Based on a nuanced understanding of immersion and sense of presence as two key aesthetic effects that the application of virtual reality to cinema is believed to innovate, this paper develops the concept of synthetic vision as fundamental to understanding the visual experience of VR media, particularly VR documentaries. The concept contends that viewers’ experience in VR is based on two visions that seemingly contradict each other: first, a disembodied vision that transports them to a simulated world, (...) and second, an embodied vision guaranteed by the freedom to control kinesthetic movement and direction of gaze. This serves to advance the idea that immersion and SoP are not unified but rather multifaceted concepts premised on a nuanced understanding of the varying relationships between the technological system of VR, its media content, and its user. For the concept of synthetic vision points to the paradoxical coexistence of viewers’ presence in the virtual world and their structural absence from the world that lays the groundwork for their immersive experience. By classifying three generic categories of contemporary VR documentaries, and by examining the aesthetic and ethical underpinnings VR brings to each of them, I argue that it hinges upon what kind of cinematic conventions and genres are remediated to determine the effective synthesis of the two visions. The varying effects of synthetic vision in the three subgenres of VR documentary stress that immersion and SoP have different political and ethical consequences of media witnessing. In the conclusion, I recapitulate multiple implications that the concept of synthetic vision has in regards to both the studies on VR and the recently flourishing investigation into cinematic VR artifacts. (shrink)

Morphological engineering is an emerging research area in synthetic biology. In 2008 “synthetic morphology” was proposed as a prospective approach to engineering self-constructing anatomies by Jamie A. Davies of the University of Edinburgh. Synthetic morphology can establish a new paradigm, according to Davies, insofar as “cells can be programmed to organize themselves into specific, designed arrangements, structures and tissues.” It is obvious that this new approach will extrapolate morphology into a new realm beyond the traditional logic of (...) morphological research. However, synthetic morphology is a highly idealized vision of morphology which derives its visionary ideas from morphological engineering and mathematical idealizations in order to understand the principles of molecular morphology. Thus, the question is, if this approach will help to understand morphogenesis better or if it will just enable biologists to engineer morphogenesis. The paper investigates the development of synthetic morphology and its relation to synthetic biology as well as its epistemic gains. (shrink)

British biologist and science populariser J. B. S. Haldane was known as a contrarian, whose myriad ideas and beliefs would shift to oppose whomever he chose to argue with. Yet Haldane's support for synthetic food remained remarkably stable throughout his life. This article argues that Haldane's engagement with synthetic food during the 1930s and 1940s was shaped by his frustration with the status and direction of scientific research in Britain. Drawing upon the Haldane Papers, I reconstruct how Haldane's (...) interest in synthetic food emerged from the biochemical and physiological optimism of the early 20th century. His mid-20th-century writings were an opportunity for Haldane to voice his political opinions. He attempted to erase the conceptual divide between farm and factory, maintained that food shortages were a capitalist construct, and criticised British colonialism. By pointing out the failure of existing economic systems and governments to develop synthetic food, Haldane made the case that food production should be placed under the control of biologists. (shrink)

The artworks in 'Synthetic Times' explore a trajectory of uncanny visions ranging from the desire to transcend the corporal to the construction of synthetic worlds.

Synthetic biology emerged around 2000 as a new biological discipline. It shares with systems biology the same modular vision of organisms, but is more concerned with applications than with a better understanding of the functioning of organisms. A herald of this new discipline is Craig Venter who aims to create an artificial microorganism with the minimal genome compatible with life and to implement into it different 'functional modules' to generate new micro-organisms adapted to specific tasks. Synthetic biology (...) is based on the possibilities raised by genetic engineering, but it aims to engineer organisms, and not simply to modify them, mimicking the practice of computer engineers. Three points will be discussed: In what regard does synthetic biology represent a new epistemology of the life sciences? What are the relations between synthetic biology and evolutionary biology? What is the raison d'être of synthetic biology as a discipline independent of nanotechnologies? (shrink)

Synthetic biology is regarded as one of the key technosciences of the future. The goal of this paper is to present some fundamental considerations to enable procedures of a technology assessment of synthetic biology. To accomplish such an early “upstream” assessment of a not yet fully developed technology, a special type of TA will be considered: Prospective TA. At the center of ProTA are the analysis and the framing of “synthetic biology,” including a characterization and assessment of (...) the technological core. The thesis is that if there is any differentia specifica giving substance to the umbrella term “synthetic biology,” it is the idea of harnessing self-organization for engineering purposes. To underline that we are likely experiencing an epochal break in the ontology of technoscientific systems, this new type of technology is called “late-modern technology.” —I start this paper by analyzing the three most common visions of synthetic biology. Then I argue that one particular vision deserves more attention because it underlies the others: the vision of self-organization. I discuss the inherent limits of this new type of late-modern technology in the attempt to control and monitor possible risk issues. I refer to Hans Jonas’ ethics and his early anticipation of the risks of a novel type of technology. I end by drawing conclusions for the approach of ProTA towards an early societal shaping of synthetic biology. (shrink)

Although the emerging field of synthetic biology looks back on barely a decade of development, the stakes are high. It is a multidisciplinary research field that aims at integrating the life sciences with engineering and the physical/chemical sciences. The common goal is to design and construct novel biological components, functions and systems in order to implement, in a controlled way, biological devices and production systems not necessarily found in nature. Among the many potential applications are novel drugs and pesticides, (...) cancer treatments, biofuels, and new materials. According to the most optimistic visions, synthetic biology may thus lead to a biotechnological revolution by transforming microorganisms into ‘factories’ of sorts, which could eventually displace conventional industrial methods. (shrink)

This article proposes to reconceptualize the Hungarian photographer, artist and educator László Moholy-Nagy’s (1895–1946) inter-war call for a ‘new vision’ in order to grasp how artists presently experiment with photography and adjacent new technologies to explore the environmental, ecological and elemental dimension of media themselves. For Moholy-Nagy, photography represented a new way of seeing and experiencing the increasingly industrialized and automated world and a means of expanding our sensory perception. Drawing on recent scholarship of elemental media theory, I adapt (...) Moholy-Nagy’s interest in the materiality of photography and the atmospheric and medial dimensions of light itself to an environmentally attuned notion of ‘new visions’. Exemplified with discussion of recent works by Emilija Škarnulytė, Lesia Vasylchenko and Istvan Virag, I show how a number of contemporary artists likewise scrutinize photography’s (understood in an expanded way) material basis and atmospheric qualities to explore new forms of image-making, including CGI and synthetic aperture radar images, fitted to reflect the accelerated automation and ecological precarity that mark the early twenty-first century. (shrink)

Approaching Martin Luther King Jr. as a constructive political theorist, I present a synthetic view of his thought that is able to make cogent and compelling sense of prominent concepts and lines of reasoning in his writings. I contend that King's political thought, which is grounded in his moral, metaphysical, and theological convictions, is best understood as structurally teleological and oriented to the construction of an inclusive, democratic community as its end. To make this case and fill out the (...) picture of his view, I offer an analysis of King's “Letter from Birmingham Jail” and argue that his account of nonviolence, which provides the key to understanding his political thought, ought to be understood as operating within and on behalf of this teleological vision by patterning what I term dialogical relations between persons. (shrink)

This paper is a critical reflection on the concepts of Responsible Innovation (RI) and Responsible Research and Innovation (RRI). We offer an account of the emergence of these related but different accounts of responsible innovation that have recently been adopted by funders. We further report on our exploration of the knowledge and understanding of these concepts through the views of senior scientists involved in synthetic biology research projects. Though most of our respondents struggled to provide a clear account of (...) RI/RRI we identified that existing “practices of responsibility” include many aspects of RI/RRI but that this often went unrecognized as such. Most respondents associated RI/RRI with risk avoidance. While some visions of RI/RRI see scientists as taking an active role in shaping the future of innovation, we suggest that it is not for such individuals to take decisions alone on the types of futures a society should have available to it. (shrink)

The comparison between natural evolution and the action of a tinkerer has become highly popular since its reintroduction by François Jacob at the end of the 1970s. It has been used as a weapon against the existence of an “intelligent design” as well as a way for synthetic biologists to promote their ambitious projects. I will describe the complex history of this metaphor, and examine its pertinence. Whereas Darwin considered it as a way to describe how evolution proceeded, Jacob (...) linked it with a description of the imperfections of organisms, while Stephen Jay Gould and Richard Lewontin criticized what they called the “Panglossian” vision of most evolutionary biologists. The distinction between the work of engineers and that of tinkerers is not obvious. There are limits to the process of evolution, but their alleged description so far reflects the limits of knowledge on the part of evolutionary biologists more than the existence of true barriers to the evolutionary process. And, in their work, synthetic biologists crucially need the optimizing action of natural selection. To give a definition of synthetic biology is no easy task; the false distinction drawn between the work of synthetic biologists and the action of evolution is of no help. (shrink)

Scientists are developing a technique called in vitro gametogenesis or IVG to generate synthetic gametes for research and, potentially, for treating infertility. What would it mean for feminist concerns over the future of reproductive practice and biotechnological development if egg and sperm cells could be produced in laboratory conditions? In this article, I take on the question by discussing the emerging technique of IVG through the speculative feminist analysis of ambiguous reproductive futures. Feminist cultural and science studies scholars have (...) explored the transformative effects of biomedicine on reproduction through science fiction novels and other cultural products. I theorise the speculative and visionary in biomedicine in the context of ethnographic methodology by drawing on ‘thought experiments’ conducted with stem cell scientists as shared acts of future-oriented contemplation. I develop the figure of SF proposed by Donna Haraway to investigate how science facts and speculative fabulation together shape futurities of reproduction. I propose including shifting frontiers in feminist thinking of the SFs in bioscience. Biomedical research aims to shift the borders between what is known and not known in reproductive biology, subsequently raising new technical, ethical and political issues in terms of stratified reproduction. The article shows that synthetic gametes are anticipated to intensify selective procreation. Simultaneously, IVG is seen to forge new biogenetic relationships and possibilities for non-normative reproduction and kin-making. Following Haraway, I argue that by ‘staying with the trouble’ of these biotechnological visions, feminist speculative analytics on technoscience offers a valuable tool to envision more hopeful and equal futures together with scientists. (shrink)

Poetry is frankly regarded by the author as a mode of knowledge; as such, it presupposes a mediating principle, by means of which the mind, in a poetic act reducing experience to meaning, is able to overcome the "tyranny" of the senses. But the dissipation of "tradition," the unavailability of mediating symbols, as once Christianity afforded, has left the modern poet experience only with which to mediate experience; perception itself must somehow be rendered creative of an order at once mimetic (...) and synthetic. It is as venturers in such "unmediated" vision that the subjects of Mr. Hartman's study are taken; he interprets their work with sensitivity and craft.--A. F. (shrink)

Poetry is frankly regarded by the author as a mode of knowledge; as such, it presupposes a mediating principle, by means of which the mind, in a poetic act reducing experience to meaning, is able to overcome the "tyranny" of the senses. But the dissipation of "tradition," the unavailability of mediating symbols, as once Christianity afforded, has left the modern poet experience only with which to mediate experience; perception itself must somehow be rendered creative of an order at once mimetic (...) and synthetic. It is as venturers in such "unmediated" vision that the subjects of Mr. Hartman's study are taken; he interprets their work with sensitivity and craft.--A. F. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine (...) technology experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine (...) technology experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In this book Gerald Vision argues for a new causal theory, one that engages provocatively with direct realism and makes no use of a now discredited subjectivism.

In Veritas, Gerald Vision defends the correspondence theory of truth -- the theory that truth has a direct relationship to reality -- against recent attacks, and critically examines its most influential alternatives. The correspondence theory, if successful, explains one way in which we are cognitively connected to the world; thus, it is claimed, truth -- while relevant to semantics, epistemology, and other studies -- also has significant metaphysical consequences. Although the correspondence theory is widely held today, Vision points (...) to an emerging orthodoxy in philosophy that claims that truth as such carries no significant weight in philosophical explanations. He devotes much of the book to a criticism of that outlook and to a less vulnerable formulation of the correspondence theory.Vision defends the correspondence theory by both presenting evidence for correspondence and examining the claims made by such alternative theories as deflationism, minimalism, and pluralism. The techniques of the argument are thoroughly analytic, but the problem confronted is broadly humanistic. The question examined -- how we, as thinking beings, are connected to and manage to cope in a world that was not designed for our comfort or convenience -- is more likely to be raised by continentalists, but is approached here with the tools of clarity and precision more highly prized in analytic philosophy. The book seeks to avoid both the obscurantism that infects much continental thought and the overly technical concerns and methodology that limit the interest of much work in analytic philosophy. It thus provides a rigorous but largely nontechnical treatment of the topic that will be of interest not only to readers familiar with philosophy but also to those with a background in literary theory and linguistics. (shrink)

In virtue of its form [‘I am here’] must be true on any occasion on which [it is] asserted, and yet the proposition it expresses on each occasion [is] contingent. Intuitively, [‘I am here now’] is deeply, and in some sense universally, true. One need only understand the meaning of [it] to know that it cannot be uttered falsely. The sentence ‘I am here’ has the peculiar property that whenever I utter it, it is bound to be true. Even if (...) I am lost and do not know where I am, I can bravely say ‘I am here’, and know that I am expressing a truth. (shrink)

The evidence of blindsight is occasionally used to argue that we can see things, and thus have perceptual belief, without the distinctive visual awareness accompanying normal sight; thereby displacing phenomenality as a component of the concept of vision. I maintain that arguments to this end typically rely on misconceptions about blindsight and almost always ignore associated visual (or visuomotor) pathologies relevant to the lessons of such cases. More specifically, I conclude, first, that the phenomena very likely do not result (...) from dissociations within a single system, but from the interaction of evolutionarily distinct, if interacting, systems; second, that a closer study of spared motor abilities indicates that verbal responses of patients result not from degraded vision but from proprioception; and, finally, above chance verbal responses, being forced guesses, are not tentative beliefs and cannot become beliefs just by training patients to have more confidence in their responses. (shrink)

I INTRODUCTION - THE TOPIC EXPLAINED 1 GENERAL DIFFERENCES From its inception to the present, philosophy may be viewed as a series of struggles between ...

In " Re-Emergence" he explores the question of conscious properties arising from brute, unthinking matter, making the case that there is no equally plausible non-emergent alternative.

In specifying the sensory evidence for perceptual belief, thinkers have either chosen a common perceptual idiom or have invented one of their own as a starting-point for their enquiries. It is becoming clearer that the choice harbours crucial, often disputable, assumptions. I compare two sorts of constructions, a variety of propositional ones and an objectual one, and I argue that the objectual idiom is indispensable in order to explain how a perceptual belief can arise out of what is not already (...) a belief. This has implications not only for the question of how belief is generated from perceptual evidence, but also for various other controversies. I discuss two of these implications: the character of inferences from evidence, and basic belief. (shrink)

Parmenides didn't mention reference as such, but if he had he would have undoubtedly agreed with the philosophers who nowadays hold what is called "the axiom of existence": that one can only refer to what exists. The sources of possible support for this view are examined and rejected. Primary support for the axiom is given by two sorts of argument; one concerning quantification, the other summarizing a standard Parmenidean puzzle. Weaknesses in both are exposed. Finally, the relations between the axiom (...) and connected claims about predication and truth are probed, and an attempt is made to determine the limits of the mutual support these claims give one another. (shrink)

Parmenides didn't mention reference as such, but if he had he would have undoubtedly agreed with the philosophers who nowadays hold what is called "the axiom of existence": that one can only refer to what exists. The sources of possible support for this view are examined and rejected. Primary support for the axiom is given by two sorts of argument; one concerning quantification, the other summarizing a standard Parmenidean puzzle. Weaknesses in both are exposed. Finally, the relations between the axiom (...) and connected claims about predication and truth are probed, and an attempt is made to determine the limits of the mutual support these claims give one another. (shrink)

Under the title of ‘the axiom of existence’, hereafter, John R. Searle has reduced to compact dictum a view to which many philosophers subscribe: ‘Whatever is referred to must exist’. In this paper I shall offer two major arguments against adopting, at least on certain assumptions. There have been a number of defenses of, among them those arguing that it is fundamental to any systematic philosophy of language or logic. With the exception of discussing some of Searle's remarks in part (...) Ill of this paper I shall not comment on any of these defenses. (shrink)

Although a number of truth theorists have claimed that a deflationary theory of ‘is true’ needs nothing more than the uniform implication of instances of the theorem ‘the proposition that p is true if and only if p ’, reflection shows that this is inadequate. If deflationists can’t support the instances when replacing the biconditional with ‘because’, then their view is in peril. Deflationists sometimes acknowledge this by addressing, occasionally attempting to deflate, ‘because’ and ‘in virtue of’ formulas and their (...) close relatives. I examine what I take to be the most promising deflationist moves in this direction and argue that they fail. (shrink)

A broad, though not unanimous, consensus among commentators is that the later Wittgenstein subscribes to a redundancy conception of truth. I reject that interpretation. No doubt much depends on what is meant by a redundancy theory. But once even mildly plausible versions of that view are isolated a review of the relevant texts shows that the evidence for that interpretation collapses. Moreover, the redundancy interpretation is at odds with guiding prescriptions in the post‐1932 corpus. Wittgenstein doesn’t hold that truth can (...) be defined or characterized thinly, as redundancy theorists propose, but that it isn’t susceptible to any such generic treatment. (shrink)

Emergentism is generally viewed as a non‐materialist alternative to physicalism, although the exceptionally tolerant may count it as consistent with their physicalism. It disarms the threat of Causal Exclusion. The popular conception of explored emergentism is played off against two forms, including physical states and tokens of conscious states (c‐states). Emergentism competes not only with physicalism, but also with panpsychism. Panpsychism is the view that all matter has a conscious aspect. Panpsychism (and its various forms) suffers from several problems. This (...) chapter summarizes a few of the major ones. It scratches the surface of the issues separating emergentism and physicalism, on the one hand, and emergentism and panpsychism, on the other. However, perhaps enough has been divulged to show that emergentism is a live option, a serious candidate when trying to discover a c‐state's place in concrete reality. (shrink)

From the popular view that the property of truth adds nothing not already inherent in its bearers it has been inferred that classical theories of truth are thereby refuted. Taking as representative a version of deflationism based on a certain way of interpreting the Tarskian schema convention T–and popularly called "disquotational"–I argue that the view is beset by fatal difficulties. These include: an unavoidable awkwardness in handling indexicals; an inability to accept anything more than a too anemic notion of a (...) truth condition, leaving it defenseless against clearly inadequate alternatives; and an incapacity to show that its characteristic biconditional can support any acceptable dependency claims (made evident by replacing the biconditional with 'because'). Finally, were there no predicate on the order of 'is true', this would not annihilate the property of being true or the current grounds for philosophical inquiries about it. This is an important clue to why deflationary approaches in general are dead ends. (shrink)

A broad, though not unanimous, consensus among commentators is that the later Wittgenstein subscribes to a redundancy conception of truth. I reject that interpretation. No doubt much depends on what is meant by a redundancy theory. But once even mildly plausible versions of that view are isolated a review of the relevant texts shows that the evidence for that interpretation collapses. Moreover, the redundancy interpretation is at odds with guiding prescriptions in the post‐1932 corpus. Wittgenstein doesn’t hold that truth can (...) be defined or characterized thinly, as redundancy theorists propose, but that it isn’t susceptible to any such generic treatment. (shrink)

A broad, though not unanimous, consensus among commentators is that the later Wittgenstein subscribes to a redundancy conception of truth. I reject that interpretation. No doubt much depends on what is meant by a redundancy theory. But once even mildly plausible versions of that view are isolated a review of the relevant texts shows that the evidence for that interpretation collapses. Moreover, the redundancy interpretation is at odds with guiding prescriptions in the post‐1932 corpus. Wittgenstein doesn’t hold that truth can (...) be defined or characterized thinly, as redundancy theorists propose, but that it isn’t susceptible to any such generic treatment. (shrink)

Some philosophers believe that the doctrine that individuals have (nominal) essences is supported by arguments designed to show that proper names have senses. Three such arguments are extracted from recent pieces of philosophy: one from the absurdity of bare particulars, A second from the necessary conditions for identifying bearers of proper names, And a third from the ability to replace proper names in discourse with the help of sortal terms. All three arguments are rejected upon examination. The bearing this rejection (...) has for our conception of how we identify particulars through time is briefly discussed. Finally, An attempt to revive this sort of essentialism vis-A-Vis semantic categories is criticized. (shrink)

Has Fodor demonstrated conceptual atomism?