To avoid difficulties facing intention-based accounts of indexicals, Cohen () recently defends a conventionalist account that focuses on the context of tokening. On this view, a token of ‘here’ or ‘now’ refers to the place or time at which it tokens. However, although promising, such an account faces a serious problem: in many speech acts, multiple apparent tokens are produced. If I call Alaska from Paris and say ‘I'm here now’, an apparent token of my utterance will be produced in (...) both Paris and Alaska. The token-contextual account seems to imply that in such cases I will refer to both places and contradict myself. Here I argue that to resolve this and similar puzzles we must realize that not all apparent semantic tokens really are semantic tokens, and that to decide which ones count we must appeal to speaker intentions. However, because this appeal is made at the level of the metaphysics of semantic tokens rather than to determine their meaning, it does not raise the problems associated with intentionalism that the conventionalist hopes to avoid. The metaphysics of semantic tokens uncovered is surprisingly complex, showing that shapes and sounds can transition in and out of being utterances. (shrink)

Vision has dominated philosophical thinking about perceptual experience and the nature of its objects. Color has long been the focus of debates about the metaphysics of sensible qualities, and philosophers have struggled to articulate the conditions on the visual experience of mind-independent objects. With few notable exceptions, "visuocentrism" has shaped our understanding of the nature and functions of perception, and of our conception of its objects. The predominant line of thought from the early modern era to the present is that, (...) in the philosophically interesting respects, as things are with vision, so they are with hearing, touch, olfaction, and the rest. A closely related line of thought has been particularly strong in the case of the secondary qualities. (shrink)

A little philosophy of sound, learning differences, racism, Spinoza, pen pal letters, love songs, and more during a global pandemic, massive social change and social justice movements, the rise of the legitimacy of the science of metaphysics, shamans, wolves, notes and interferences as I prepare to leave academia.

Jean Paul Sartre in his essay, "On 'The Sound and the Fury': Time in the work of Faulkner," states that the technique of the fiction writer always relates back to his metaphysics (OSF 79). Faulkner's clock-based or chronological metaphysics of time found in The Sound and the Fury is the focal point of Sartre's criticism of this work. His main criticism that the novel's metaphysics of time leaves its characters with only pasts and no futures led some Faulkner scholars to (...) seek the future in it while providing their own interpretation of time in Faulkner's work. However, although many of these works were inspired by Sartre's original contribution, none of them have attempted to provide an expanded Sartrean interpretation of the novel's metaphysics of time in light of some of his more elaborate remarks on time and temporality found in Being and Nothingness. The primary purpose of this study is to provide this expanded interpretation by first elucidating Sartre's criticisms of Faulkner's chronological metaphysics found in his original essay, and then analyzing each of the novel's four main sections under Sartre's theory of temporality and emotions. (shrink)

Jean Paul Sartre in his essay, "On 'The Sound and the Fury': Time in the work of Faulkner," states that the technique of the fiction writer always relates back to his metaphysics. Faulkner's clock-based or chronological metaphysics of time found in The Sound and the Fury is the focal point of Sartre's criticism of this work. His main criticism that the novel's metaphysics of time leaves its characters with only pasts and no futures led some Faulkner scholars to seek the (...) future in it while providing their own interpretation of time in Faulkner's work. However, although many of these works were inspired by Sartre's original contribution, none of them have attempted to provide an expanded Sartrean interpretation of the novel's metaphysics of time in light of some of his more elaborate remarks on time and temporality found in Being and Nothingness. The primary purpose of this study is to provide this expanded interpretation by first elucidating Sartre's criticisms of Faulkner's chronological metaphysics found in his original essay, and then analyzing each of the novel's four main sections under Sartre's theory of temporality and emotions. (shrink)

To avoid difficulties that arise when we appeal to speaker intentions or multiple rules to determine the meaning of indexicals, Cohen (2013) recently defends a conventionalist account of these terms that focuses on their context of tokening. Apart from some tricky cases already discussed in the literature, however, such an account faces a serious difficulty: in many speech acts, multiple apparent tokens are produced – for example when a speaker speaks on a telephone, and her utterance is heard both where (...) she speaks, and at the location of the receiver of the call. The ‘token-contextual’ account seems to imply that in such cases a speaker will simultaneously produce multiple contradictory utterances. Here I argue that to resolve such problems we cannot help but to invoke speaker intentions. However, by appealing to intentions at the level of the metaphysics of semantic tokens, rather than to decide their meaning, the token-contextualist can make this appeal without reintroducing the difficulties associated with intentionalist accounts that she hopes to avoid. The resulting metaphysics of semantic tokens is, interestingly, more complex than we might have expected. -/- . (shrink)

What is going on when we are consciously aware of a visual scene, or hear sounds, or otherwise enjoy sensory experience? David Papineau argues controversially for a purely qualitative account: conscious sensory experiences are intrinsic states with no essential connection to external circumstances or represented properties.

In classical Chinese wu 吾 is commonly employed as the first-person pronoun, similar to wo 我 that retains its use in modern Chinese. Although these two words are usually understood as stylistic variants of “I,” “me,” and “myself,” Chinese scholars of the Zhuangzi 莊子 have long been aware of the possible differences in their semantics, especially in the philosophical context of discussing the relation between the self and the person, as evinced by their occurrences in the much-discussed line “Now I (...) have lost myself” in the chapter “Discussion on Making All Things Equal”. In this essay, I first provide an exegesis of the proffered explanations of the semantical differences between wu and wo as an introduction to two ways of understanding them in the Zhuangzi literature, viz. the single-reference view and the double-reference view. Then I shall argue against these two views in favor of the no-reference view, meaning that both pronouns in “Now I have lost myself” do not function referentially, given the peculiarity of the verb “lose.” I believe the no-reference view has not been explicitly articulated and defended in the literature, although some scholars who want to read the no-self view into the Zhuangzi might have implied it. My argument is supported by a close reading of the targeted passage in the Zhuangzi, premised on the assumption that the part on the “piping of Heaven” immediately following the discussion of losing oneself is an indirect explanation rather than a digression. My explanation is framed within a similar discussion of “I” by the British philosopher Elizabeth Anscombe. This comparative interpretation, I believe, not only provides the grounds for understanding Zhuangzi’s ideal of attaining the state where “the ten thousand things are one with me,” but also demonstrates how metaphysics and the philosophy of language are two interwoven threads in Zhuangzi’s reasoning. (shrink)

This essay offers an introduction to Hegel's philosophy of sound as elaborated in the 1830 Encyclopaedia of the Philosophical Sciences in Basic Outline. The first section begins with essential context for interpreting the a priori status of nature and sound in Hegel's Philosophy of Nature. Next, I develop a general account of the Aristotelian character of Hegel's ‘Physics’, and a commentary on the categories of specific gravity and cohesion leading up to sound (and heat) in the ‘Physics of Particular Individuality’. (...) The second section provides an exegetical portrait of Hegel's metaphysics of sound. I first reconstruct Hegel's ontology of sound from the subsection on ‘Sound’ (Der Klang), and then outline his theory of auditory perception. The third section compares Hegel's philosophy of sound to leading views in contemporary philosophy of sound. I argue that Hegel offers a hylomorphic version of a located event theory of sound, which I suggest is more phenomenologically adequate than the modern acoustic view, and more metaphysically consistent than other distal event theories of sound. (shrink)

Definitions of health and disease are of more than theoretical interest. Understanding what it means to be healthy has implications for choices in medical treatment, for ethically sound informed consent, and for accurate assessment of policies or programs. This deeper understanding can help us create more effective public policy for health and medicine. It is notable that such contentious legal initiatives as the Americans with Disability Act and the Patients' Bill of Rights fail to define adequately the medical terms on (...) which their effectiveness depends. In Ethics and the Metaphysics of Medicine, Kenneth Richman develops an "embedded instrumentalist" theory of health and applies it to practical problems in health care and medicine, addressing topics that range from the philosophy of science to knee surgery."Embedded instrumentalist" theories hold that health is a match between one's goals and one's ability to reach those goals, and that the relevant goals may vary from individual to individual. This captures the normative implications of the term health while avoiding problematic relativism. Richman's embedded instrumentalism differs from other theories of health in drawing a distinction between the health of individuals as biological organisms and the health of individuals as moral agents. This distinction illuminates many difficulties in patient-provider communication and helps us understand conflicts between promoting health and promoting ethically permissible behavior. After exploring, expanding, and defending this theory in the first part of the book, Richman examines its ethical implications, discussing such concerns as the connection between medical beneficence and respect for autonomy, patient-provider communication, living wills, and clinical education. (shrink)

This dissertation aims to revive wave theory in the philosophy of sound. Wave theory identifies sounds with compression waves. Despite its wide acceptance in the scientific community as the default position, many philosophers have rejected wave theory and opted for different versions of distal theory instead. According to this current majority view, a sound has its stationary location at its source. I argue against this and other alternative philosophical theories of sound and develop wave theory into a more defensible (...) form. Philosophers of sound tend to emphasise how sounds are experienced to be in their arguments. Most often, it is assumed that that which appears to be a distally located bearer of auditory properties in an auditory experience is a sound. Chapter 1 argues that if this distal entity is the sound source instead, many of the existing theories of sound will be severely affected. Chapter 2 discusses auditory perception and criticises the common assumption that we hear non-sound entities in virtue of hearing sounds. I show that this assumption begs the question against certain theories of sound and that the contrary view that sound sources can be directly heard is more plausible. If sound sources can be directly heard, then features commonly attributed to sounds based on auditory experiences might rather be features of sound sources. I examine eight of such features in Chapter 3. Only four of them survive. Chapters 4 and 5 review the existing theories of sound. After a taxonomy of existing theories of sound, each theory is criticised one-by-one. Some of them are problematic precisely because they rely on the implausible assumption that that which appears to be distally located in an auditory experience is a sound rather than a sound source. Lastly, Chapter 6 focuses on wave theory. It begins with two positive arguments for wave theory in general, followed by my replies to two common objections in the literature. I then move on to develop my version of wave theory. There are two core aspects of my view. The first one is a metaphysics of compression waves; the second is an account of what it is to hear compression waves. After comparing my view with a similar theory, I demonstrate the explanatory power of my view in two steps. First, the eight commonly accepted features of sounds examined in Chapter 3 are revisited. It turns out that my view can accommodate all of them. Second, explanations for four special sound-related phenomena are offered at the end of the chapter. I conclude in the last chapter with the suggestion that, as a philosopher, the best way to defend wave theory is to offer a better understanding of auditory perception which explains how compression waves are experienced. (shrink)

Casati, Di Bona and Dokic have recently argued that sounds are identical to their event sources. In this paper, I review the arguments they have offered in support of this view, show that their claims fail to defend it in a completely persuasive and conclusive fashion, and present some new questions for their thesis.

I defend and develop a traditional view in the metaphysics of sound, The Wave Theory of Sound. According The Wave Theory, as developed herein, sounds are not patterned disturbances so much as their propagation. And the propagation of a patterned disturbance is not a form of travel, but a dynamic in-formation, the wave-form successively inhering in diferently located parts of the dense and elastic medium. This conception, along with the assumption that we hear not only sounds but their (...) sources, has the resources to address many of the most recent criticisms of this traditional view. (shrink)

Since the first degrees of musicality of mankind, the music became a sphere of investigation for naturalists (Darwin), economists (Karl Bücher), philosophers (Spencer, Schopenhauer, Cioran), who tried to explain, through their theories, the process of the beginning and settlement of this phenomenon as well as its influence on the human being.Schopenhauer will consider art, and especially music, as the only liberating form from delusion and suffering, from the omnipotence will to live. Making a strange parallelism between music and the will (...) to live, Schopenhauer will find between these two a report of identity: “the world is an incarnation of music as well as an incarnation of Will: There is no art besides music that expresses an ideal aspect of Will, the Will itself in its purest essence”.If at Schopenhauer the music expresses the Will itself in its purest essence, at Emil Cioran “the metaphysical madness of the musical experience… weakens the will to live and the vital main springs”.Through music Emil Cioran found the way to himself, to his ego and his profound musical nature.The moments of separating of the delusions world are for the human being moments in which the entire existence feels like a melody and all of the being’s sufferings assemble and melt into “a convergence of sounds, into a musical enthusiasm and into a warm and resonant universal community”, into a “sweet and rhythmic immateriality”. (shrink)

This article explores how Plato, in his “metaphysical” dialogues, sees the specific properties of motion (and especially of motion in music), which lend themselves to adaptation for the purposes of maintaining or restoring the health of the soul. Plato explores the property of regular or rhythmic motion in particular. The attention has been drawn to the analogy between the calming effect of music, at the human level, and the Demiurge’s achievement in willing the world into existence. The focus of the (...) article lays on the Laws, in which the principle of musical motion plays a central role in resolution of the contradictions between material and spiritual, natural and physiological, medical and educative. (shrink)

Art restorations often give rise to controversy, and the reason does not always seem to be a lack of skill or dedication on the side of the restorer. Rather, in some of the most famous cases, the reason seems to be a lack of agreement on basic principles. In particular, there seems to be a lack of agreement on how the following two questions are to be answered. First, what is art restoration supposed to achieve, in other words, what is (...) the goal of restoration? Second, how can this goal be achieved, in other words, what are the means that a restorer can legitimately make use of? In this paper, I formulate, and defend, a principle that answers these questions. Although the principle may sound platitudinous, it has been contradicted by prominent philosophers and by important organizations concerned with conservation. Moreover, defending the principle turns out to be impossible without touching on such vexed philosophical issues as the ontology and identity of artworks, as well as the nature of perceptual and aesthetic properties (including the nature of artistic value). (shrink)

The article examines main competing conceptions of the cor­respondence theory of truth. First, the author investigates pos­sible candidates for the role of truth-bearers. Among those he examines following entities: instances of sentences as concrete sequences of symbols (sounds or letters), which should satisfy wide scope of requirements, such as to be grammatical, mean­ingful, affirmative and so on; abstract propositions, which are ex­pressed by concrete sentences; utterances (either explicit or in lingua mentalis); beliefs of agents as their special mental states. (...) Then he turns to the study of possible candidates for the role of truth-makers, i.e. of those entities to which truth-bearers should correspond to be true. He observes states of affairs, situations, facts and mereological sums of individuals. Then he shows that a notion of correspondence is a functional relationship of interpre­tation of linguistic expressions, where certain fragment of real­ity is taken as a model, i.e. as a finite set of elements on which some functions and relations can be operationally defined. He shows how in some simple cases such interpretation function can be built in operationalist’s manner. After that, he considers some natural objections to this approach, which point that he has no direct cognitive access to the actual world, so it is not possible to take its fragments as a model for any theory. Such objections lead us to the coherentist’s approach, but he shows that the question about origin and status of so-called “specified set” implicitly either leads to infinite regress or requires certain correspondence on some level of investigation and reasoning. Finally, the authore presents some reflections on the meaning of correspondence approach for scientific realism and all other versions of realistic philosophy and metaphysics. (shrink)

"Twilight of the Idols" plays an important role in Nietzsche’s work, since it represents the opening writing of the philosophical project called "Transvaluation of all values". In that text, Nietzsche aims to sound out the "eternal idols", which means to disclose the inconsistency of the principles of traditional metaphysics. The way Nietzsche addresses the "old truths" in Twilight of the Idols leads back to his early writings, when his theory of knowledge is first outlined, inspired by Schopenhauer as much as (...) neo- and post-Kantian thinkers such as F. Lange and A. Spir. As I shall show, these observations can be compared with Ernst Mach's anti-metaphisical attitude to the ordinary world-conception, insofar as Mach as much as Nietzsche stressed the importance of a historical approach as instrument to enlighten the "prejudices" of traditional scientists or philosophers. (shrink)

This book provides a unique approach to some of philosophy’s fundamental issues. It points to music as a model for exploring such questions as, “What does it mean to value?” This is not a musical study, per se, but a philosophical text that uses music as a vehicle for investigating these and other metaphysical, axiological, and aesthetic matters.

There is a traditional picture of belief, according to which someone's having a belief is that person's standing in a certain relation to an abstract object, a proposition. My dissertation examines the metaphysical demands that two problems for this picture of belief make on these abstract objects. The first problem comes to us from Frege's "On Sense and Reference," and the second concerns a certain sort of one's beliefs about oneself, which I call "indexical beliefs." ;Frege notes that someone can (...) believe that Hesperus is Hesperus without believing that Hesperus is Phosphorus. It is but a short step from Frege's observation to the claim that the sentence "A believes that Hesperus is Hesperus" could be true while "A believes that Hesperus is Phosphorus" is false. Quine has insisted that we cannot address this problem by taking either of these sentences to express a predication of the referent of both names, the planet Venus, as then both sentences would express the same predication of the same object, and this stands in evident tension with the fact that they can differ in truth value. In a recent response to Frege's problem, Mark Richard has taken exactly the route Quine has warned against. In my first chapter, I show that Richard's response is unsuccessful. I then consider the implications of the failure of his response on his proposed semantics for belief and the philosophical motivation he provides for it. I argue that his semantics for belief ascriptions stands in serious tension with its purported philosophical motivation. ;In the second and third chapters, I turn to the problem about indexical belief. The task of the second chapter is to identify this problem. To this end, I consider three of John Perry's arguments that the traditional picture of belief cannot accommodate indexical belief. I show that even if these arguments are sound, they give us no reason to think that the problem about indexical belief is in any way unique. I then suggest that there is a special problem about indexical belief, despite the failure of these three arguments to isolate it. Special difficulties attend an account of what it is to retain a tensed belief over time, and I suggest that the special problem about indexical belief is, in brief, a generalization of this problem about retention of tensed belief. ;In the third chapter, I raise the problem about indexical belief in a new way, as arising from a tension between several intuitively plausible claims about the relationship between beliefs and desires, on the one hand, and actions, on the other. This presentation of the problem brings out how the problem is special. I survey several solutions to this problem, including one due to Perry. I then argue that Perry's solution cannot characterize the specific kind of similarity between the beliefs of two different people who share an indexical belief. It allows too much to count as shared indexical belief. Thus Perry's solution inadequately addresses what I have suggested is the unique problem about indexical belief. Finally, I suggest that Frege's response to the problem I raise points the way towards an emendation of Perry's account that will enable it to suitably characterize the special way in which different people can share an indexical belief. (shrink)

Although the dimness of my intelligence is already known to Your Paternity,1 nonetheless by careful scrutiny you have endeavored to find in my intelligence a light. For when during the gathering of herbs there came to mind the apostolic text in which James indicates that every best gift and every perfect gift is from above, from the Father of lights,2 you entreated me to write down my conjecture about the interpretation of this text. I know, Father, that you have a (...) firm grasp of that which has been written by the most learned theologians but that I have read very little of their writings. Thus, I would rightly be ashamed were I to be unaware of the soundness of your mind. Read, then, with a suitable interpretation what my view is. (shrink)

From Edison’s invention of the phonograph through contemporary field recording and sound installation, artists have become attracted to those domains against which music has always defined itself: noise, silence, and environmental sound. Christoph Cox argues that these developments in the sonic arts are not only aesthetically but also philosophically significant, revealing sound to be a continuous material flow to which human expressions contribute but which precedes and exceeds those expressions. Cox shows how, over the course of the twentieth and twenty-first (...) centuries, philosophers and sonic artists have explored this “sonic flux.” Through the philosophical analysis of works by John Cage, Maryanne Amacher, Max Neuhaus, Christian Marclay, and many others, Sonic Flux contributes to the development of a materialist metaphysics and poses a challenge to the prevailing positions in cultural theory, proposing a realist and materialist aesthetics able to account not only for sonic art but for artistic production in general. (shrink)

A study of phenomena familiar to us but largely overlooked in our everyday lives and in philosophy—the phenomena of sound. The author, in what is almost a meditative form of writing, wishes to disengage the reader from the predominant, visualist tradition in philosophy and western thought generally and to reintroduce listening and sound as autonomous realms of experience. What he develops is a phenomenology of sound which utilizes themes from the works of both Husserl and Heidegger. Husserl himself did not (...) completely escape the dominance of the visualist tradition in western thought. For him perceptual experience was primarily visual. However, according to Ihde, the emphasis on a description of experience in the phenomenological reduction provides categorical schema for understanding sound and a basis for surveying the auditory terrain and the "voices" of the world as independent phenomena. Husserl’s analysis of perceptual experience distinguishes between focus, fringe, horizon, and that which is absent or empty in experience, and Ihde applies this set of distinctions to a descriptive analysis of the auditory dimension. Roughly the first half of his book is given over to such a Husserlian description of the presence of sound. (shrink)

There is one character too many in the triad sound, event source, thing source. As there are neither phenomenological nor metaphysical grounds for distinguishing sounds and sound sources, we propose to identify them.

The debate over the metaphysics of sounds is about the nature of what we immediately auditorily perceive. There are good reasons to identify a sound with some kind of event. But what kind of event? I articulate and defend the _broad event view_ of sounds, on which a sound is identified with a broad event that produces and shapes an acoustic wave. I show that other views that identify a sound with some kind of event face serious problems. (...) In particular, Casati and Dokic’s (La philosophie du son, Editions Jacqueline Chambon, 1994 ) monadic event view fails to capture the full range of sounds, while O’Callaghan’s (Sounds: a philosophical theory, Oxford University Press, 2007 ; in: Nudds, O’Callaghan (eds) Sounds and perception: new philosophical essays, Oxford University Press, 2009 ; Oxford Stud Metaphys 5:247–270, 2010 ) relational event view identifies sounds with too narrow of an event, leading to problems capturing important differences between sounds and putting the perceiver at an unnecessary remove from the kind of broad events she typically cares about. The broad event view avoids these pitfalls. (shrink)

Chapter 3 The locations of sounds 3.1 Where are sounds? 3.2 Locational hearing 3.3 Located sounds 3.4 ‘Coming from’ 3.5 Sounds without locations? 3.6 Locatedness and the metaphysics of sounds 3.7 The durations of sounds.

The advent of modern science brought deep challenges to traditional religion. Miracles, prophecy, immortal souls, absolute morality - all of these fundamental notions were challenged by the increasingly analytical and skeptical approach of modern scientists. One philosopher, Baruch Spinoza, proposed a new theology, rooted in a close analysis of the Bible, which could fit this new science and provide a sound basis for a social order. "Spinoza's Radical Theology" explains the mechanics and meaning of Spinoza's ideas and how they can (...) inform the questions with which we still struggle today. (shrink)

Sounds and Perception brings together original essays on auditory perception and the nature of sounds - an emerging area of interest in the philosophy of mind and perception, and in the metaphysics of sensible qualities. The essays discuss a wide range of issues, including the nature of sound, the spatial aspects of auditory experience, hearing silence, musical experience, and the perception of speech; a substantial introduction by the editors serves to contextualise the essays and make connections between them. (...) The collection serves both as an introduction to the nature of auditory perception and as the definitive resource for coverage of the main questions that constitute the philosophy of sounds and audition. (shrink)

This book presents a (new) attempt to apply the notion of an underlying logic to Aristotle’s Organon and certain passages of the Metaphysics. The author situates his approach as part of a ‘deductio...

Jeanette Edwards sounds as if she wishes to reject the question “Why did you do fieldwork there?” I propose a metaphysical route to this, which is to say, “The self before fieldwork is not my self,” but this conflicts with the traditional Lockean account of personal identity.

Oxford Studies in Metaphysics is the forum for the best new work in this flourishing field. Much of the most interesting work in philosophy today is metaphysical in character: this series is a much-needed focus for it. OSM offers a broad view of the subject, featuring not only the traditionally central topics such as existence, identity, modality, time, and causation, but also the rich clusters of metaphysical questions in neighbouring fields, such as philosophy of mind and philosophy of science. Besides (...) independent essays, volumes will often contain a critical essay on a recent book, or a symposium that allows participants to respond to one another's criticisms and questions. This fifth volume is largely focused on the metaphysics of time, with sections on time travel; persistence through time; and time, space, and location. The final section of the volume is devoted to a neglected topic that is starting to attract philosophical attention: the metaphysics of sounds. Anyone who wants to know what's happening in metaphysics can start here. (shrink)

The current literature on norms of inquiry features two families of norms: norms that focus on an inquirer’s ignorance and norms that focus on the question’s soundness. I argue that, given a factive conception of ignorance, it’s possible to derive a soundness-style norm from a version of the ignorance norm. A crucial lemma in the argument is that just as one can only be ignorant of a proposition if the proposition is true, so one can only be ignorant with respect (...) to a question if the question is sound. (shrink)

I argue against the Primary Sound Account of Echoes (PSAE) – the view that an echo of a sound just is that sound. I then argue that if my case against PSAE is successful, distal theories of sound are false. The upshot of my arguments, if they succeed, is that distal theories are false. Towards the end, I show how some distal theories can be modified to avoid this conclusion and note some open questions to which the modified theories give (...) rise. (shrink)

Trata sobre los presupuestos metafísicos de aceptar la Biblia como Palabra de Dios. En particular, trata sobre la posibilidad de las intervenciones divinas, de los milagros y profecías. Responde al argumento de Hobbes por el determinismo, al principio de la clausura causal del mundo, a la crítica de Hume a la posibilidad de probar un milagro y a la negación de las profecías. This paper deals with the metaphysical presuppositions which underlie the acceptance of the Bible as the Word of (...) God. In particular, it deals with the possibility of divine interventions, miracles and prophecies. It answers to the Hobbesian argument for determinism, to the principle of the causal closure of the world, to Hume’s criticism of the possibility to prove miracles and to the negation of prophecies. (shrink)

In the realm of the philosophy of sounds and auditory experience there is an ongoing discussion concerned with the nature of sounds. One of the contestant views within this ontology of sound is that of the Property View, which holds that sounds are properties of the sounding objects. A way of developing this view is through the idea of dispositionalism, namely, by sustaining the theory according to which sounds are dispositional properties (Pasnau 1999; Kulvicki 2008; Roberts (...) 2017). That portrayal, however, is not sufficient, as it has not inquired the metaphysical debates about dispositions beyond the conditional analysis. In this paper, I try to advance this view by including recent developments (for instance Bird 2007; Vetter 2015) in the field of dispositionalism and I analyse whether this new version can sort out known and new objections to Property View. (shrink)

Is an exploration of the metaphysics of sound, arguing that sounds are not properties of the objects that emit them but ‘secondary objects’, which can be isolated in an ‘acousmatic’ experience as ‘pure events’, with an internal spatial order.

One of the prevalent inference methods the mutakallimūn uses is qiyās al-ghaib ‘ala al-shahid (analogy from the visible world to the invisible world). Mu‘tazila, who accepts this method as an absolute criterion in the divine attributes, rejects the possibility of difference between shahid and ghaib about the reality of attributes. By rejecting the concept of kalām nafsī adopted by Ahl al-Sunnah, they mention the divine speech in the category of actual attributes and claim that kalāmullāh (God’s speech), like human speech, (...) is an accident consisting of words and sounds. Mu‘tazila, who defines mutakallim as the agent of kalām, claims that God is also the agent of the word. In this regard, Mu‘tazila, who defends the origin of the kalāmullāh and the createdness of the Qur’ān, focuses on the explanation of the nature of the kalām at the beginning of these theological subjects. As an extension of the issue of whether the ḥikāyah and maḥkī are the same or not, which is the subject of discussion in the context of the possibility of creating something similar to the Qur’ān, Mu‘tazila, who disagree on whether kalām (word) is a kind of sound (ṣawt) or not, examine the problem of the nature of the word by expanding it to include sounds. Although they agree that sounds are accidents created by humans through tawlīd, they propound different theories about the physical formation of sound and kalām. These theories are differentiated according to discussions about the essential factors for the formation of sounds. Some scholars claim that i‘timād generates sounds, and the substrate (maḥall) is enough to form the sounds. In contrast, others claim the necessity of a specific structure (binya), movement (ḥaraka), and air added to the substrate. In this regard, this study will deal with the effect of these factors mentioned above to the formation of the sounds and the physical examples which every group mentioned to prove its opinions rightfulness. The most detailed explanations about this topic are seen in the works of Baṣrian Mu‘tazila. Therefore, this study will examine the opinions about the production of sounds, which argued around metaphysical issues in the context of the createdness of the Qur’ān and the attribute of kalām, which are submitted by Abū ‘Alī al-Jubbā'ī (d. 303/916), Abū Hāshim al-Jubbā'ī (d. 321/933), and their followers Qāḍī ‘Abd al-Jabbār (d. 415/1025), Abū Rashīd al-Nīsābūrī (d. first half of the 5./11. century), and Ibn Mattawayh (d. first half of the 5./11. century), the representatives of Baṣrian Mu‘tazila, who adopt atomic universe understanding. The study aimed to form an opinion about the theologians’ way of discussing a particular physical phenomenon to constitute a basis for solving metaphysical problems. To clarify the problem, first, it will deal with the essence of sounds in the Baṣrian Mu‘tazilites tradition, and then it will tackle the discussions about the formation of the sounds. (shrink)

What is the relationship between sounds and time? More specifically, is there something essentially or distinctively temporal about sounds that distinguishes them from, say, colors, shapes, odors, tastes, or other sensible qualities? And just what might this distinctive relation to time consist in? Apart from their independent interest, these issues have a number of important philosophical repercussions. First, if sounds are temporal in a way that other sensible qualities are not, then this would mean that standard lists (...) of paradigm secondary qualities offered by Locke, Galileo, and other modern philosophers — lists which include colors, odors and sounds without any significant distinctions — overlook significant metaphysical differences. This, in turn, would threaten to undermine the coherence of the modern understanding of secondary qualities itself. Moreover, a number of authors have recently urged that the essential temporality of sounds makes it impossible to understand sounds as properties (except on a trope theory of properties; see note 3). If true, and given the more or less universal view that colors are properties, this last conclusion would make potentially inapplicable to sounds much of the comparatively well-developed philosophical taxonomy and apparatus that has arisen in philosophical disputes over the status of colors (for presentations of this taxonomy and apparatus see, for example, Byrne and Hilbert (2003); Cohen (2008b)).1 Therefore, the conclusion that sounds are distinctively temporal would be a serious blow to hopes for a theoretically unified treatment of the sensory qualities.2 For all these reasons, quite a lot seems to hang on the question of the temporality of sounds. (shrink)

In Chapter One I present an interpretation of Descartes' theory of distinction. I argue that the best understanding of the notion of separate existence at stake in the real distinction between mind and body is not that each can exist without the other existing, nor that each can exist without a real union with the other, but that each can exist without the attributes of the other. However, the only notion of separate existence which can provide an adequate acccount of (...) all three kinds of distinction--real, modal, and of reason--is that of one thing existing without a real union with another thing. ;In Chapter Two I examine Descartes' claims about the dependence of created substances on God and their independence from other creatures. The pure substances, those which are not composed of parts, can be caused to come into existence and go out of existence only by God, and they can perish only by annihilation. These substances include individual created minds and the extended universe considered as a whole. In contrast, bodies and human beings, which are composed of parts, can be caused to go out of existence by other creatures, and they can perish without being annihilated. Nevertheless, I argue that Descartes thinks bodies and human beings are full-fledged substances. ;In Chapter Three I discuss the union of mind and body. I argue that Descartes thinks the human soul is the only substantial form and that it inheres in the body as form inheres in matter. I defend his account of how two substances can form a unity by comparing it with medieval accounts of the unity of composites. ;Chapter Four examines Descartes' arguments for rejecting substantial forms and the so-called real qualities. I argue that his earliest series of arguments, those from perception and scientific explanation, is the most successful. ;Finally, in Chapter Five, I consider Descartes' positive account of the status of those so-called real qualities which he asserts are merely sensations, for example, color, sound, and heat. I argue that he is best understood as holding that they are modes of both thought and extension which are property ascribed to the composite of mind and body. (shrink)

Historians of science, like all historians, know well that every account of the history of science is necessarily an interpretation of the history of science. It requires decisions on what is important and what not, it requires ordering, contextualizing, and interpreting the available material, and presenting the results in a final form that sounds plausible to readers. Because a majority of the readers of histories of science are scientists, the degree of plausibility and acceptability depends on what scientists expect (...) from the historiography of science. As a rule, scientists expect much, too much than historians of science can fulfill without giving up their scholarly standards. Indeed, many scientist wish to read entertaining stories that make science, or their discipline, look particular attractive and interesting to a broader public. They may have their personal heroes, schools, or nations that they expect to be duly honored and celebrated. They want historians to focus on what they consider essential in order to carve socio-historical identities of disciplines or subdisciplines. They like to see progress in the historical development with one or the other revolution. They are yearning for meaning of the historical whole, such that individual scientific activities, including their own, make sense in the whole, and that one can draw extrapolations from the past to provide directions and goals for the future. In order to meet all these expectations, a meta-narrative is required that professional historians are reluctant to adopt. And so scientists are inclined to write their own histories of science for personal satisfaction. In chemistry, the most powerful meta-narrative that satisfies all the mentioned and other historiographic needs of chemists is a story about “chemistry versus nature”. It was invented and is still cultivated by chemists alone, without support and without objections thus far, from historians of chemistry. While the story has provided strong metaphysical orientation to chemists, it has caused rather alienation and hostility outside of chemistry. In this paper I will provide a brief history of the meta-narrative “chemistry versus nature”.. (shrink)

This book, written by two central figures of generative grammar, represent the culmination of some ten years work on phonological theory and specifically on the sound system of English. As such, it is of interest to anyone concerned with phonology in general no less than to the student of English. Their description of the phonological structure of modern English, while not claiming to be exhaustive, reveals the deep and hitherto largely uncharacterized, regularities underlying this system in at least two major (...) areas: in the analysis of English stress, which is shown to be in large measure predictable at the level of both word and phrase; and in the account of vowel and consonant alternations in such cases as sane-sanity, deceive-deception, decide-decision, cone-conic and democrat-democracy respectively. Secondly the book constitutes a major contribution to general phonological theory. Thus, for example, the note of the phonological component of a generative grammar is viewed as the mapping of the abstract string of formatives that constitute the surface structure output of the syntax onto concrete phonetic space, via a series of carefully formalized rules; a clearly-defined, highly abstract view is taken of underlying phonological representations, which in turn are related in a non-arbitrary fashion to the actual phonetic output; and the choice of phonological primes is motivated in terms of certain crucial departures from the earlier set of distinctive features established by Roman Jakobson--to whom the book is dedicated. Thirdly, the book is of major importance for general linguistic theory, as it makes substantive contributions to areas such as: language change and the relation between diachrony and synchrony; the nature and ordering of grammatical rules ; or the key notion of the "cyclical" applications of rules--first introduced in this work in order to handle the assignment of English stress to words and phrases beyond the single-morpheme level, and by now a crucial feature of the transformational rules of generative syntax. In their preface, the authors describe The Sound Pattern of English as "an interim report on work in progress." That this is true is attested to by the debate now being waged on nearly every aspect of phonological theory by followers of Chomsky and Halle. The book has already given rise to considerable critical discussion, ranging from specific points such as the correctness of the particular set of distinctive features established by the authors, to far deeper issues concerning the abstractness of phonological representations, the inter-relation between phonology and the syntactic and semantic components of grammar, the place of phonetics within the field of linguistics. These very controversies should insure this book its place as a central text for all serious students of English, phonology, and language.--R. A. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 126-129, Winter 2020.

This book defends a radical new theory of contingency as a physical phenomenon. Drawing on the many-worlds approach to quantum theory and cutting-edge metaphysics and philosophy of science, it argues that quantum theories are best understood as telling us about the space of genuine possibilities, rather than as telling us solely about actuality. When quantum physics is taken seriously in the way first proposed by Hugh Everett III, it provides the resources for a new systematic metaphysical framework encompassing possibility, necessity, (...) actuality, chance, counterfactuals, and a host of related modal notions. -/- Rationalist metaphysicians argue that the metaphysics of modality is strictly prior to any scientific investigation; metaphysics establishes which worlds are possible, and physics merely checks which of these worlds is actual. Naturalistic metaphysicians respond that science may discover new possibilities and new impossibilities. This book's quantum theory of contingency takes naturalistic metaphysics one step further, allowing that science may discover what it is to be possible. As electromagnetism revealed the nature of light, as acoustics revealed the nature of sound, as statistical mechanics revealed the nature of heat, so quantum physics reveals the nature of contingency. (shrink)

What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents a compelling case (...) for the moral significance of music, its place in our culture, and the need for taste and discrimination in performing and listening to it. Laying down principles for musical analysis and criticism, this bold work concludes with a theory of culture--and a devastating demolition of modern popular music. "A provocative new study."--The Guardian. (shrink)

Examination of contemporary debates on metaphysics and its critique yields the conclusion that there is an overall tendency to defend an inextricable bond between them. According to the vast majority of participants in these debates, any reaction against metaphysics, however powerful or radical, is bound to remain trapped in the metaphysical tradition. The dominant view is that criticism either remains tied to or eventually returns to forms of metaphysics, if it does not in fact remain metaphysical in itself. This view (...) confirms the persistence of a typical pattern, namely, that of a circular relationship between metaphysics and its critique. Conspicuous by its absence is the idea of a critique of metaphysics that is not caught up in this vicious metaphysical circle. Moreover, the alleged self-defeating and counterproductive character of critique has become so widely and uncritically accepted—even among opponents of metaphysics—that strong and well-founded objections to metaphysics have largely disappeared from philosophical discourse. Contrary to the conventional idea of a crisis of metaphysics, there appears to be a crisis of the critique of metaphysics. This paper attempts to turn the tide of this crisis. It demonstrates that the categorical assertion of a circular relationship between metaphysics and its critique cannot be logically justified. Furthermore, it presents three different forms of criticism that cannot be metaphysically recuperated. It therefore concludes that the wide acceptance of the idea of an inescapable metaphysical circle, instead of being inspired by sound and irrefutable arguments, is essentially based on a myth. (shrink)

Friedrich Nietzsche's reference to Ernst Chladni in ‘On Truth and Lie in an Extra-Moral Sense’ (1873) could easily be overlooked as a casual analogy. Yet it emerges from a systematic engagement with the nascent field of acoustics. Chladni was among the discipline's founding fathers, having honed the application of rigorous empirical testing to sound and music. His name is most enduringly associated with the discovery of the 'sound figures', which rendered sound visible for the first time. To produce them, Chladni (...) scattered sand onto a metal sheet. A note was then emitted by playing a violin bow against its side. The resulting oscillations prompted the sand to settle in a range of symmetrical patterns. The natural beauty of the shapes made them quite famous. Yet they also represented a mystery. Though the formula for calculating the oscillation of single strings was reliable, it could not easily be reconciled with oscillation in two dimensions. In lieu of an explanation, the sound figures became the object of speculative attention. Their existence posed a difficulty for the quantitative ontology of rationalist metaphysics. The inheritors of Schelling, for example, saw in the sound figures an undeciphered language of nature. But Nietzsche was implacably opposed to this position: for him, nature contains no inherent meaning, no rational order, and no divine teleology. The ‘book of nature’ was at best an anthropomorphic projection, and at worst a theological dogma. Thus reframed, Chladni's sound figures confront us not with the infinite mystery of nature, but our own cognitive impotence. The following essay therefore elaborates the provenance of Nietzsche's sound figure analogy: a rare intersection of scientific experiment and speculative philosophy. (shrink)