Conventionalism about essence is the view that truths about what is (and isn’t) essential to things are based upon talk and thought about the world, rather than mind-independent facts. This chapter presents motivations for conventionalism, and explains how conventionalism can be (and has been) developed to accommodate essences that can only be discovered with the help of empirical investigation, like “water is H2O” or “Obama is human”. We examine a range of objections that have been raised against conventionalism—often presented dismissively (...) and decisively—and show how conventionalism has ample resources with which to plausibly respond to these challenges. (shrink)

Throughout the darkest moments of human history, evildoers have convinced communities to turn on groups that are regarded as in some way other and, by starting to think of them as less than human, persecute or even eliminate them. We can all recognize the unfathomable evils of dehumanization in slavery, the Holocaust, the Rwandan genocide, and the Jim Crow South, but we are not free from its power today. With climate change and political upheaval driving millions of refugees worldwide to (...) leave their homes, we are likely to see more and more of this ugly and persistent phenomenon. What are we to do? Drawing on his deep and wide-ranging knowledge of the history, psychology, and politics of dehumanization, David Livingstone Smith shows us how to recognize it and how to fight back. (shrink)

Book review of The Philosophy of Art. By STEPHEN DAVIES.. Blackwell. 2006.

This paper takes up a series of basic philosophical questions about the nature and existence of fictional characters. We begin with realist approaches that hinge on the thesis that at least some claims about fictional characters can be right or wrong because they refer to something that exists, such as abstract objects. Irrealist approaches deny such realist postulations and hold instead that fictional characters are a figment of the human imagination. A third family of approaches, based on work by Alexius (...) Meinong, seeks an alternative to the realist/irrealist dilemma. Neo-Meinongian theories rely upon a distinction between being and existence, the key contention being that unlike human beings, fictional characters have only the former. Having surveyed relevant work by contemporary metaphysicians and philosophers of language, this paper discusses issues related to the distinction between characters and other aspects of the content of fictions, including the relation between personality theory and literary conceptions of character. (shrink)

James Tully’s scholarship has profoundly transformed the study of political thought by reconstructing the practice of political theory as a democratising and diversifying dialogue between scholars and citizens. Across his writings on topics ranging from the historical origins of property, constitutionalism in diverse societies, imperialism and globalisation, and global citizenship in an era of climate crisis, Tully has developed a participatory mode of political theorising and political change called public philosophy. This practice-oriented approach to political thought and its active role (...) in the struggles of citizens has posed fundamental challenges to modern political thought and launched new lines of inquiry in the study of constitutionalism, democracy and citizenship, settler colonialism, comparative political theory, nonviolence, and ecological sustainability. James Tully: To Think and Act Differently collects classic, contemporary, and previously unpublished writings from across Tully’s four decades of scholarship to shed new light on these dialogues of reciprocal elucidation with citizens, scholars, and the history of political thought, and the ways Tully has enlarged our understanding of democracy, diversity, and the task of political theory. (shrink)

This paper examines the reaction of Victorian Presbyterian culture to the theory of evolution in late nineteenth century Scotland. Focusing on the role played by the Free Church theologian, biblical critic and anthropological theorist, William Robertson Smith, it argues that, compared with Smith’s radical scholarship, evolutionary theories did little to disturb the Scottish Calvinist mind-set. After surveying the attitudes to evolution among a range of theological leaders, the paper examines Smith’s fundamentally threatening proposals and the circumstances that led to the (...) public spectacle of his dismissal from his Free Church professorship. It concludes by suggesting that, ironically, even while his fellow churchmen were making their peace with Darwin, Smith was mobilising an evolutionary outlook that challenged Scotland’s conservative religious culture to its very core. (shrink)

George Cotkin's paper is an earnest effort to resolve the supposed conflict between inherited historical circumstances and the enunciation of ethical principles-as if necessity and freedom, past and present, somehow exclude each other; as if "moral history" is something new; as if the injection of an authorial voice or point of view gets us beyond the absurdities of "objectivity." Clearly Cotkin has not been reading historical monographs published since, say, 1935. Is there a field not reanimated by the moral problems (...) of exclusion, oppression, and obligation framed by the civil rights movement, the women's movement, and then the "new social movements" organized around questions of identity and sexuality? (shrink)

Núñez and colleagues (2019) question whether cognitive science still exists “as a coherent academic field with a well‐defined and cohesive interdisciplinary research program.” This worry may be premature on two grounds. First, we are not convinced that the Lakatosian criterion of coalescence around a core framework is the best standard for judging whether a field is well‐defined and productive. Second, although we acknowledge that cognitive science is not as visible as we would like, we doubt that this low profile accurately (...) reflects the state of actual research and teaching programs based on the cognitive science approach. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Transforming Music EducationCarolyn LivingstonEstelle R. Jorgensen, Transforming Music Education ( Bloomington, IN: Indiana University Press, 2003)Estelle Jorgensen's vision of the transformation of our profession is lofty but not ostentatious, exacting but not rigid. The dream she unveils in her latest book, Transforming Music Education, "challenges music educators to raise their expectations of themselves, their colleagues, their students, and their publics; to look beyond the ordinary; and to aspire (...) to distinction in every facet of its enterprise" (145). A powerfully convincing writer, Jorgensen, author of In Search of Music Education, begins appropriately in her preface by detailing the reasons why music education needs to be transformed. Many of her students and former students at Indiana University are not only satisfied with the status quo in music education, but demonstrate reluctance about even considering the need for change. Others, she has found, long for improvement, having encountered paternalistic administrators, loneliness, fear, and a loss of enjoyment in teaching and in music. Although the author is happy for the former group, she empathizes with the latter. "Gone are the hope, joy, and love of connecting with students or of the art that led them to teaching in the first place," she writes. "In their place I hear the voices of weariness, discouragement, and ennui" (x). [End Page 211]In addition, Jorgensen has observed the anti-intellectualism abroad in education, evident in a variety of symptoms. One of the most troubling is the idolization of scientific research resulting in a loss of interest in philosophical and historical inquiry. She decries the "declining regard for the long and distinguished narratives of education and for the critical insights that would help guard the profession against repeating past mistakes and making ill-conceived plans. Pretentious jargon invoked by educational scientists and theorists often cloaks a paucity of ideas frequently unintelligible to the teachers it is supposed to benefit, and few teachers read it," she asserts (x).Pointing out that we have lost much of our culture other than that promoted in the popular media, Jorgensen reminds us that, after graduation, high school students no longer play their instruments and that some churches now project words to hymns on large screens for parishioners no longer willing or able to read from a hymnal. She is as appalled as the rest of us by restaurant employees' attempts to sing "Happy Birthday" to celebrating patrons, and she notices that even consumers of culture increasingly rely on media opinions for assistance with choices about art exhibits, books, recordings, and performances.The resegregation of schools, the "back to basics" movement, and public apathy about education are other indicators that transformation is needed. If these reasons are not enough, Jorgensen states that ongoing renewal will always be a necessity for education. Since education is often defined as the process by which culture is transmitted, musicians and artists, as purveyors of culture, Jorgensen believes, can create a humane and holistic music education to serve as a model for education in general. "To conceive of music education as enculturation... requires placing culture at the heart of education," she states. "Regarding music along with other arts as important manifestations of human expression suggests that they should be central and essential to a complete education" (9).The purpose of each chapter is clear from its beginning, and the chapters are concisely summarized. The first, "Setting the Stage," discusses several problems of our present society as they affect education. Jorgensen considers possible resistance to transformation and the need for support from organizations like MENC and NASM. She maintains that transformation can only be achieved through the cooperation of many groups and individuals. One of the most difficult problems would seem to be the one that occurs when groups who have previously been oppressed, such as members of female, economic, ethnic, racial, religious, or other minorities, achieve a measure of power and then begin to behave toward others as their oppressors behaved toward them. She cites the work of Paulo Freire who believes that this phenomenon can only be eradicated through emancipatory education.Jorgensen gives homage to past and present music educators who have already recognized the need for change. She makes the point... (shrink)

In this book, Livingston develops the political implications of formal results obtained over the course of the twentieth century in set theory, metalogic, and computational theory. He argues that the results achieved by thinkers such as Cantor, Russell, Godel, Turing, and Cohen, even when they suggest inherent paradoxes and limitations to the structuring capacities of language or symbolic thought, have far-reaching implications for understanding the nature of political communities and their development and transformation. Alain Badiou's analysis of logical-mathematical structures forms (...) the backbone of his comprehensive and provocative theory of ontology, politics, and the possibilities of radical change. Through interpretive readings of Badiou's work as well as the texts of Giorgio Agamben, Jacques Lacan, Jacques Derrida, Gilles Deleuze, and Ludwig Wittgenstein, Livingston develops a formally based taxonomy of critical positions on the nature and structure of political communities. These readings, along with readings of Parmenides and Plato, show how the formal results can transfigure two interrelated and ancient problems of the One and the Many: the problem of the relationship of a Form or Idea to the many of its participants, and the problem of the relationship of a social whole to its many constituents. (shrink)

Less Than Human is a chilling indictment of our nature, and is as timely as it is relevant.

Defense of a psychological account of what it is for an artwork to be complete.

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

In previous writings, I proposed that we dehumanize others by attributing the essence of a less-than-human creature to them, in order to disable inhibitions against harming them. However, this account is inconsistent with the fact that dehumanizers implicitly, and often explicitly, acknowledge the human status of their victims. I propose that when we dehumanize others, we regard them as simultaneously human and subhuman. Drawing on the work of Ernst Jentsch, Mary Douglas, and Noël Carroll, I argue that the notion of (...) dehumanized people as metaphysically transgressive provides important insights into the distinctive phenomenology of dehumanization. (shrink)

Response to Gover (2015) on Trogdon and Livingston (2015) on artwork completion.

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...) intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

Here Donald Livingston traces this distinction through all of Hume's writings and reveals its relevance for contemporary discussion.

A Non-Technical Introduction to Ethnomethodological Investigations of the Foundations of Mathematics through the Use of a Theorem of Euclidean Geometry* I ...

Paisley Livingston here addresses contemporary controversies over the role of "theory" within the humanistic disciplines. In the process, he suggests ways in which significant modern texts in the philosophy of science relate to the study of literature. Livingston first surveys prevalent views of theory, and then proposes an alternative: theory, an indispensable element in the study of literature, should be understood as a Cogently argued and informed in its judgments, this book points the way to a fuller understanding of the (...) special contribution that literary knowledge may make within the human sciences. (shrink)

Despite its importance, the phenomenon of dehumanization has been neglected by philosophers. Since its introduction, the term “dehumanization” has come to be used in a variety of ways. In this paper, I use it to denote the psychological stance of conceiving of other human beings as subhuman creatures. I draw on an historical example – Morgan Godwyn's description of 17th century English colonists' dehumanization of African slaves and use this to identify three explanatory desiderata that any satisfactory theory of dehumanization (...) needs to address. I then summarize and criticize the theories of dehumanization developed by Jacques-Philippe Leyens and Nicholas Haslam, focusing on what I take to be their misappropriation of the theory of psychological essentialism, and show that both of these approaches suffer from major difficulties. I finish with an assessment of the degree to which Leyens' and Haslam's theories satisfy the three desiderata mentioned earlier, conclude that they fail to address them, and offer a brief sketch of a more satisfactory approach to understanding dehumanization. (shrink)

The problem of explaining consciousness remains a problem about the meaning of language: the ordinary language of consciousness in which we define and express our sensations, thoughts, dreams and memories. This book argues that the problem arises from a quest that has taken shape over the twentieth century, and that the analysis of history provides new resources for understanding and resolving it. Paul Livingston traces the development of the characteristic practices of analytic philosophy to problems about the relationship of experience (...) to linguistic meaning, focusing on the theories of such philosophers as Carnap, Schlick, Neurath, Husserl, Ryle, Putnam, Fodor and Wittgenstein. Clearly written and avoiding technicalities, this book will be eagerly sought out by professionals and graduate students in philosophy and cognitive science. (shrink)

Industries of production and scientific research rely on the use of nonhuman animals and plants, remaking environments, populations, and even genetic information to suit human designs. This issue of _Social Text_ considers the radical implications of questioning the exceptional status of humans among the planet’s species. Responding to growing interest in animal studies and posthumanism, the contributors draw on racial, feminist, queer, postcolonial, and disability theories to probe the diversity of human relationships with other forms of biosocial life. “Interspecies” queries (...) the politics of traditional species taxonomy and examines the ways humans use the material characteristics of other species to pursue their economic, political, and social aims. This collection goes beyond companionate species to examine less charismatic life forms: viruses, vermin, transgenic pigs, and commodified plants. Bringing together prominent scholars and artists from a range of fields, the issue examines the histories of species collection and display. In the context of current public health challenges, including the swine flu epidemic and the scarcity of donor organs, the contributors explore the limits of transgressing species boundaries that arise when human bodies contain other species, such as viruses or transplanted organs from genetically customized pigs. “Interspecies” analyzes the use of nonhuman species in the biopolitics of warfare and torture and examines how interspecies relationships shape conditions of colonialism, imprisonment, and violence. The issue also complicates romanticized narratives of human/nonhuman animal dynamics without resorting to oversimplified portrayals of human exploitation of animal and plant life. _Julie Livingston _is Associate Professor of History at Rutgers University. _Jasbir Puar _is Associate Professor of Women’s and Gender Studies at Rutgers University. She is the author of _Terrorist Assemblages: Homonationalism in Queer Times_. _Contributors: _Neel Ahuja, Suzanne Anker, Ed Cohen, James Delbourgo, Sarah Franklin, Carla Freccero, Alphonso Lingis, Julie Livingston, Chakanetsa Clapperton Mavhunga, Jasbir Puar, Kingsley Rothwell, Lesley Sharp. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...) intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...) first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he "built on this ground." With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge. (shrink)

Paisley Livingston here addresses contemporary controversies over the role of "theory" within the humanistic disciplines. In the process, he suggests ways in which significant modern texts in the philosophy of science relate to the study of literature. Livingston first surveys prevalent views of theory, and then proposes an alternative: theory, an indispensable element in the study of literature, should be understood as a Cogently argued and informed in its judgments, this book points the way to a fuller understanding of the (...) special contribution that literary knowledge may make within the human sciences. (shrink)

Kit Fine’s arguments in Essence and Modality are widely accepted as being a decisive blow against modal essentialism. A selection of replies exist that have done little to counter the general view that modally construed essence is out of touch with what we really mean when we make essentialist claims. I argue that Fine’s arguments fail to strike a decisive blow, and I suggest a new interpretation of the debate that shows why Fine’s arguments fall short of achieving their goal.

This paper aims to offer an alternative to the existing philosophical theories of self-deception. It describes and motivates a teleofunctional theory that models self-deception on the subintentional deceptions perpetrated by non-human organisms. Existing theories of self-deception generate paradoxes, are empirically implausible, or fail to account for the distinction between self-deception and other kinds of motivated irrationality. Deception is not a uniquely human phenomenon: biologists have found that many non-human organisms deceive and are deceived. A close analysis of the pollination strategy (...) of the mirror orchid (Ophrys speculum) provides the basis for an analysis of non-human deception as subintentionally purposive. This teleofunctional analysis is then used as the basis for a theory of self-deception that accounts for its normative and purposive features without defaulting to intentionalism. The teleofunctional theory accounts for distinction between self-deception and phenomena such as wishful thinking in an empirically plausible manner. Three objections to the theory are considered and rejected. (shrink)

Paisley Livingston here addresses contemporary controversies over the role of "theory" within the humanistic disciplines. In the process, he suggests ways in which significant modern texts in the philosophy of science relate to the study of literature. Livingston first surveys prevalent views of theory, and then proposes an alternative: theory, an indispensable element in the study of literature, should be understood as a Cogently argued and informed in its judgments, this book points the way to a fuller understanding of the (...) special contribution that literary knowledge may make within the human sciences. (shrink)

It has often been claimed that adequate aesthetic judgements must be grounded in the appreciator's first-hand experience of the item judged. Yet this apparent truism is misleading if adequate aesthetic judgements can instead be based on descriptions of the item or on acquaintance with some surrogate for it. In a survey of responses to such challenges to the apparent truism, I identify several contentions presented in its favour, including stipulative definitions of ‘aesthetic judgement’, assertions about conceptual gaps between determinate aesthetic (...) properties and even the most perfect descriptions, and claims about the holistic and sensibility-relative character of aesthetic qualities and values. With reference to considerations advanced by Frank Sibley, Alan H. Goldman, and particularists and anti-particularists in meta-ethics, I contend that strong versions of the apparent truism lack sufficient warrant. Two successors are proposed, however. One reframes the thesis in terms of our contingently limited descriptive and theoretical capacities with regard to a subset of the aesthetic qualities of extraordinary works; the second involves a shift from epistemic to axiological matters: what even the most perfect descriptions cannot provide, and in some cases spoil, is our gauging of an item's inherent, experiential value. (shrink)

Núñez and colleagues (2019) question whether cognitive science still exists “as a coherent academic field with a well‐defined and cohesive interdisciplinary research program.” This worry may be premature on two grounds. First, we are not convinced that the Lakatosian criterion of coalescence around a core framework is the best standard for judging whether a field is well‐defined and productive. Second, although we acknowledge that cognitive science is not as visible as we would like, we doubt that this low profile accurately (...) reflects the state of actual research and teaching programs based on the cognitive science approach. (shrink)

Paisley Livingston here addresses contemporary controversies over the role of "theory" within the humanistic disciplines. In the process, he suggests ways in which significant modern texts in the philosophy of science relate to the study of literature. Livingston first surveys prevalent views of theory, and then proposes an alternative: theory, an indispensable element in the study of literature, should be understood as a Cogently argued and informed in its judgments, this book points the way to a fuller understanding of the (...) special contribution that literary knowledge may make within the human sciences. (shrink)