Throughout his philosophical career Thomas Reid was an opponent of scepticism. When providing some remarks on his philosophical development he informs us that initially he accepted Berkeley’s version of the theory of ideas, thinking it adequately secured knowledge of ordinary things and events, until Hume demonstrated the sceptical problems with knowledge of the self encountered by the doctrine. This led to Reid’s re-examination and ultimate rejection of the theory of ideas.

In recent years renewed interest in Thomas Reid's philosophy has led to fruitful discussion of Reid's theories of sensation and perception. Although certain aspects of these topics can be discussed without setting out Reid's version of the primary-secondary quality distinction, the ultimate evaluation of Reid's work on both sensation and perception requires discussion of his views on primary and secondary qualities. Current Reid literature virtually ignores this important topic. This paper is an attempt to remedy this situation. In addition to (...) setting out Reid's position on primary and secondary qualities I will discuss Reid's curious relation to the New Science of his day and will explain how Reid thought he could reintroduce the primary-secondary quality distinction despite Berkeley's attacks on the doctrine.In both of his major works, An Inquiry Into The Human Mind, and Essays On The Intellectual Powers Of Man, Thomas Reid was intent upon examining the philosophical problems of human knowledge. In the Inquiry perception received his exclusive attention. In the Essays other cognitive operations were examined as well. The impetus for these investigations was provided by Reid's negative assessment of the achievements of his philosophical predecessors. (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)

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)

From the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Their discussions ranged widely over a vast range of topics, from American pop art and minimalism to abstraction and appropriationism. Yet they continually returned to the concepts at the core of Danto’s thinking—posthistory and the end of aesthetics—provocative notions that to this day shape questions about the meaning and (...) future of contemporary art. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto’s ideas. It offers readers the opportunity to experience the intellectual excitement of Danto in person, speculating in a freewheeling yet erudite style. Danto and Paparoni discuss figures such as Andy Warhol, Marcel Duchamp, Franz Kline, Sean Scully, Clement Greenberg, Cindy Sherman, and Wang Guangyi, offering both insightful comments on individual works and sweeping observations about wider issues. On occasion, the artist Mimmo Paladino and the philosopher Mario Perniola join the conversation, enlivening the discussion and adding their own perspectives. The book also features an introductory essay by Paparoni that provides lucid analysis of Danto’s thinking, emphasizing where the two disagree as well as what they learned from each other. (shrink)

Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical (...) elements in Danto's new- Hegelian art theory. In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art. (shrink)

L’estetica classica - quella di Kant, e di Greenberg che considera la bellezza come un misto di piacere, disinteresse, contemplazione e universalità - ha scarsa applicazione nell’ambito dell’arte contemporanea. Questo non vuol dire non vi trovi applicazione l’estetica intesa in un senso più ampio. Qualità come la tetraggine, la rozzezza, la lucentezza ecc. si collocano all’interno dell’ampio raggio delle qualità estetiche che nel contesto contemporaneo hanno rilevanza, così come molte altre q...

Este estudo discute a questão do fim da arte com base nas reflexões críticas de Clement Greenberg e na posterior apropriação dessas reflexões por Arthur Danto. Em primeiro lugar, pretendo mostrar como a visão negativa de Greenberg acerca da arte produzida a partir dos anos 1960 implica o tema do fim da arte. Em segundo, pretendo expor a tarefa assumida por Danto a partir de sua avaliação dos diagnósticos e da teoria de Greenberg. This paper addresses (...) the question of the end of art based on the critical reflections of Clement Greenberg and the subsequent appropriation of these reflections by Arthur Danto. Firstly, I intend to show how the negative view of Greenberg about art produced from the 60's implies the issue of the end of art. Secondly, I intend to expose the task taken up by Danto based on his debate with Greenberg's theory. (shrink)

Arthur Danto è figura di spicco della critica d’arte contemporanea nordamericana. I suoi saggi, le opinioni espresse su The Nation (è dal 1984 che occupa le stesse colonne una volta affidate a Clement Greenberg) o su Artforum hanno una forte presa sulla scena artistica. Danto è una figura anomala nell’ambito della critica d’arte in quanto, pur essendo un filosofo, frequenta gli studi degli artisti e le gallerie, comprese quelle più radical. La filosofia e la critica d’arte utilizzano linguagg...

In this book, Yael Greenberg discusses and clarifies a number of controversial issues and phenomena in the generic literature, including the existence of ...

Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides (...) his most expansive statement of his views on taste and quality in art, arguing for an esthetic that flies in the face of current art world fashions. Greenberg insists despite the attempts from Marcel Duchamp onwards to escape the jurisdiction of taste by producing an art so disjunctive that it cannot be judged that taste is inexorable. He argues that standards of quality in art, the artist's responsibility to seek out the hardest demands of a medium, and the critic's responsibility to discriminate, are essential conditions for great art. The obsession with innovation the epidemic of newness leads, in Greenbergs view, to the boringness of so much avant garde art. He discusses the interplay of expectation and surprise in aesthetic experience, and the exalted consciousness produced by great art. Homemade Esthetics allows us particularly in the transcribed seminar sessions, never before published to watch the critics mind at work, defending (and at times reconsidering) his theories. His views, often controversial, are the record of a lifetime of looking at and thinking about art as intensely as anyone ever has. (shrink)

This paper deals with the exceptions-tolerance property of generic sentences with indefinite singular and bare plural subjects (IS and BP generics, respectively) and with the way this property is connected to some well-known observations about felicity differences between the two types of generics (e.g. Lawler's 1973, Madrigals are popular vs. #A madrigal is popular). I show that whereas both IS and BP generics tolerate exceptional and contextually irrelevant individuals and situations in a strikingly similar way, which indicates the existence of (...) a basically equivalent tolerance mechanism, there is also a difference between them, unnoticed so far, which concerns the degree to which the properties of the legitimate exceptions can be characterized in advance. Following claims in Greenberg (2003), I argue that both this newly observed difference as well as the traditional felicity differences result from an underlying contrast in the type of ‘non-accidentalness’ expressed by the two types of generic sentences, and more formally, in the accessibility relations that their generic quantifier (Gen) is compatible with. To capture the new difference in tolerance of exceptions, I develop an improved version of the exceptions-tolerance mechanism for generic sentences suggested in Kadmon & Landman (1993), namely, a restriction on the set of individuals and situations quantified by Gen, which is partially vague to two different degrees using supervaluationist methods. The different degrees of vagueness in this restriction are shown to be systematically dependent on the two types of accessibility relations that IS and BP generics are compatible with, which are redefined as precise and vague restrictions on the generic quantification over worlds. (shrink)

This essay calls attention to a set of linguistic interactions between counterfactual conditionals, on one hand, and possibility modals like could have and might have, on the other. These data present a challenge to the popular variably strict semantics for counterfactual conditionals. Instead, they support a version of the strict conditional semantics in which counterfactuals and possibility modals share a unified quantificational domain. I’ll argue that pragmatic explanations of this evidence are not available to the variable analysis. And putative counterexamples (...) to the unified strict analysis, on careful inspection, in fact support it. Ultimately, the semantics of conditionals and modals must be linked together more closely than has sometimes been recognized, and a unified strict semantics for conditionals and modals is the only way to fully achieve this. (shrink)

Contemporary health care often lacks generosity of spirit, even when treatment is most efficient. Too many patients are left unhappy with how they are treated, and too many medical professionals feel estranged from the calling that drew them to medicine. Arthur W. Frank tells the stories of ill people, doctors, and nurses who are restoring generosity to medicine--generosity toward others and to themselves. The Renewal of Generosity evokes medicine as the face-to-face encounter that comes before and after diagnostics, pharmaceuticals, (...) and surgeries. Frank calls upon the Roman emperor Marcus Aurelius, philosopher Emmanuel Levinas, and literary critic Mikhail Bakhtin to reflect on stories of ill people, doctors, and nurses who transform demoralized medicine into caring relationships. He presents their stories as a source of consolation for both ill and professional alike and as an impetus to changing medical systems. Frank shows how generosity is being renewed through dialogue that is more than the exchange of information. Dialogue is an ethic and an ideal for people on both sides of the medical encounter who want to offer more to those they meet and who want their own lives enriched in the process. The Renewal of Generosity views illness and medical work with grace and compassion, making an invaluable contribution to expanding our vision of suffering and healing. (shrink)

This is the text of The Lindley Lecture for 1962, given by Arthur N. Prior (1914-1969).

When attempting to generalize recursion theory to admissible ordinals, it may seem as if all classical priority constructions can be lifted to any admissible ordinal satisfying a sufficiently strong fragment of the replacement scheme. We show, however, that this is not always the case. In fact, there are some constructions which make an essential use of the notion of finiteness which cannot be replaced by the generalized notion of $\alpha$-finiteness. As examples we discuss bothcodings of models of arithmetic into the (...) recursively enumerable degrees, and non-distributive lattice embeddings into these degrees. We show that if an admissible ordinal $\alpha$ is effectively close to $\omega$ (where this closeness can be measured by size or by cofinality) then such constructions maybe performed in the $\alpha$-r.e. degrees, but otherwise they fail. The results of these constructions can be expressed in the first-order language of partially ordered sets, and so these results also show that there are natu. (shrink)

This paper examines the interplay of semantics and pragmatics within the domain of film. Films are made up of individual shots strung together in sequences over time. Though each shot is disconnected from the next, combinations of shots still convey coherent stories that take place in continuous space and time. How is this possible? The semantic view of film holds that film coherence is achieved in part through a kind of film language, a set of conventions which govern the relationships (...) between shots. In this paper, we develop and defend a new version of the semantic view. We articulate it for a pair of conventions that govern spatial relations between viewpoints. One such rule is already well-known; sometimes called the "180° Rule," we term it the X-Constraint; to this we add a previously unrecorded rule, the T-Constraint. As we show, both have the effect, in different ways, of limiting the way that viewpoint can shift through space from shot to shot over the course of a film sequence. Such constraints, we contend, are analogous to relations of discourse coherence that are widely recognized in the linguistic domain. If film is to have a language, it is a language made up of rules like these. (shrink)

In a circulated but heretofore unpublished 2001 paper, I argued that Leiter's analogy to Quine's 'naturalization of epistemology' does not do the philosophical work Leiter suggests. I revisit the issues in this new essay. I first show that Leiter's replies to my arguments fail. Most significantly, if — contrary to the genuinely naturalistic reading of Quine that I advanced — Quine is understood as claiming that we have no vantage point from which to address whether belief in scientific theories is (...) ever justified, it would not help Leiter's parallel. Given Leiter's way of drawing the parallel, the analogous position in the legal case would be not the Legal Realists' indeterminacy thesis, but the very different position that we have no vantage point from which to address whether legal decisions can ever be justified. I then go on to address the more important question of whether the indeterminacy thesis, if true, would support any replacement of important legal philosophical questions with empirical ones. Although Ronald Dworkin has argued against the indeterminacy thesis, if he were wrong on this issue, it would not in any way suggest that the questions with which Dworkin is centrally concerned cannot fruitfully be addressed. The indeterminacy thesis is a bone of contention in an ordinary philosophical debate between its proponents and Dworkin. Of course, if the determinacy thesis were true, no one should try to show that it is false, but this triviality lends no support to the kind of replacement proposal that Leiter proposes. I conclude with some general reflections on naturalism and philosophical methodology. (shrink)

On May 16, 2012, RAND brought together a group of public company directors and executives, chief ethics and compliance officers, and stakeholders from the government, academic, and nonprofit sectors for a series of conversations about organizational culture, as well as to explore the business and policy ramifications of efforts to build better ethical cultures in corporations.

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)

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic (...) index and a medial incarnation–e.g. a Verkörperung–of the underworld. (shrink)

Sean Greenberg - Descartes and the Passionate Mind - Journal of the History of Philosophy 45:3 Journal of the History of Philosophy 45.3 499-500 Muse Search Journals This Journal Contents Reviewed by Sean Greenberg University of California Irvine Deborah J. Brown. Descartes and the Passionate Mind. Cambridge-New York: Cambridge University Press, 2006. Pp. xi + 231. Cloth, $85.00. In the past two decades, Descartes's last work, The Passions of the Soul, has received considerable attention from Descartes scholars. In (...) the first English-language monograph on the Passions, Deborah Brown mounts a case for the work's philosophical significance. Brown takes Descartes's treatment of the passions to extend the discussion of the.. (shrink)

Our study considers the governance, ethics and operational challenges associated with the acquisition, manipulation and commodification of ‘big data’ in the financial services sector. To the best of our knowledge, there are no published studies describing empirical research undertaken within companies in this sector to understand how they are responding to such challenges: our field-based research is a significant initial contribution in this respect. We describe the results of a micro-ethnographic study undertaken in a small-to-medium-sized company developing disruptive, technology-related platforms (...) and services in the banking and retail sectors based on big data and associated analytics: these are used to derive commercially valuable insights from personal customer data in exchange for cash back and targeted rewards. The company was found to employ a multi-level innovation governance approach, underpinned by an ethical strategy based on a principle of mutual benefit. Opt-in and informed consent for using data for specific purposes was supported by principles of data minimisation and anonymisation, with unrestricted use of secondary, anonymised and aggregated data to develop insights. Governance, which included contextual data protection legislation, payment-card industry data usage standards and internal corporate controls, presented as bespoke organisational practices relating to data security and privacy. These in total set the governance and ethics frame for big data innovation at the company within which it has had to be both adaptive and responsive under conditions of normative and regulatory uncertainty. (shrink)

Bernard Harcourt, Against Prediction: Profiling, Policing, and Punishing in an Actuarial Age Chicago: University of Chicago Press, 2006, 336pp.

But Findlay's remark, like so much that has been written on the subject of time in the present century, was provoked in the first place by McTaggart's ...

This paper deals with the role of Judaism in Walter Benjamin's famous 1921 essay on violence and law, Zur Kritik der Gewalt. Despite the intense attention devoted to this essay, the role of Jewish myth in it has not yet been thoroughly explained. This study contends that the association between what Benjamin termed revolutionary violence and the Jewish messianic tradition, which plays a central role in the evaluation of Benjamin's text, is far more problematic than has hitherto been assumed, and (...) poses a serious challenge, which has not been fully examined in its historical context. Second, this essay claims that the subversive elements that many have supposedly found in Benjamin's text and the attempts to link these elements to messianic traditions are also unconvincing. Third, the paper contextualizes Benjamin's thought within the framework of the Jewish political–theological debate of the period. It contends that Benjamin's theory of law and justice should be understood not as a revolutionary, anti-republican text, as has been generally accepted, but as a secularized conservative orthodox one. In doing so, it seeks to shed light not only on Benjamin's early thinking and its influences, but also on the neglected element of Jewish orthodoxy within the broader topic of political theology. (shrink)

Schopenhauer argues, in uniquely powerful prose, that self-consciousness gives the illusion of freedom and that human actions are determined, but that we rightly feel guilt because our actions issue from our essential individual character. He locates moral value in the virtues of loving kindness and voluntary justice that spring from the fundamental incentive of compassion. Morality's basis is ultimately metaphysical, resting on an intuitive identification of the self with all other striving and suffering beings. The Introduction by leading Schopenhauer scholar (...) Christopher Janaway gives a clear summary of the argument of the essays in the context of Schopenhauer's life and works and the history of ethics in the modern period. --from publisher description. (shrink)

Few philosophers are as widely read or as widely misunderstood as Friedrich Nietzsche. When Danto's classic study was first published in 1965, many regarded Nietzsche as a brilliant but somewhat erratic thinker. Danto, however, presented a radically different picture, arguing that Nietzsche offered a systematic and coherent philosophy that anticipated many of the questions that define contemporary philosophy. Danto's clear and insightful commentaries helped canonize Nietzsche as a philosopher and continue to illuminate subtleties in Nietzsche's work as well as his (...) immense contributions to the philosophies of science, language, and logic. This new edition, which includes five additional essays, not only further enhances our understanding of Nietzsche's philosophy; it responds to the misunderstandings that continue to muddy his intellectual reputation. Even today, Nietzsche is seen as everything from a precursor of feminism and deconstruction to a prophetic writer and spokesperson for disgruntled teenage boys. As Danto points out in his preface, Nietzsche's writings have purportedly inspired recent acts of violence and school shootings. Danto counters these misreadings by elaborating an anti-Nietzschian philosophy from within Nietzsche's own philosophy "in the hope of disarming the rabid Nietzsche and neutralizing the vivid frightening images that have inspired sociopaths for over a century." The essays also consider specific works by Nietzsche, including _Human, All Too Human_ and _The Genealogy of Morals_, as well as the philosopher's artistic metaphysics and semantical nihilism. (shrink)

Surveys and extens work that has been done in the past two years on 'tense logic' and is a sequel to the author's book, Time and Modality.

Divided into two parts, the first concentrates on the logical properties of propositions, their relation to facts and sentences, and the parallel objects of commands and questions. The second part examines theories of intentionality and discusses the relationship between different theories of naming and different accounts of belief.