In ‘Essential stuff' (2008) and ‘Stuff' (2009), Kristie Miller argues that two generally accepted theses, often formulated as follows, are incompatible: - (Temporal) mereological essentialism for stuff (or matter), the thesis that any portion of stuff has the same parts at every time it exists. - Stuff composition, the thesis that for any two portions of stuff, there exists a portion of stuff that is their mereological sum (or fusion). She does this by considering competing hypotheses about stuff, trying to (...) prove inconsistency in all cases and with all corresponding understandings of mereological essentialism and stuff composition. I explain why, from an endurantist standpoint, her argument does not go through. (shrink)

This paper examines whether, and if so when, luxury tax is justifiable. After a characterization of luxury tax, I critically examine several arguments that have been or can be made in defence of luxury tax, including Ng’s diamond good argument and a variation of Frank’s positional good argument. I put forward an alternative, expressive argument, according to which luxury tax can help to create and sustain social norms that discourage conspicuous luxury consumption and display of wealth. I explain several ways (...) in which luxury tax fails to achieve the expressive goal and brings about unintended consequences. (shrink)

While 4E cognitive science is fundamentally committed to recognising the importance of the environment in making sense of cognition, its interest in the role of artefacts seems to be one of its least developed dimensions. Yet the role of artefacts in human cognition and agency is central to the sorts of beings we are. Internet technology is influencing and being incorporated into a wide variety of our cognitive processes. Yet the dominant way of viewing these changes sees technology as an (...) outside force “impacting” on our minds. Within this context, Material Engagement Theory seems well poised to help make sense of our cognitive involvement with the Internet as MET is precisely concerned with grasping the role of material culture in human cognition. This paper explores some of the resources MET provides to think through the effects the internet is having on human agency. This paper uses MET as a starting point for examining the way Internet technology can be involved with human agency, both to the provide a much needed and more adequate theorization of these phenomena, but also to illustrate ways in which the consideration of artefacts can be given a more central and adequate place within the 4E cognitive sciences. (shrink)

The idea that photographs can be explained as traces made by the things they depict has been a recurring paradigm in theories about the nature of the photographic medium. Walter Benjamin, Charles Sanders Peirce, Susan Sontag, Andre Bazin and Roland Barthes are a few of the many theorists who have used the paradigm of the trace to explain the nature of photographs. The paradigm can also be argued to have been a significant influence in the work of prominent artists such (...) as Gerhard Richter, Adam Fuss and Cornelia Parker whose work has explored the photographic medium. Through an exegesis and accompanying photobook this thesis addresses the question as to why the trace has proven to be such an enduring paradigm for explaining the nature of photographs, and how the paradigm can be perceived in art practice in recent decades. The subject of the photograph as a trace is investigated through conducting a review of the history of theoretical uses of the paradigm of the trace to explain the nature of photography. The work of visual artists whose practice can be seen as in agreement with or in opposition to these theoretical approaches was also reviewed. In conjunction with this research a series of photographic works was produced using alternative photographic techniques including pinhole photography, photographs and techniques combining digital film projection and phosphorescent plates. Seeing photographs as traces links these forms of image making to one of humanity’s earliest “discoveries”, the ability to interpret traces found in nature. Through such a connection photographs can be seen as a continuation of humanity’s ability to read traces and thereby understand and deal with the passage of time, to buttress processes of memory and belief. This thesis thereby explores a key means through which the photographic object is explained and understood, at a time when the use of photographs as a means of documenting and understanding the world is expanding at an exponential rate. (shrink)