In ‘Putnam’s Paradox’, Lewis defended global descriptivism and reference magnetism. According to Schwarz [2014], Lewis didn’t mean what he said there, and really held neither position. We present evidence from Lewis’s correspondence and publications which shows conclusively that Lewis endorsed both.

In ‘Putnam’s Paradox’, Lewis defended global descriptivism and reference magnetism. According to Schwarz [2014], Lewis didn’t mean what he said there, and really held neither position. We present evidence from Lewis’s correspondence and publications which shows conclusively that Lewis endorsed both.

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)

(2002). Conscious Evolution of Humanity: Using Systems Thinking to Construct Agoras of the Global Village. Announcing the 47th Annual Conference 2003 of the International Society for the Systems Sciences (ISS) www.isss.org. World Futures: Vol. 58, No. 4, pp. 335-338.

"An important contribution to contemporary jurisprudential debate and to legal thought more generally, Just Interpretations is far ahead of currently available work."--Peter Goodrich, author of Oedipus Lex "I was struck repeatedly by the clarity of expression throughout the book. Rosenfeld's description and criticism of the recent work of leading thinkers distinguishes his work within the legal theory genre. Furthermore, his own theory is quite original and provocative."--Aviam Soifer, author of Law and the Company We Keep.

There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that (...) have been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)

David Lewis's account of intentionality is a version of what he calls 'global descriptivism'. The rough idea is that the correct interpretation of one's total theory is the one (among the admissible interpretations) that come closest to making it true. I give an exposition of this account, as I understand it, and try to bring out some of its consequences. I argue that there is a tension between Lewis's global descriptivism and his rejection of a linguistic (...) account of the intentionality of thought. I distinguish some different senses in which Lewis's theory might permit, or be committed to, a kind of holism about intentional content, and I consider the sense in which Lewis's account might be said to be an internalist account, and the motivation for this kind of internalism. (shrink)