Raffman, Diana. Unruly Words. A Study of Vague Language.

Sergio Tenenbaum and Diana Raffman contend that ‘vague projects’ motivate radical revisions to orthodox, utility-maximising rational choice theory. Their argument cannot succeed if such projects merely ground instances of the paradox of the sorites, or heap. Tenenbaum and Raffman are not blind to this, and argue that Warren Quinn’s Puzzle of the Self-Torturer does not rest on the sorites. I argue that their argument both fails to generalise to most vague projects, and is ineffective in the case of (...) the Self-Torturer itself. (shrink)

Several psychological experiments have suggested that concepts can influence perceived color (e.g., Delk and Fillenbaum in Am J Psychol 78(2):290–293, 1965, Hansen et al. in Nat Neurosci 9(11):1367–1368, 2006, Olkkonen et al. in J Vis 8(5):1–16, 2008). Observers tend to assign typical colors to objects even when the objects do not have those colors. Recently, these findings were used to argue that perceptual experience is cognitively penetrable (Macpherson 2012). This interpretation of the experiments has far-reaching consequences: it implies that the (...) way we think of objects determines how we see them, thus threatening the role of perception in justifying beliefs. In this paper, I show that the psychological findings can be accounted for without admitting cognitive penetrability. An underestimated but key feature of the experiments is that observers had to judge colors in borderline cases, in conditions of reduced acuity, or on the basis of color-concepts instead of matching. Such judgments are sensitive to the form of bias that Tversky and Kahneman (Science 185:1124–1131, 1974) have termed ‘anchoring’. Adopting a suggestion from Raffman (Philos Rev 103(1):41–74, 1994), I argue that the way subjects in the experiments think of the objects could affect their color judgments without altering their color experiences. (shrink)

On first inspection, Diana Raffman’s Language, Music, and Mind appears to be focused quite narrowly on a rather obscure problem in the aesthetics of music, the problem of accounting for the alleged ineffability of musical experience. The case that Raffman builds in this clear, well-structured book, however, has far-reaching philosophical implications for philosophy of mind, epistemology, general aesthetics, philosophy of the emotions, ontology, and phenomenology.

Walter Sinnott-Armstrong, Diana Raffman, Nicholas Asher, Modality, Morality, and Belief, Essays in Honor of Ruth Barcan Marcus.Terence Parsons, Ruth Barcan Marcus and the Barcan Formula.Robert Stalnaker, The Interaction of Modality with Quantification and Identity.Maxwell J. Cresswell, S1 is not so Simple.David Kaplan, A Problem in Possible-world Semantics.Charles Parsons, Structuralism and the Concept of Set.

What is meaning? How is linguistic communication possible? What is the nature of language? What is the relationship between language and the world? How do metaphors work? The Philosophy of Language, Sixth Edition, is an excellent introduction to such fundamental questions. Incorporating insights from new coeditor David Sosa, the sixth edition collects forty-eight of the most important articles in the field, making it the most up-to-date and comprehensive volume on the subject. Revised to address changing trends and contemporary developments, the (...) sixth edition features eighteen new articles, including influential work by Kent Bach, Paul Boghossian, M. A. E. Dummett, Delia Graff Fara, Hartry Field, H. P. Grice and P.F. Strawson, Carl G. Hempel, Saul Kripke, Benson Mates, Hilary Putnam, Diana Raffman, Nathan Salmon, Stephen Schiffer, John R. Searle, Roy Sorenson, David Sosa, Dennis Stampe, and Ludwig Wittgenstein. A general introduction and introductions to each section give students background to the issues and explain the connections between them. A bibliography of suggested further reading follows each section. (shrink)

Taking a series of colour patches, starting with one that clearly looks red, and making each so similar in colour to the previous one that it looks the same as it, we appear to be able to show that a yellow patch looks red. I ask whether phenomenal sorites paradoxes, such as this, are subject to a unique kind of solution that is unavailable in relation to other sorites paradoxes. I argue that they do not need such a solution, nor (...) do they succumb to one. In particular, I reject the claim made by Fara and Raffman that looks the same is a transitive relation, which would allow us to solve phenomenal sorites paradoxes by denying the possibility of the required kind of sorites series. (shrink)

Phenomenology is based on a doctrine of evidence that accords a crucial role to the human capacity to conceptualise or ‘intuit’ features of their experience. However, there are grounds for holding that some experiential entities to which phenomenologists are committed must be intuition-transcendent or ‘dark’. Examples of dark phenomenology include the very fine-grained perceptual discriminations which Thomas Metzinger calls ‘Raffman Qualia’ and, crucially, the structure of temporal awareness. It can be argued, on this basis, that phenomenology is in much (...) the same epistemological relationship to its own subject matter as descriptive (i.e. ‘phenomenological’) physics or biology are to physical and biological reality: phenomenology cannot tell us what phenomenology is really ‘about’. This does not mean we should abjure phenomenology. It implies, rather, that the domain of phenomenology is not the province of a self-standing, autonomous discipline but must be investigated with any empirically fruitful techniques that are open to us (e.g. computational neuroscience, artificial intelligence, etc.). Finally, it entails that while a naturalized phenomenology should be retained as a descriptive, empirical method, it should not be accorded transcendental authority. (shrink)

Discussion of temptation has figured prominently in recent debates concerning instrumental rationality. In light of some particularly interesting cases in which giving in to temptation involves acting in accordance with one’s current evaluative rankings, two lines of thought have been developed: one appeals to the possibility of deviating from a well-grounded resolution, and the other appeals to the possibility of being insufficiently responsive to the prospect of future regret. But the current appeals to resolutions and regret and some of the (...) verdicts provided face some serious challenges. Building on recent work concerning instrumental rationality, and delving into some important complications concerning human psychology, I revisit the relevant cases of temptation and analyze them in a way that puts resolutions, rational failure, and regret in their proper places. In the process, I highlight and explain the significance of the neglected fact that resolutions can introduce effective anchor points, which can serve agents faced with temptation well, even if the resolutions are abandoned. (shrink)

It has been claimed by Diana Raffman, that atonal (and in particular serial) music can have no aesthetic value, because it is in an important sense meaningless. This worthlessness is claimed to result from cognitive/psychological facts about human listeners that have been confirmed by empirical investigations such as those conducted by Lerdahl and Jackendoff. Similar assertions about the necessary inferiority of 12-tone music have been made by, among others, Taruskin, Cavell, and Goldman, some of whom echo Raffman’s suggestion (...) that both composers and performers of atonal music are committing a kind of fraud. This paper responds to all of those allegations. In particular, it points out that even if the empirical claim about human cognitive capacities with respect to the discernment of “local structure” in atonal works is assumed to be correct (which is actually quite doubtful), all the arguments brought by the “prosecution” against atonal music that rely on this claim are invalid. It is noted that such arguments by tonality advocates somewhat ironically rely on their own variety of what Taruskin has called “the poietic fallacy,” a gaff which he has frequently accused serialists (and perhaps alea supporters) of committing. Readers are reminded that the main basis for claims of aesthetic worth (or worthlessness) can never be primarily theoretical, but must be principally based on the experiences of beholders. (shrink)

When we bring together certain plausible and compatible principles guiding the use of vague predicates the inclination to accept that vague predicates are tolerant is significantly weakened. As the principle of tolerance is a troublesome, paradox inducing principle, a theory giving a satisfactory account of the nature of vague predicates and accounting for the appeal of the sorites paradox, without recourse to the principle of tolerance is a worthy addition to the vagueness debate. The theory offered, Contextual Intolerance, draws considerably (...) on Sainsbury's (1996) thesis of the boundarylessness of vague concepts and on the contextualist theories of vagueness offered by Stewart Shapiro (2003, 2006) and Diana Raffman (1994). (shrink)

Is observational indiscriminability non-transitive? This was once an accepted truth, and it was used by philosophers like Armstrong and Dummett to argue against the existence of appearances (sense data, sensory items). It was objected, however, early on by Jackson and Pinkerton, and more recently by vagueness contextualists like Raffman and Fara, that the case for non-transitivity is flawed. The reason is the context dependence of appearance. I argue here that if we take context dependence properly into account, we still (...) have (a modified version of) non-transitivity, and that therefore we still face the problem of appearances. (shrink)

When a jazz, rock, or hip-hop drummer strikes certain notes in each measure slightly late, instead of hearing the degree to which those notes are late, we typically hear the effects of those variations; namely, a groove, the "feel" of a rhythm. Slight variations of pitch function similarly. In this essay, I argue that certain analytic theorists go astray due to their preoccupation with the variations themselves. By invoking Maurice Merleau- Ponty's insights into subtle visual perceptions, and his notion of (...) perceptual indeterminacy, I avoid an account of musical subtlety suggested by Daniel Dennett that is too coarse-grained, as well as the bleak conclusion that certain musical subtleties are ineffable, Diana Raffman's view. I conclude that elements of music that are perceived ambiguously can perform a positive function in such aesthetic experiences: they can mediate or foster emergent qualities; moreover, they must be perceived in this way to do so. (shrink)

Some facets of making music are explored by combining arguments of Raffman's cognitivist explanation of ineffability with Merleau-Ponty's view of embodied perception. Behnke's approach to a phenomenology of playing a musical instrument serves as a further source. Focusing on the skilled performer-listener, several types of ineffable knowledge of performing music are identified: gesture feeling ineffability —the performer's sensorimotor knowledge of the gestures necessary to produce instrumental sounds is not exhaustively communicable via language; gesture nuance ineffability —the performer is aware (...) of nuances of instrumental gestures, e.g., micro-variations of intensity or duration of musical gestures, but cannot perceptually, and consequently conceptually, categorize those fine-grained variations; and ineffabilities of inter-subjectivity —the non-verbal interaction between performers that makes a performance a vibrant dialogue is similarly incommunicable. An attempt to identify some of the ineffable dimensions of this dialogue is proposed. Further ineffabilities relating the acoustical embedding of performing are identified. (shrink)

Experiences of qualia, subjective sensory-like aspects of stimuli, are central to imagistic representation. Following Raffman , qualia are considered to reflect experiential knowledge distinct from descriptive, abstract, and propositional knowledge; following Jackendoff , objective neural activity is distinguished from subjective experience. It is argued that descriptive physical knowledge does not provide an adequate accounting of qualia, and philosophical scenarios such as the Turing test and the Chinese Room are adapted to demonstrate inadequacies of accounts of cognition that ignore subjective (...) experience. Arguments by Dennett and others that qualia do not exist or that qualia do not provide additional explanatory power are addressed, and it is suggested that consideration of qualia is necessary in order to explain objective behavior. The hypotheses of functional equivalence, second-order isomorphism, and psychophysical complementarity between imagery and perception are discussed, and the ability of analog and schematic models of imagery to account for qualia is examined. (shrink)

The central point of Raffman’s discussion is to distinguish the perception, knowledge, and effability of the standard chromatic “categorical” pitch events from what she calls “nuance” pitch events—events whose individuation is more fine-grained than C-events, and which seem to resist reliable, psychologically available categorization. Thus, two pitches a quarter-tone apart may be classified as the same C-event, even though they are different N-events. Experimental evidence suggests that whereas people are quite good at recall and discrimination of C-events, they are (...) considerably poorer with respect to N-events, and this, according to Raffman, is due to the availability of “schemas,” or conceptual “cubby-holes,” in the former but not the latter case. But this is not to say that people aren’t aware of N-events: a good deal of musical pleasure turns on appreciation of such N-events as vibrato, slides, and pitch coloration. The point is merely that “it is overwhelmingly unlikely that we have, or could have, interval schemas as fine-grained as the N-pitches and N-intervals we can hear”. (shrink)

This important and timely collection is the result of a conference on self-knowledge held at the University of St. Andrews in 1995. A number of papers included in it focus on the epistemology of self-knowledge. In particular, they try to provide a plausible explanation of what makes knowledge of our own mental states immediate and authoritative. Crispin Wright deals with that problem in the context of Wittgensteinian philosophy of mind. John McDowell replies to Wright’s essay by providing a different picture (...) of Wittgenstein’s later views on mind and philosophy. Christopher Peacocke considers, in his contribution, conscious attitudes, especially the possession condition of the concept of belief, and argues that a conscious belief gives rise to the relevant second-order belief in a way that is neither inferential, nor observational. Michael Martin responds by suggesting that Peacocke’s proposal applies only to conscious episodes of a certain kind. Most of the contributors to the collection are convinced that the observational model of self-knowledge is fatally flawed. Cynthia Macdonald undertakes to show that not everything is wrong with that model and its various criticisms can be effectively met. Elizabeth Fricker in her long essay offers a careful analysis of the distinction between two conceptions of selfknowledge: a special access account, according to which we have a unique privileged access to our own mental states, and a constitutive account holding that the self-ascription of a particular mental state is a necessary condition of being in that state. She finds that distinction, and the dichotomy based upon it, untenable. Akeel Bilgrami and Tyler Burge are concerned in their respective contributions with the role of self-knowledge in free, responsible agency, and in the practice of reasoning. They seem to suggest that in view of that role one should endorse a constitutive account of self-knowledge. The prevailing number of current theories of mental content accept a thesis of externalism to the effect that mental content is constituted and individuated not only by factors lying inside one’s head, or inside one’s subjective realm, but also and foremost by external and environmental factors. It seems, however, that the combination of externalism about mental content with our ordinary conception of self-knowledge leads to a certain tension and highly implausible consequences. Some philosophers, including Paul A. Boghossian, argue that the tension is genuine, and selfknowledge is simply incompatible with externalism. We have to claim this because otherwise we would have to agree on an apparently absurd extension of the domain of what can be known nonempirically or a priori. Other contributors are not convinced by Boghossian’s argument for incompatibilism. Brian McLaughlin and Michael Tye in their joint essay attempt to show that the argument does not apply to the most popular version of externalism. Martin Davies thinks the argument can be blocked by invoking principles limiting the transfer of epistemic warrant across known entailments, and Diana Raffman believes it is ultimately based upon equivocation. Moreover, as illustrated by Jim Edwards on an example of sense experience, one can accept externalism while modifying the extent of our self-knowledge in various ways. The last two contributions of the collection, by Barry C. Smith and James Higginbotham respectively, are concerned with knowledge of what we mean when we speak a language and its connections with self-knowledge in general. (shrink)