The theory of lower previsions is designed around the principles of coherence and sure-loss avoidance, thus steers clear of all the updating anomalies highlighted in Gong and Meng's "Judicious Judgment Meets Unsettling Updating: Dilation, Sure Loss, and Simpson's Paradox" except dilation. In fact, the traditional problem with the theory of imprecise probability is that coherent inference is too complicated rather than unsettling. Progress has been made simplifying coherent inference by demoting sets of probabilities from fundamental building blocks to secondary representations (...) that are derived or discarded as needed. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

In this paper, we defend the view that Spinoza is committed to allowing for the existence of a plurality of possible worlds, that his necessitarianism is merely moderate, not strict enough to exclude the possibility of other worlds. To show that evidence for attributing strict necessitarianism to Spinoza is lacking, we shall concentrate on Don Garrett's article, “Spinoza's Necessitarianism,” in the conviction that his case for attributing strict necessitarianism to Spinoza is the strongest one available.

This book proposes an original theory of epistemic justification that offers a new way to relate justification to the epistemic goal of truth-conducive belief.

Transition to man -- Transition from man -- And beyond.

I introduce and explicate a new functionalist account of art, namely that something is an artwork iff the fulfillment of its function by a subject requires that the subject aesthetically engage it. This is the Aesthetic Engagement Theory of art. I show how the Aesthetic Engagement Theory outperforms salient rival theories in terms of extensional adequacy, non-arbitrariness, and ability to account for the distinctive value of art. I also give an account of what it is to aesthetically engage a work (...) that relies on our agential capacity to treat an object as having non-instrumental value, even while the ultimate purpose for our engaging the object is to get something from it. (shrink)

There are a number of recent discussions on the question of when an artwork is complete. While it has been observed that a work might be complete in one way and not in another, the impact of this observation has been minimal. Discussion has been continued as if there is only one real sense of completion that matters. I argue that this is a mistake. Even if there were only one (or one most important) kind of completion, extant theories of (...) completion would be bad candidates for that one kind. The best explanation of the failure of extant theories is that there are many kinds of completion, many corresponding senses of “completion,” and no kind of artwork completion is objectively more important than any other. We have a good reason to think that this is the case given the disparate interests we have when we ask completion questions. Once we have realized that those concerns track properties that are often unrelated, the question for theorists to answer becomes, “In how many ways can an artwork be complete?”. (shrink)

Leplin attempts to reinstate the common sense idea that theoretical knowledge is achievable, indeed that its achievement is part of the means to progress in empirical knowledge. He sketches the genesis of the skeptical position, then introduces his argument for Minimalist Scientific Realism -- the requirement that novel predicitons be explained, and the claim that only realism about scientific theories can explain the importance of novel prediction.

I argue there are two ways predication relations can hold according to the Categories: they can hold directly or they can hold mediately. The distinction between direct and mediated predication is a distinction between whether or not a given prediction fact holds in virtue of another predication fact’s holding. We can tell Aristotle endorses this distinction from multiple places in the text where he licenses an inference from one predication fact’s holding to another predication fact’s holding. The best explanation for (...) each such inference is that he takes some predication facts to be mediated by others. Once the distinction between direct and mediated predication has been explained and argued for, I show how it can help solve a persistent problem for the traditional view of non-substantial particulars in the Categories—that is, the view that non-substantial particulars are particular in the sense of being non-recurrent. Along with vindicating the traditional view, the direct/mediated predication distinction gives us a distinctive way of understanding what it is for something to be recurrent (or non-recurrent) as well as a better understanding of Aristotle’s broader commitments in the Categories as a whole. (shrink)

Pursuant to criticism, this paper revisits the relation between the theses of empirical equivalence and evidential underdetermination. I argue against some antirealist strategies for fixing the empirical commitments of underdetermined theories.

Introduction Jarrett Leplin Hilary Putnam seems to have inaugurated a new era of interest in realism with his declaration that realism is the ...

A realist interpretation of successful science is defended against a historical induction to the ultimate failure of current science from the failure of theories which once excelled by current standards. The defense requires (1) restrictions on the forms of success which realism, by its own lights, must explain, (2) referential stability through theory changes where the rejected theory achieves such success, and (3) degrees of truth for scientific statements.

Since educators are always looking for ways to improve their practice, and since empirical science is now accepted in our worldview as the final arbiter of truth, it is no surprise they have been lured toward cognitive neuroscience in hopes that discovering how the brain learns will provide a nutshell explanation for student learning in general. I argue that identifying the person with the brain is scientism (not science), that the brain is not the person, and that it is the (...) person who learns. In fact the brain only responds to the learning of embodied experience within the extra-neural network of intersubjective communications. Learning is a dynamic, cultural activity, not a neural program. Brain-based learning is unnecessary for educators and may be dangerous in that a culturally narrow ontology is taken for granted, thus restricting our creativity and imagination, and narrowing the human community. (shrink)

I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...) identity attributions---sentences like, "Peter Jackson's Lord of the Rings is the same story as JRR Tolkien's Lord of the Rings''---are relative to their context of use, so that the same attribution of identity might be true in one context or false in another because of a change in what's being said about the works in the differing contexts. From those existence and identity conditions, I draw the conclusions that story is best understood to be a phase sortal of some abstract types, and that what it is to make up a story is to identify a type of narrative representation and its content, such that the content is neither based on actual events nor on the content of other stories to an objectionable degree. In chapter 2, I ask what it is for a story to be complete. I argue for the general meta-thesis I call "Completion Pluralism", viz. that there are many kinds of artwork completeness, many corresponding senses of 'complete', and no kind of artwork completeness is objectively more important than any other. I give a pair of arguments against those who would deny Completion Pluralism, endorsing Completion Monism instead. First, I show how Monistic analyses of the one (or one most important) kind of artwork completeness fail. I also show that each Monistic theory's failure is contingent on the assumption of Completion Monism: the denial of Completion Monism dissolves each argument against the extensional adequacy of extant theories of artwork completeness. I argue that this is all best explained by the idea that Completion Pluralism is true. Second, I argue that Completion Pluralism fits best with the variety of interests that we bring to questions about artwork completeness: there is no single or overriding concern we have when we want to know whether an artwork is complete. We shouldn't expect completeness to be a single sort of thing, then. I show how to put Completion Pluralism to work by identifying different kinds of artwork completeness in artworks. Finally, I introduce a new kind of completeness particular to stories, what I call "narrative completion", and show how it's distinct from other kinds of completeness discussed. In chapter 3, I argue that the distinction between fictional and non-fictional stories is the degree to which stories are made-up. In short, a fictional story is a made-up story. I first provide a couple desiderata for thinking about theories of fiction, then show how the two most popular extant theories of fiction---the prop theory and the genre theory---fall short in meeting one or more of those desiderata to some extent. I then show how the theory that fictions are made-up stories better meets the desiderata, using my account of what it is to make up a story from chapter 1. I turn to explicitly ontological matters in chapter 4. Addressing the question of what stories are, I show that both the theses that they are eternal and immutable and that they are created and historical seem plausible for independent reasons. I discuss a schema of an argument some philosophers who hold to the latter view (those I call "Creationists") attempt to give for their view. However, I show how those who hold to the view that stories are eternal and immutable ("Platonists") can account for all the same appearances as the Creationists, usually at least as well and sometimes with a better accounting. Similar, deductive arguments for Platonism will give rise to similar responses from the Creationist, however. In the end, then, the style of argument in particular is unlikely to advance the discussion much. Finally, I attempt to advance the discussion by building an abductive case for Platonism. First, I vindicate a particular metaontological methodology for the debate at hand, a methodology that allows for "revisionary" outcomes in our ontologies of art objects. Second, I build a case for Platonism by arguing that it best explains a number of features of stories discussed in the previous chapters. Moreover, I argue that Creationism is committed to an implausible account of how some abstract objects come into existence. Given the combination of those facts, I argue that we should prefer Platonism to Creationism. (shrink)

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1984.

A re-issue of Gregory Bateson's classic work. It summarizes Bateson's thinking on the subject of the patterns that connect living beings to each other and to their environment.

Some recent theories in theoretical physics are not subject to epistemic evaluation by empiricist standards of evidential warrant. The advantage of these theories is not pragmatic but explanationist; they fail to yield testable consequences that distinguish them from earlier theories. But this is essentially a technological limitation, rather than a theoretical defect. There is an explanation, itself confirmed by empiricist standards, of the unconfirmability of these theories. This paper considers what epistemic stance is proper in this situation, and explores the (...) prospects for justifiable change to an explanationist methodology capable of warranting theories that transcend the range of our experience. (shrink)

One of the most intractable contemporary problems in the USSR is the Soviet federal dilemma. The late 1980s witnessed competing claims among the national minority groups of the USSR to rights of voice, representation, and cultural, economic, and even political sovereignty. Since the onset of perestrojka, the principle of 'national-statehood' has acquired a new legitimacy. Nationality is one of the pillars of the federal reform. The drive to create a 'new Soviet federalism' has become an important component of perestrojka. But, (...) according to Leninist doctrine, the 'nation' is a transitional formation. Unless there is a significant departure from Leninist theory, the new acknowledgement of the 'rights of nations' in the USSR can only be a political -- and thus temporary -- concession. Can the ideology evolve in such a way as to provide ideologically-based political legitimacy to the notion of national-statehood? Is Gorbachev's 'dynamic' interpretation of Leninism capable of rejecting one of Lenin's most fundamental concepts? The thesis of this article is that Soviet federal reform requires a substantial departure from the Leninist tradition. The extent to which Soviet leaders are prepared to do this casts light on one of the perennial concerns of socialist thought, namely whether ideology matters at all. (shrink)

A comprehensive introduction to current research on the psychology of concept formation and use.

The following paper will attempt (i) to set forth a form of materialism that is ‘Spinozistic’ in maintaining that there is a conceptual, but not an ontological distinction between mental and physical phenomena; (ii) to undermine objections to this based on (a) ‘functionalism’ and (b) the conception of (and identity conditions for) an event that has been advocated by Goldman, Brandt, and Kim; and (iii) to explain why, according to the identity ‘theory’, the apparent failure of the indiscernibility of identicals (...) is merely apparent. (shrink)

The following paper will attempt (i) to set forth a form of materialism that is ‘Spinozistic’ in maintaining that there is a conceptual, but not an ontological distinction between mental and physical phenomena; (ii) to undermine objections to this based on (a) ‘functionalism’ and (b) the conception of (and identity conditions for) an event that has been advocated by Goldman, Brandt, and Kim; and (iii) to explain why, according to the identity ‘theory’, the apparent failure of the indiscernibility of identicals (...) is merely apparent. (shrink)

In a paper in an earlier issue of this journal I endeavoured to show that Nonius Marcellus’ three glossarial sources known as ‘Gloss. iii’, ‘Alph. Verb’ and ‘Alph. Adverb’ were compiled by a lexicographer who paid attention to both metre and sense when excerpting works of Republican poetry. That compiler always excerpted quotations of poetry such that they consisted of, or began or ended with, a metrically complete verse. That method has produced quotations of high quality that are, on several (...) counts, considerably more transparent and more reliable than those preserved by less diligent sources. (shrink)

Why be a scientific realist? The predominant motivation is explanationist: we need realism to understand the successfulness of science. Why be an antirealist? The predominant motivation is skeptical: theory systematically exceeds the reach of empirical warrant. Antirealists deny that explanatory power is evidential; realists deny that the reach of empirical warrant summarily terminates at the boundary of the observable. But these counterarguments are mere protection of philosophical stances to which the adversaries independently incline.