responsibility cannot explain. (shrink)

What evidence and what arguments can be produced in support of the controversial suggestion, first made by Leo Strauss now over 65 years ago, that most earlier philosophers wrote esoterically and, what is more, that they did so, not merely from fear of persecution, but with an eye to enhancing their pedagogical effectiveness? I argue here that the inherent paradoxes of philosophical education combined with the inherent shortcomings of writing led many earlier thinkers to see the pedagogical necessity of something (...) like the Socratic method. And esoteric writing - a rhetoric of riddling concealment - is the closest literary approximation to the Socratic method. (shrink)

What we represent to ourselves behind the appear- ances exists only in our understanding . . . [having] only the value of memoria technica or formula whose form, because it is arbitrary and irrelevant, varies . . . with the standpoint of our culture.

Reading is not only “cold” information processing, but involves affective and aesthetic processes that go far beyond what current models of word recognition, sentence processing, or text comprehension can explain. To investigate such “hot” reading processes, standardized instruments that quantify both psycholinguistic and emotional variables at the sublexical, lexical, inter-, and supralexical levels (e.g., phonological iconicity, word valence, arousal-span, or passage suspense) are necessary. One such instrument, the Berlin Affective Word List (BAWL) has been used in over 50 published studies (...) demonstrating effects of lexical emotional variables on all relevant processing levels (experiential, behavioral, neuronal). In this paper, we first present new data from several BAWL studies. Together, these studies examine various views on affective effects in reading arising from dimensional (e.g., valence ) and discrete emotion features (e.g., happiness ), or embodied cognition features like smelling. Second, we extend our investigation of the complex issue of affective word processing to words characterized by a mixture of affects. These words entail positive and negative valence, and/or features making them beautiful or ugly. Finally, we discuss tentative neurocognitive models of affective word processing in the light of the present results, raising new issues for future studies. (shrink)

We expound an alternative to the Copenhagen interpretation of the formalism of nonrelativistic quantum mechanics. The basic difference is that the new interpretation is formulated in the language of epistemological realism. It involves a change in some basic physical concepts. The ψ function is no longer interpreted as a probability amplitude of the observed behaviour of elementary particles but as an objective physical field representing the particles themselves. The particles are thus extended objects whose extension varies in time according to (...) the variation of ψ. They are considered as fundamental regions of space with some kind of nonlocality. Special consideration is given to the Heisenberg relations, the Einstein-Podolsky- Rosen correlations, the reduction process, the problem of measurement, and the quantum-statistical distributions. (shrink)

How do we appreciate a work of art? Awarded a Guggenheim Fellowship to explore connections between art, mind, and brain, Arthur Shimamura takes findings from psychological and brain sciences to address ways of understanding our aesthetic responses.

ABSTRACTIn this article we investigate structural differences between “literary” metaphors created by renowned poets and “nonliterary” ones imagined by non-professional authors from Katz et al.’s 1988 corpus. We provide data from quantitative narrative analyses of the altogether 464 metaphors on over 70 variables, including surface features like metaphor length, phonological features like sonority score, or syntactic-semantic features like sentence similarity. In a first computational study using machine learning tools we show that Katz et al.’s literary metaphors can be successfully discriminated (...) from their nonliterary ones on the basis of response measures, in particular the ratings for familiarity, ease of interpretation, semantic relatedness, and comprehensibility. A second computational study then shows that the classifier can reliably detect and predict between-group differences on the basis of five QNA features generalizing from a... (shrink)

A discussion on antiquity with Anthony A. Long, one of the most distinguished scholars in the field of ancient philosophy, would be engaging in any case. All the more so, since his two recently published works, Greek Models of Mind and Self and How to be Free: An Ancient Guide to the Stoic Life, provide the opportunity to revisit key issues of ancient philosophy. The former is a lively and challenging work that starts with the Homeric notions of selfhood, and (...) leads the reader all the way through classical and Hellenistic philosophical psychology; the latter is a profound analysis of the Stoic ethics that focuses in particular on its foundation and principles, followed by Long’s re-worked translation of Epictetus’ Encheiridion and carefully selected parts of his Discourses. Anthony Long kindly accepted the invitation to discuss several issues that are in the core of scholarly concern, sharing interpretations and thoughts that originate from his long acquaintance with the ancient literary tradition. (shrink)

_A lively meditation on the nature of art by one of America's most celebrated art critics_ What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, _What Art Is _challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined (...) by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in _The Republic_, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production. (shrink)

Two main goals of the emerging field of neurocognitive poetics are the use of more natural and ecologically valid stimuli, tasks and contexts and providing methods and models allowing to quantify distinctive features of verbal materials used in such tasks and contexts and their effects on readers responses. A natural key element of poetic language, metaphor, still is understudied insofar as relatively little empirical research looked at literary or poetic metaphors. An exception is Katz et al.’s corpus of 204 literary (...) metaphors by authors such as Shakespeare or Dylan Thomas, for which various rating data are available. We reanalyzed their corpus using a combination of quantitative narrative analysis, latent semantic analysis, and machine learning in order to identify relevant features of the metaphors that influenced the ratings. The combined application of computational tools sheds light on surface and affective-semantic features that co-determine the reception of poetic metaphors and successfully predicted the period of origin, authorship and goodness ratings of the metaphors. The present results can be used for generating quantitative hypotheses or selecting and matching verbal stimuli in empirical studies of literature and neurocognitive poetics. (shrink)

In this paper I synthesize a unified system out of Peirce's life work, and name it Peirce's Evolutionary Pragmatic Idealism. Peirce developed this philosophy in four stages: His 1868–69 theory that cognition is a continuous and infinite social semiotic process, in which Man is a sign. His Popular Science Monthly pragmatism and frequency theory of probabilistic induction. His 1891–93 cosmic evolutionism of Tychism, Synechism, and Agapism. Pragmaticism: The doctrine of real potentialities, and Peirce's pragmatic program for developing concrete reasonableness. Peirce's (...) evolutionary conception of the cosmos is pantheistic, and he constructed it to reconcile religion with Darwinian evolution. (shrink)

Faculty of Law and Department of Philosophy, University of Toronto 1. INTRODUCTION The economic analysis of law has gone through a remarkable change in the past decade and a half. The founding articles of the discipline – such classic pieces as Ronald Coase’s “The problem of social cost” (1960), Richard Posner’s “A theory of negligence” (1972) and Guido Calabresi and Douglas Malamed’s “Property rules, liability rules, and inalienability: One view of the cathedral” (1972) – offered economic analyses of familiar aspects (...) of the common law, seeking to explain, in particular, fundamental features of the law of tort in terms of such economic ideas as transaction costs (Coase), Kaldor-Hicks efficiency (Posner), or minimizing the sum of the accident costs and avoidance costs (Calabresi and Malamed). In each case, they argued that the law of torts should be understood as a set of liability rules selected for their incentive effects, rather than as a set of substantive rights and remedies for their violation. These authors claimed to be able to explain most of the features of tort law and, where features were found that did not fit with their preferred explanations, recommended modification. Although they disagreed on important questions,1 each of the pieces seems to work a manageable structure into what strikes first-year law students as an otherwise random morass of common-law judgments. Generations of legal academics were introduced to these works, and drawn into their way of looking at things. As a student studying first-year torts with Calabresi at Yale, I had the sense that I was in the presence of greatness. (shrink)

In A Theory of Justice, Rawls makes almost no mention of the issues of justice that animated philosophers in earlier centuries. There is no discussion of justice between persons, issues that Aristotle sought to explain under the idea of “corrective justice.” Nor is there discussion, except in passing, of punishment, another primary focus of the social contract approaches of Locke, Rousseau and Kant.1 My aim in this article is to argue that implicit in Rawls’s writing is a powerful and persuasive (...) account of the normative significance of tort law and corrective justice. (shrink)

Determinism is established in quantum mechanics by tracing the probabilities in the Born rules back to the absolute (overall) phase constants of the wave functions and recognizing these phase constants as pseudorandom numbers. The reduction process (collapse) is independent of measurement. It occurs when two wavepackets overlap in ordinary space and satisfy a certain criterion, which depends on the phase constants of both wavepackets. Reduction means contraction of the wavepackets to the place of overlap. The measurement apparatus fans out the (...) incoming wavepacket into spatially separated eigenpackets of the chosen observable. When one of these eigenpackets together with a wavepacket located in the apparatus satisfy the criterion, the reduction associates the place of contraction with an eigenvalue of the observable. The theory is nonlocal and contextual. Keywords:. (shrink)

There is a considerable sub-literature, stretching back over 35 years, addressed to the question: Precisely which general terms ought to be classified as rigid designators? More fundamentally: What should we take the criterion for rigidity to be, for general terms? The aim of this paper is to give new grounds for the old view that if a general term designates the same kind in all possible worlds, then it should be classified as a rigid designator. The new grounds in question (...) have to do with excavating the connection between rigid designation and semantic structure. Other original contributions of the present work consist in developing responses to some objections to this approach to rigid designation. (shrink)

Arthur Schopenhauer: Über die vierfache Wurzel des Satzes vom zureichenden Grunde. Eine philosophische Abhandlung Schopenhauers Dissertation lag im Oktober 1813 der Philosophischen Fakultät der Universität Jena vor. Erstdruck: Rudolstadt 1813. Wiedergegeben wird der Text der 2. verbesserten Auflage, Frankfurt am Main 1847, in den spätere Herausgeber allerdings Zusätze integrierten, die sie Schopenhauers Handexemplaren und Manuskriptbüchern entnahmen. Sofern sich diese Zusätze nicht in den laufenden Text einfügen ließen, wurden sie in Fußnoten beigefügt. Diese Fußnoten werden hier gesondert gezählt und sind (...) durch ein A gekennzeichnet. Vollständige Neuausgabe mit einer Biographie des Autors. Herausgegeben von Karl-Maria Guth. Berlin 2016. Textgrundlage ist die Ausgabe: Arthur Schopenhauer. Zürcher Ausgabe. Werke in zehn Bänden. Der Text folgt der historisch-kritischen Ausgabe von Arthur Hübscher. Die editorischen Materialien besorgte Angelika Hübscher. Redaktion von Claudia Schmölders, Fritz Senn und Gerd Haffmanns, Zürich: Diogenes, 1977. Die Paginierung obiger Ausgabe wird in dieser Neuausgabe als Marginalie zeilengenau mitgeführt. Umschlaggestaltung von Thomas Schultz-Overhage unter Verwendung des Bildes: Arthur Schopenhauer als junger Mann, porträtiert 1815 von Ludwig Sigismund Ruhl. Gesetzt aus der Minion Pro, 11 pt. (shrink)

The spin-statistics connection is derived in a simple manner under the postulates that the original and the exchange wave functions are simply added, and that the azimuthal phase angle, which defines the orientation of the spin part of each single-particle spin-component eigenfunction in the plane normal to the spin-quantization axis, is exchanged along with the other parameters. The spin factor (−1)2s belongs to the exchange wave function when this function is constructed so as to get the spinor ambiguity under control. (...) This is achieved by effecting the exchange of the azimuthal angle by means of rotations and admitting only rotations in one sense. The procedure works in Galilean as well as in Lorentz-invariant quantum mechanics. Relativistic quantum field theory is not required. (shrink)

"Still relevant, this 1960's book of essays of ideas is a must read for those who enjoy new ideas." -- Amazon.com viewed May 10, 2021.

"Popular summaries of existentialism and Sartre's ideas have ensured a wide currency for such words as 'absurdity', 'nothingness', 'engagement', 'shame', and 'anguish'. But for Sartre, each of these words embodies a precise philosophical concept which he applies and explores further in his fiction and plays. Synthesized in 'Being and Nothingness' and 'Critique of Dialectical Reason', these concepts comprise a fully articulated philosophical system which, as Arthur C. Danto argues, in its vision and scope, logical responsibility and human relevance, takes (...) its place among the greatest of philosophical achievements. This book offers a synoptic and sympathetic reconstruction of the Sartrean system and in particular Sartre's analysis of the nature of language, consciousness, knowledge, self, and values." --Descripción del editor. (shrink)