This book, the first comprehensive study in English of Heidegger's philosophy of art, starts in the mid-1930s with Heidegger's discussion of the Greek temple and his Hegelian declaration that a great artwork gathers together an entire culture in affirmative celebration of its foundational 'truth', and that, by this criterion, art in modernity is 'dead'. His subsequent work on Hölderlin, whom he later identified as the decisive influence on his mature philosophy, led him into a passionate engagement with the art of (...) Rilke, Ce;zanne, Klee and Zen Buddhism, liberating him not only from the overly restrictive conception of art of the mid-1930s but also from the disastrous politics of the period. Drawing on material hitherto unknown in the anglophone world, Young establishes a new account of Heidegger's philosophy of art and shows that his famous essay 'The Origin of the Work of Art' is its beginning, not its end. (shrink)

Arthur Schopenhauer was one of the greatest writers and German philosophers of the nineteenth century. His work influenced figures as diverse as Wagner, Freud and Nietzsche. Best known as a pessimist, he was one of the few philosophers read and admired by Wittgenstein. In this comprehensive introduction, Julian Young covers all the main aspects of Schopenhauer's philosophy. Beginning with an overview of Schopenhauer's life and work, he introduces the central aspects of his metaphysics fundamental to understanding his work as a (...) whole: his philosophical idealism and debt to the philosophy of Kant; his attempt to answer the question of what the world is; his account of science; and in particular his idea that 'will' is the essence of all things. Julian Young then introduces and assesses Schopenhauer's aesthetics, which occupy a central place in his philosophy. He carefully examines Schopenhauer's theories of the sublime, artistic genius and music, before assessing his ethics of compassion, his arguments for pessimism and his account of 'salvation'. In the final chapter, he considers Schopenhauer's legacy and his influence on the thought of Nietzsche and Wittgenstein, making this an ideal starting point for those coming to Schopenhauer for the first time. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art into (...) four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art into (...) four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

In the wake of ChatGPT’s release, academics and journal editors have begun making important decisions about whether and how to integrate generative artificial intelligence (AI) into academic publishing. Some argue that AI outputs in scholarly works constitute plagiarism, and so should be disallowed by academic journals. Others suggest that it is acceptable to integrate AI output into academic papers, provided that its contributions are transparently disclosed. By drawing on Taylor’s work on academic norms, this paper argues against both views. Unlike (...) “traditional” forms of plagiarism, use of generative AI can be consistent with the norms that should underlie academic research. In these cases, its use should neither be prohibited nor required to be disclosed. However, some careless uses of generative AI do threaten to undermine the quality of academic research by mischaracterizing existing literature. This, not “AI plagiarism,” is the real concern raised by ChatGPT and related technologies. (shrink)

In intuitions concerning semantic coherence participants are able to discriminate above chance whether a word triad has a common remote associate or not . These intuitions are driven by increased fluency in processing coherent triads compared to incoherent triads, which in turn triggers a brief and short positive affect. The present work investigates which of these internal cues, fluency or positive affect, is the actual cue underlying coherence intuitions. In Experiment 1, participants liked coherent word triads more than incoherent triads, (...) but did not rate them as being more fluent in processing. In Experiment 2, participants could intuitively detect coherence when they misattributed fluency to an external source, but lost this intuitive ability when they misattributed affect. It is concluded that the coherence-induced fluency by itself is not consciously experienced and not used in the coherence intuitions, but the fluency-triggered affective consequences. (shrink)

EDITORS' INTRODUCTION B he Vedas tell of a conversation between a young man, Shvetaketu, and his father concerning what the son had learned in his education ...

In Occasional Deconstructions, Julian Wolfreys challenges the notion that deconstruction is a critical methodology, offering instead a number of reintroductions or reorientations to the texts of Jacques Derrida and the idea or possibility of deconstructions. Proceeding from specific readings of various texts (both film and literary), as well as mobilizing a number of issues from Derrida's recent work surrounding questions of ethics, politics, and identity, Wolfreys considers the role of deconstruction in broader academic and institutional contexts, and questions whether, in (...) fact, deconstruction can be called upon to function as theory at all. In this book, Wolfreys suggests that the patient, necessary work of reading, in which response and responsibility to the other has a chance to manifest itself, is necessary to the always political and ethical tracing of the material and the historical. He also contends that reading should be an encounter that gives place to an acknowledgment of the other, and that this singular act by which one is introduced to the other can never be programmed. (shrink)

The results of three experiments suggest that pre-existing mood increases the intensity of affectively congruent emotions while dampening the intensity of incongruent emotions independent of attributional knowledge. This result was obtained using a new method for inducing mood states unobtrusively and with minimal or no cognitive concomitants. The results of Experiment 1 revealed that for participants who were exposed to positive feedback a pre-existing positive mood led to stronger feelings of pride in comparison to negative mood. The results of Experiments (...) 2 and 3 suggest that pre-existing mood directly influences the experience of subsequently elicited emotions independent of what one knows about the causes of this feeling. When participants were required to differentiate between the funniness of a cartoon and their subjective humour response, mood influenced only the latter judgement (Experiment 2). In Experiment 3, reminding participants of the mood induction resulted in a contrast effect in judging the funniness of a cartoon. However, the pre-existing mood continued to exert an assimilation effect on the overt mirth response. In conclusion, these results suggest that the feeling and knowledge component are partly independent bases of emotional responses. (shrink)

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multi-picture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent linguistic vs pictorial discourses, (...) and (iii) the phenomenon of co-referencing across pictures. We extend Segmented Discourse Representation Theory to spell out a formal Super Pragmatics that applies to linguistic, pictorial and mixed discourses, while respecting the particular ‘genius’ of either medium and computing their distinctive pragmatic interpretations. (shrink)

This paper argues that a consideration of the problem of providing truthmakers for negative truths undermines truthmaker theory. Truthmaker theorists are presented with an uncomfortable dilemma. Either they must take up the challenge of providing truthmakers for negative truths, or else they must explain why negative truths are exceptions to the principle that every truth must have a truthmaker. The first horn is unattractive since the prospects of providing truthmakers for negative truths do not look good neither absences, nor totality (...) states of affairs, nor Graham Priest and J.C. Beall’s ‘polarities’ (Beall, 2000; Priest, 2000) are up to the job. The second horn, meanwhile, is problematic because restricting the truthmaker principle to atomic truths, or weakening it to the thesis that truth supervenes on being, undercuts truthmaker theory’s original motivation. The paper ends by arguing that truthmaker theory is, in any case, an under-motivated doctrine because the groundedness of truth can be explained without appeal to the truthmaker principle. This leaves us free to give the ommonsensical and deflationary explanation of negative truths that common-sense suggests. (shrink)

This book argues that correspondence theories of truth fail because the relation that holds between a true thought and a fact is that of identity, not correspondence. Facts are not complexes of worldly entities which make thoughts true they are merely true thoughts. According to Julian Dodd, the resulting modest identity theory, while not defining truth, correctly diagnoses the failure of correspondence theories, and thereby prepares the ground for a defensible deflation of the concept of truth.

In this paper I consider, in connection with dementia, two views of the person. One view of the person is derived from Locke and Parfit. This tends to regard the person solely in terms of psychological states and his/her connections. The second view of the person is derived from a variety of thinkers. I have called it the situated-embodied-agent view of the person. This view, I suggest, more readily squares with the reality of clinical experience. It regards the person as (...) embedded in a history and culture. The human person is also an embodied agent. I contend that this view encourages a more appropriate approach towards the ethical issues that arise in dementia and towards people with dementia. (shrink)

According to the free energy principle biological agents resist a tendency to disorder in their interactions with a dynamically changing environment by keeping themselves in sensory and physiological states that are expected given their embodiment and the niche they inhabit :127–138, 2010. doi: 10.1038/nrn2787). Why would a biological agent that aims at minimising uncertainty in its encounters with the world ever be motivated to seek out novelty? Novelty for such an agent would arrive in the form of sensory and physiological (...) states that are unexpected. Such an agent ought therefore to avoid novel and surprising interactions with the world one might think. Yet humans and many other animals find play and other forms of novelty-seeking and exploration hugely rewarding. How can this be understood in frameworks for studying the mind that emphasise prediction error minimisation? This problem has been taken up in recent research concerned with epistemic action—actions an agent engages in to reduce uncertainty. However that work leaves two questions unanswered, which it is the aim of our paper to address. First, no account has been given yet of why it should feel good to the agent to engage the world playfully and with curiosity. Second an appeal is made to precision-estimation to explain epistemic action, yet it remains unclear how precision-weighting works in action more generally, or active inference. We argue that an answer to both questions may lie in the bodily states of an agent that track the rate at which free energy is being reduced. The recent literature on the predictive brain has connected the valence of emotional experiences to the rate of change in the reduction of prediction error :e1003094, 2013. doi: 10.1371/journal.pcbi.1003094; Van de Cruys, in Metzinger and Wiese Philosophy and predictive processing, vol 24, MIND Group, Frankfurt am Main, 2017. doi: 10.15502/9783958573253). In this literature valenced emotional experiences are hypothesised to be identical with changes in the rate at which prediction error is reduced. Experiences are negatively valenced when overall prediction error increases and are positively valenced when the sum of prediction errors decrease. We offer an ecological-enactive interpretation of the concept of valence and its connection to rate of change of prediction error. We show how rate of change should be understood in terms of embodied states of affordance-related action readiness. We then go on to apply this ecological-enactive account of error dynamics to provide an answer to the first question we have raised: It may explain why it should feel good to an agent to be curious and playful. Our ecological-enactive account also allows us to show how error dynamics may provide an answer to the second question we have raised regarding how precision-weighting works in active inference. An agent that is sensitive to rates of error reduction can tune precision on the fly. We show how this ability to tune precision on the go can allow agents to develop skills for adapting better and better to the unexpected, and search out opportunities for resolving uncertainty and progressing in its learning. (shrink)

The International Society for Stem Cell Research (ISSCR) has recently released the 2021 update of its guidelines. The update includes detailed new recommendations on human–animal chimera research. This paper argues that the ISSCR recommendations fail to address the core ethical concerns raised by neurological chimeras—namely, concerns about moral status. In minimising moral status concerns, the ISSCR both breaks rank with other major reports on human–animal chimera research and rely on controversial claims about the grounds of moral status that many people (...) will rightly reject. A more robust framework for regulating human–animal chimera research still needs to be developed. (shrink)

The recent tragic and widely publicised death of Jesse Gelsinger in a gene therapy trial has many important lessons for those engaged in the ethical review of research. One of the most important lessons is that ethics committees can give too much weight to ensuring informed consent and not enough attention to minimising the harm associated with participation in research. The first responsibility of ethics committees should be to ensure that the expected harm associated with participation is reasonable. Jesse was (...) an 18-year-old man with a mild form of ornithine transcarbamylase (OTC) deficiency, a disorder of nitrogen metabolism. His form of the disease could be controlled by diet and drug treatment. On September 13 1999 a team of researchers lead by James Wilson at the University of Pennsylvania's Institute for Human Gene Therapy (IHGT) injected 3.8 X 1013 adenovirus vector particles containing a gene to correct the genetic defect. He was the eighteenth and final patient in the trial. The virus particles were injected directly into the liver. He received the largest number of virus particles in a gene therapy trial.1 Four days later he was dead from what was probably an immune reaction to the virus vector. This was the first death directly attributed to gene therapy. It resulted in worldwide publicity, an independent investigation, the Federal Drug Administration (FDA) suspending all trials at the IHGT, an FDA, and a senate subcommittee investigation. At a special public meeting at the National Institutes of Health (NIH) in December 1999, James Wilson, also the director of the IHGT, said they still did not understand fully what had gone wrong.2 Even though a massive dose had been used, only 1% of transferred genes reached the target cells. (None of the patients in the trial showed significant gene expression. Art …. (shrink)

Julian Dodd offers an original approach to the controversial concept of authenticity in musical performance. He argues that the fundamental norm is not historical authenticity but interpretive authenticity: being faithful to the work by evincing a profound, far-reaching, or sophisticated understanding of it.

Die Reihe Studien zur deutschen Literatur präsentiert herausragende Untersuchungen zur deutschsprachigen Literatur von der Frühen Neuzeit bis zur Gegenwart. Offen besonders auch für komparatistische, kulturwissenschaftliche und wissensgeschichtliche Fragestellungen, bietet sie ein traditionsreiches Forum für innovative literaturwissenschaftliche Forschung. Alle eingesandten Manuskripte werden doppelt begutachtet. Informationen zum Bewerbungsverfahren und zu Druckkostenzuschüssen erhalten Sie beim Verlag. Wenden Sie sich dazu bitte an den zuständigen Lektor Dr. Marcus Böhm (marcus.boehm [ at ] degruyter.com).

Heidegger's later philosophy has often been regarded as a lapse into unintelligible mysticism. While not ignoring its deep and difficult complexities, Julian Young's book explains in simple and straightforward language just what it is all about. It examines Heidegger's identification of loss of 'the gods', the violence of technology, and humanity's 'homelessness' as symptoms of the destitution of modernity, and his notion that overcoming 'oblivion of Being' is the essence of a turning to a post-destitute, genuinely post-modern existence. Young argues (...) that Heidegger's conception of such an overcoming is profoundly fruitful with respect to the ancient quest to discover the nature of the good life. His book will be an invaluable resource for both students and scholars of Heidegger's works. (shrink)

I contend that mathematical domains are freestanding institutional entities that, at least typically, are introduced to serve representational functions. In this paper, I outline an account of institutional reality and a supporting metaontological perspective that clarify the content of this thesis. I also argue that a philosophy of mathematics that has this thesis as its central tenet can account for the objectivity, necessity, and atemporality of mathematics.

Philosophy of Economics: A Contemporary Introduction is the first systematic textbook in the philosophy of economics. It introduces the epistemological, metaphysical and ethical problems that arise in economics, and presents detailed discussions of the solutions that have been offered. Throughout, philosophical issues are illustrated by and analysed in the context of concrete cases drawn from contemporary economics, the history of economic ideas, and actual economic events. This demonstrates the relevance of philosophy of economics both for the science of economics and (...) for the economy. This text will provide an excellent introduction to the philosophy of economics for students and interested general readers alike. (shrink)

In this beautifully written account, Julian Young provides the most comprehensive biography available today of the life and philosophy of the nineteenth-century German philosopher Friedrich Nietzsche. Young deals with the many puzzles created by the conjunction of Nietzsche's personal history and his work: why the son of a Lutheran pastor developed into the self-styled 'Antichrist'; why this archetypical Prussian came to loath Bismarck's Prussia; and why this enemy of feminism preferred the company of feminist women. Setting Nietzsche's thought in the (...) context of his times - the rise of Prussian militarism, anti-Semitism, Darwinian science, the 'Youth' and emancipationist movements, as well as the 'death of God' - Young emphasises the decisive influence of Plato and of Richard Wagner on Nietzsche's attempted reform of Western culture. (shrink)

Brain organoid research raises ethical challenges not seen in other forms of stem cell research. Given that brain organoids partially recapitulate the development of the human brain, it is plausible that brain organoids could one day attain consciousness and perhaps even higher cognitive abilities. Brain organoid research therefore raises difficult questions about these organoids' moral status – questions that currently fall outside the scope of existing regulations and guidelines. This paper shows how these gaps can be addressed. We outline a (...) moral framework for brain organoid research that can address the relevant ethical concerns without unduly impeding this important area of research. (shrink)

What is the correct concept behind measures of inflation? Does money cause business activity or is it the other way around? Shall we stimulate growth by raising aggregate demand or rather by lowering taxes and thereby providing incentives to produce? Policy-relevant questions such as these are of immediate and obvious importance to the welfare of societies. The standard approach in dealing with them is to build a model, based on economic theory, answer the question for the model world and then (...) apply the results to economic phenomena outside. Data come in, if at all, only in testing a limited number of the model's consequences. Despite some critical voices, economic methodology too has by and large subscribed to a "theory first" approach to applied economics. Error in Economics systematically develops an alternative to the theory-based orthodoxy. It places the methodical study of evidence at the centre of the scientific enterprise and thus provides a foundation for a methodology of evidence-based economics. But the book does not stop at the truism that claims should be based on the best available evidence. Rather, detailed studies in the areas of measurement, causal inference and policy analysis show what it means for a claim to be evidence-based in the context of a concrete case. The examples discussed concern topics as diverse as consumer price indices, radio spectrum auctions, the transmission mechanism, natural experiments on minimum wages and the evaluation of counterfactuals for policy. Error in Economics is essential reading for economic methodologists, philosophers of science and anyone interested in how claims about socio-economic matters are validated. (shrink)

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)

According to the free energy principle all living systems aim to minimise free energy in their sensory exchanges with the environment. Processes of free energy minimisation are thus ubiquitous in the biological world. Indeed it has been argued that even plants engage in free energy minimisation. Not all living things however feel alive. How then did the feeling of being alive get started? In line with the arguments of the phenomenologists, I will claim that every feeling must be felt by (...) someone. It must have mineness built into it if it is to feel a particular way. The question I take up in this paper asks how mineness might have arisen out of processes of free energy minimisation, given that many systems that keep themselves alive lack mineness. The hypothesis I develop in this paper is that the life of an organism can be seen as an inferential process. Every living system embodies a probability distribution conditioned on a model of the sensory, physiological, and morphological states that are highly probably given the life it leads and the niche it inhabits. I argue for an ecological and enactive interpretation of free energy. I show how once the life of an organism reaches a certain level of complexity mineness emerges as an intrinsic part of the process of life itself. (shrink)