This book provides an accessible account of Kant's aesthetic theory, classifying the epistemological status and scope of Kant's justification of the validity of aesthetic judgments. The latter, the book shows, led Kant to investigate the relationship between beautiful objects, subjects, and morality. The book pursues these and related issues, linking Kant's work to contemporary commentaries,including those by Crawford, Crowther, Derrida, Guyer, Makkreel, and Rogeson.

A distinction has often been drawn between processes and accomplishments; between, say, *walking* and *walking to the shops*. But it has proved difficult to explain the nature of this distinction in a satisfying way. This paper offers an explanation of the nature of this distinction that is suggested by the idea that there is an ontologically significant correspondence between temporal and spatial notions. A number of writers, such as Alexander Mourelatos (1978) and Barry Taylor (1985), have argued that the spatial (...) notions of space-occupying stuff and space-occupying particular have temporal analogues. This paper builds on these discussions in offering the fuller development of a temporal ontology at the core of which are the notions of time-occupying stuff and of a time-occupying particular. It is then argued that when this analogy is properly understood it is possible to advance a distinctive explanation of the nature of the distinction between processes and accomplishments. The paper then goes on to develop some suggestions about how a temporal ontology involving the notions of temporal mass and of a temporal particular can help to provide explanations of a range of further puzzling temporal notions. In the final section of the paper, this temporal ontology is defended in the face of some possible sources of criticism. (shrink)

Within physics there are two ways of establishing the relative fundamentality of one theory compared to another, via two senses of reduction: "inter-level" and "intra-level" (Crowther, 2018). The former is standardly recognised as roughly correlating with the chain of ontological dependence (i.e., the phenomena described by theories of macro-physics are typically supposed to be ontologically dependent on the entities/behaviour described by theories of micro-physics), and thus has been of interest to naturalised metaphysics. The latter, though, has not been considered (...) interesting for metaphysics, because it is not thought to correlate either with ontological dependence, nor causal or dynamical dependence. I argue, however, that this is a mistake, and that actually, the intra-level relation does reflect ontological dependence (in the same sense as the inter-level relation) and thus should not be neglected by metaphysics of physics. This argument further supports the assertion that the same notion of fundamentality underlies both the inter- and intra-level claims of fundamentality in physics, and that this notion of relative fundamentality in physics correlates with that of metaphysics. (shrink)

Singularities in general relativity and quantum field theory are often taken not only to motivate the search for a more-fundamental theory (quantum gravity, QG), but also to characterise this new theory and shape expectations of what it is to achieve. Here, we first evaluate how particular types of singularities may suggest an incompleteness of current theories. We then classify four different 'attitudes' towards singularities in the search for QG, and show, through examples in the physics literature, that these lead to (...) different scenarios for the new theory. Two of the attitudes prompt singularity resolution, but only one suggests the need for a theory of QG. Rather than evaluate the different attitudes, we close with some suggestions of factors that influence the choice between them. (shrink)

The numerous and diverse roles of theory reduction in science have been insufficiently explored in the philosophy literature on reduction. Part of the reason for this has been a lack of attention paid to reduction2 (successional reduction)—although I here argue that this sense of reduction is closer to reduction1 (explanatory reduction) than is commonly recognised, and I use an account of reduction that is neutral between the two. This paper draws attention to the utility—and incredible versatility—of theory reduction. A non-exhaustive (...) list of various applications of reduction in science is presented, some of which are drawn from a particular case-study, being the current search for a new theory of fundamental physics. This case-study is especially interesting because it employs both senses of reduction at once, and because of the huge weight being put on reduction by the different research groups involved; additionally, it presents some unique uses for reduction—revealing, I argue, the fact that reduction can be of specialised and unexpected service in particular scientific cases. The paper makes two other general findings: that the functions of reduction that are typically assumed to characterise the different forms of the relation may instead be understood as secondary consequences of some other roles; and that most of the roles that reduction plays in science can actually also be fulfilled by a weaker relation than (the typical understanding of) reduction. (shrink)

Errol Lord offers a new account of the nature of rationality: what it is for one to be rational is to correctly respond to the normative reasons one possesses. Lord defends novel views about what it is to possess reasons and what it is to correctly respond to reasons, and dispels doubts about whether we ought to be rational.

Despite the wonders of the digital world, people still go in record numbers to view drawings and paintings in galleries. Why? What is the magic that pictures work on us? This book provides a provocative explanation, arguing that some pictures have special kinds of beauty and sublimity that offer aesthetic transcendence. They take us imaginatively beyond our finite limits and even invoke a sense of the divine. Such aesthetic transcendence forges a relationship with the ultimate and completes us psychologically. Philosophers (...) and theologians sometimes account for this as an effect of art, but How Pictures Complete Us distinguishes itself by revealing how this experience is embodied in pictorial structures and styles. Through detailed discussions of artworks from the Renaissance through postmodern times, Paul Crowther reappraises the entire scope of beauty and the sublime in the context of both representational and abstract art, offering unexpected insights into familiar phenomena such as ideal beauty, pictorial perspective, and what pictures are in the first place. (shrink)

Typically, a less fundamental theory, or structure, emerging from a more fundamental one is an example of synchronic emergence. A model emerging from a prior model upon which it nevertheless depends is an example of diachronic emergence. The case of spacetime emergent from quantum gravity and quantum cosmology challenges these two conceptions of emergence. Here, I propose two more-general conceptions of emergence, analogous to the synchronic and diachronic ones, but which are potentially applicable to the case of emergent spacetime: an (...) inter-level, hierarchical conception, and an intra-level, ‘flat’ conception. I then explore whether, and how, these ideas may be applicable in the case of several putative examples of relativistic spacetime emergent from the non-spatiotemporal structures described by different approaches to quantum gravity, and of spacetime emergent from a non-spatiotemporal ‘big bang’ state according to different examples of quantum cosmology. (shrink)

Relationships between current theories, and relationships between current theories and the sought theory of quantum gravity (QG), play an essential role in motivating the need for QG, aiding the search for QG, and defining what would count as QG. Correspondence is the broad class of inter-theory relationships intended to demonstrate the necessary compatibility of two theories whose domains of validity overlap, in the overlap regions. The variety of roles that correspondence plays in the search for QG are illustrated, using examples (...) from specific QG approaches. Reduction is argued to be a special case of correspondence, and to form part of the definition of QG. Finally, the appropriate account of emergence in the context of QG is presented, and compared to conceptions of emergence in the broader philosophy literature. It is argued that, while emergence is likely to hold between QG and general relativity, emergence is not part of the definition of QG, and nor can it serve usefully in the development and justification of the new theory. (shrink)

There is a much‐discussed form of argument the conclusion of which is that we do not directly perceive space‐filling material objects themselves, only parts of their surfaces. Donald Davidson's view that events are temporal particulars invites a structurally similar argument about the direct perception of events. In this paper, I spell out such an argument and consider a number of possible solutions to it. I explore the idea that a satisfactory response to this problem in the philosophy of perception can (...) be grounded in a temporal ontology that includes temporal stuff as well as temporal particulars. I discuss different ways of developing this idea, and I go on to identify what I take to be the most promising version of an approach of this kind. (shrink)

In seeking an answer to the question of what it means for a theory to be fundamental, it is enlightening to ask why the current best theories of physics are not generally believed to be fundamental. This reveals a set of conditions that a theory of physics must satisfy in order to be considered fundamental. Physics aspires to describe ever deeper levels of reality, which may be without end. Ultimately, at any stage we may not be able to tell whether (...) we've reached rock bottom, or even if there is a base level – nevertheless, I draft a checklist to help us identify when to stop digging, in the case where we may have reached a candidate for a final theory. Given that the list is – according to (current) mainstream belief in high-energy physics – complete, and each criterion well-motivated, I argue that a physical theory that satisfies all the criteria can be assumed to be fundamental in the absence of evidence to the contrary (i.e., I argue that the necessary conditions are jointly sufficient for a claim of fundamentality in physics). (shrink)

Several approaches to developing a theory of quantum gravity suggest that spacetime—as described by general relativity—is not fundamental. Instead, spacetime is supposed to be explained by reference to the relations between more fundamental entities, analogous to `atoms' of spacetime, which themselves are not (fully) spatiotemporal. Such a case may be understood as emergence of \textit{content}: a `hierarchical' case of emergence, where spacetime emerges at a `higher', or less-fundamental, level than its `lower-level' non-spatiotempral basis. But quantum gravity cosmology also presents us (...) with the possibility of emergence of \textit{context}: where spacetime emerges from some `prior' non-spatiotemporal state (replacing the Big Bang), due to particular conditions in the early universe. I present a general conception of emergence which is plausibly able to accommodate both pictures. This is a positive conception that does not rely on a failure of reduction or explanation in any sense (indeed, reduction is a necessary feature of quantum gravity, and is useful in understanding emergence in this case). I also consider the possibility that the distinction between content- and context- based explanations is blurred, or usefully `collapsed', in the case of spacetime emergence. (shrink)

In times of crisis, when current theories are revealed as inadequate to task, and new physics is thought to be required—physics turns to re-evaluate its principles, and to seek new ones. This paper explores the various types, and roles of principles that feature in the problem of quantum gravity as a current crisis in physics. I illustrate the diversity of the principles being appealed to, and show that principles serve in a variety of roles in all stages of the crisis, (...) including in motivating the need for a new theory, and defining what this theory should be like. In particular, I consider: the generalised correspondence principle, UV-completion, background independence, and the holographic principle. I also explore how the current crisis fits with Friedman’s view on the roles of principles in revolutionary theory-change, finding that while many key aspects of this view are not represented in quantum gravity, the view could potentially offer a useful diagnostic, and prescriptive strategy. This paper is intended to be relatively non-technical, and to bring some of the philosophical issues from the search for quantum gravity to a more general philosophical audience interested in the roles of principles in scientific theory-change. (shrink)

Principles are central to physical reasoning, particularly in the search for a theory of quantum gravity (QG), where novel empirical data is lacking. One principle widely adopted in the search for QG is UV completion: the idea that a theory should (formally) hold up to all possible high energies. We argue---/contra/ standard scientific practice---that UV-completion is poorly-motivated as a guiding principle in theory-construction, and cannot be used as a criterion of theory-justification in the search for QG. For this, we explore (...) the reasons for expecting, or desiring, a UV-complete theory, as well as analyse how UV completion is used, and how it should be used, in various specific approaches to QG. (shrink)

Though it enjoys widespread support, the claim that perceptual experiences possess nonconceptual content has been vigorously disputed in the recent literature by those who argue that the content of perceptual experience must be conceptual content. Nonconceptualism and conceptualism are often assumed to be well-defined theoretical approaches that each constitute unitary claims about the contents of experience. In this paper I try to show that this implicit assumption is mistaken, and what consequences this has for the debate about perceptual experience. I (...) distinguish between two different ways that nonconceptualist (and conceptualist) proposals about perceptual content can be understood: as claims about the constituents that compose perceptual contents or as claims about whether a subject. (shrink)

There has been relatively little discussion, in contemporary philosophy of mind, of the active aspects of perceptual processes. This essay presents and offers some preliminary development of a view about what it is for an agent to watch a particular material object throughout a period of time. On this view, watching is a kind of perceptual activity distinguished by a distinctive epistemic role. The essay presents a puzzle about watching an object that arises through elementary reflection on the consequences of (...) two apparent truths about watching an object throughout a period of time. It proposes that the puzzle can be resolved by a view according to which for an agent to watch an object throughout a period of time is for that agent to maintain visual awareness of that object with the aim of perceptually knowing what that object is doing. The essay goes on to make some further suggestions about how the apparatus developed in connection with the notion of watching may enable us to offer related explanations of other kinds of perceptual activity. It proposes that a useful distinction can be drawn between perceptual activities like watching which have as their aim knowledge of what an object is doing and activities like looking or visually scrutinizing which have as their aims knowledge of the states or conditions of the objects of perceptual awareness. (shrink)

In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing (...) the logical boundaries and ontological structures of the aesthetic domain. He then considers key concepts from this analysis in the light of a tradition in Continental philosophy (notably the work of Kant, Heidegger, Merleau-Ponty, and Hegel) which--by virtue of the philosophical significance that it assigns to art--significantly anticipates the ecological conception. On this basis, Crowther is able to give a full formulation of his ecological definition. Art, in making sensible or imaginative material into symbolic form, harmonizes and conserves what is unique and what is general in human experience. The aesthetic domain answers basic needs intrinsic to self-consciousness itself, and art is the highest realization of such needs. In the creation and reception of art the embodied subject is fully at home with his or her environment. (shrink)

Errol Lord explores the boundaries of epistemic normativity. He argues that we can understand these better by thinking about which mental states are competitors in rationality’s competition. He argues that belief, disbelief, and two kinds of suspension of judgment are competitors. Lord shows that there are non-evidential reasons for suspension of judgment. One upshot is an independent motivation for a certain sort of pragmatist view of epistemic rationality.

The numerous and diverse roles of theory reduction in science have been insufficiently explored in the philosophy literature on reduction. Part of the reason for this has been a lack of attention paid to reduction2 (successional reduction)---although I here argue that this sense of reduction is closer to reduction1 (explanatory reduction) than is commonly recognised, and I use an account of reduction that is neutral between the two. This paper draws attention to the utility---and incredible versatility---of theory reduction. A non-exhaustive (...) list of various applications of reduction in science is presented, some of which are drawn from a particular case-study, being the current search for a new theory of fundamental physics. This case-study is especially interesting because it employs both senses of reduction at once, and because of the huge weight being put on reduction by the different research groups involved; additionally, it presents some unique uses for reduction---revealing, I argue, the fact that reduction can be of specialised and unexpected service in particular scientific cases. The paper makes two other general findings: that the functions of reduction that are typically assumed to characterise the different forms of the relation may instead be understood as secondary consequences of some other roles; and that most of the roles that reduction plays in science can actually also be fulfilled by a weaker relation than (the typical understanding of) reduction. (shrink)

My dissertation is a systematic defense of the claim that what it is to be rational is to correctly respond to the reasons you possess. The dissertation is split into two parts, each consisting of three chapters. In Part I--Coherence, Possession, and Correctly Responding--I argue that my view has important advantages over popular views in metaethics that tie rationality to coherence (ch. 2), defend a novel view of what it is to possess a reason (ch. 3), and defend a novel (...) view about what it is to act and hold attitudes for normative reasons (ch. 4). In Part II--Foundationalism, Deception, and The Importance of Being Rational--I argue that foundationalists about epistemic rationality should think that the foundational beliefs are held for sufficient reasons (ch. 5), argue that my view solves the New Evil Demon problem for externalism (and solves a related and underapprieciated problem) (ch. 6), and argue that my view can vindicate the thought that we ought to be rational (ch. 7). (shrink)

This book discusses the notion that quantum gravity may represent the "breakdown" of spacetime at extremely high energy scales. If spacetime does not exist at the fundamental level, then it has to be considered "emergent", in other words an effective structure, valid at low energy scales. The author develops a conception of emergence appropriate to effective theories in physics, and shows how it applies (or could apply) in various approaches to quantum gravity, including condensed matter approaches, discrete approaches, and loop (...) quantum gravity. (shrink)

‘Liberty’, as a word, is thrown about contemporary society as casually as a ball is on a summer’s day, and yet, does anyone have a grasp on what it is? If it is freedom from limitation, then liberty must represent nothing less than consciousness without restraint. But though this straightforward definition implies its acquisition to be equally straightforward, the full spectrum of liberty would certainly prove to be one of the most elusive concepts imaginable. As a result, what we have, (...) and what we throw about so indifferently, is a Substitute - a poor kind of replica of the real thing. True liberty - Omniversal liberty - is much less tangible however, and represents the equilibrium that occurs when anything is possible, but where the capacity to ever allow one possibility to dominate over another becomes impossible to maintain. (shrink)

Quantum gravity is understood as a theory that, in some sense, unifies general relativity (GR) and quantum theory, and is supposed to replace GR at extremely small distances (high-energies). It may be that quantum gravity represents the breakdown of spacetime geometry described by GR. The relationship between quantum gravity and spacetime has been deemed ``emergence'', and the aim of this thesis is to investigate and explicate this relation. After finding traditional philosophical accounts of emergence to be inappropriate, I develop a (...) new conception of emergence by considering physical case studies including condensed matter physics, hydrodynamics, critical phenomena and quantum field theory understood as effective field theory. This new conception of emergence is unconcerned with the ideas of reduction and derivation (i.e. it holds that we may have emergence with reduction or without it). Instead, a low-energy theory (or model) is understood as emergent from a high-energy theory if it is novel and autonomous compared to the high-energy theory, and the low-energy physics is dependent in a particular, minimal sense on the high-energy physics (this dependence is revealed by the techniques of effective field theory and the renormalisation group). While novelty is construed in a broad sense, the autonomy comes essentially from the underdetermination of the high-energy theory by the low-energy theory, which reflects the minimal way in which the emergent, low-energy theory depends on the high-energy one. It results from the scaling behaviour of the theories and the limiting relations between them, and is demonstrated by the renormalisation group and effective field theory techniques, the idea of universality, and the phenomenon of symmetry-breaking. These ideas are important in exploring the relationship between quantum gravity and GR, where GR is understood as an effective, low-energy theory of quantum gravity. Without experimental data or a theory of quantum gravity, we rely on principles and techniques from other areas of physics to guide the way. As well as considering the idea of emergence appropriate to treating GR as an effective field theory, I investigate the emergence of spacetime (and other aspects of GR) in several concrete approaches to quantum gravity, including examples of the condensed matter approaches, the ``discrete approaches'' (causal set theory, causal dynamical triangulations, quantum causal histories and quantum graphity) and loop quantum gravity. (shrink)

Paul Crowther argues that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. He proposes an ecological definition of art: by making sensible or imaginative material into symbolic form, it harmonizes and conserves what is unique and what is general about human experience.

This is the first book dedicated to Husserl's aesthetics. Paul Crowther pieces together Husserl's ideas of phantasy and image and presents them as a unified and innovative account of aesthetic consciousness. He also shows how Husserl's ideas can be developed to solve problems in aesthetics, especially those related to visual art, literature, theatre, and nature. After outlining the major components of Husserl's phenomenological method, Crowther addresses the scope and structure of Husserl's notion of aesthetic consciousness. For Husserl, aesthetic (...) consciousness in all its forms involves phantasy-where items or states of affairs are represented as if actually perceived or experienced, even though they are not, in fact, given in the present perceptual field. Husserl also makes some extraordinarily interesting links between aesthetic consciousness and nature, showing how natural things and environments become instigators of such consciousness when apprehended in the appropriate terms. This "unreality" of the object of aesthetic consciousness anticipates contemporary debates about pictorial representation and is also relevant to Husserl's accounts of literature and theatre. The Phenomenology of Aesthetic Consciousness and Phantasy will appeal to scholars and advanced students interested in aesthetics, philosophy of art, phenomenological aesthetics, and Husserl's philosophy. (shrink)

Principles are central to physical reasoning, particularly in the search for a theory of quantum gravity, where novel empirical data are lacking. One principle widely adopted in the search for QG is ultraviolet completion: the idea that a theory should hold up to all possible high energies. We argue— contra standard scientific practice—that UV-completion is poorly motivated as a guiding principle in theory-construction, and cannot be used as a criterion of theory-justification in the search for QG. For this, we explore (...) the reasons for expecting, or desiring, a UV-complete theory, as well as analyse how UV-completion is used, and how it should be used, in various specific approaches to QG. 1Introduction 1.1Principles in theory development and evaluation 2Primer on UV-Completion, Renormalizability, and All That 2.1Renormalizability and UV-completion 2.2Other forms of UV-completion 3Why Should QG Be UV-Complete? 3.1UV-completion and fundamentality 3.2UV-completion and minimal length 4UV-Completion in Different Approaches to QG 4.1String theory 4.2Asymptotic safety 4.3Causal dynamical triangulation 4.4Higher derivative approaches 4.5Supergravity 4.6Causal set theory 4.7Canonical QG 4.8Loop quantum gravity 4.9Approaches based on alternative gravitational theories 4.10Emergent gravity approaches 5UV-Completion as a Guiding Principle in QG 6Conclusion. (shrink)

Addresses Kant's theory of fine art. Pays particular attention to the notions of genius, and the subjective conditions of artistic creativity. Further argument determines the key significance of a horizon of comparisons in justifying judgements of artistic merit.

Analogue experiments have attracted interest for their potential to shed light on inaccessible domains. For instance, ‘dumb holes’ in fluids and Bose–Einstein condensates, as analogues of black holes, have been promoted as means of confirming the existence of Hawking radiation in real black holes. We compare analogue experiments with other cases of experiment and simulation in physics. We argue—contra recent claims in the philosophical literature—that analogue experiments are not capable of confirming the existence of particular phenomena in inaccessible target systems. (...) As they must assume the physical adequacy of the modelling framework used to describe the inaccessible target system, arguments to the conclusion that analogue experiments can yield confirmation for phenomena in those target systems, such as Hawking radiation in black holes, beg the question. (shrink)

Objectivists about obligation hold that obligations are determined by all of the normatively relevant facts. Perspectivalists, on the other hand, hold that only facts within one's perspective can determine what we are obligated to do. In this paper I argue for a perspectivalist view. On my view, what you are obligated to do is determined by the normative reasons you possess. My argument for my view is anchored in the thought that our obligations have to be action-guiding in a certain (...) sense--we have to be able to act for the reasons that obligate us. I argue that we have this ability--the ability to act for the right reasons--only if we possess those reasons. Thus, objectivism is false. In the second half of the paper I argue that problems having to do with new information do not plague my particular perspectival view. (shrink)

Watching, looking at, and listening to, are all things that perceiving agents actively do. Though the occurrence of these activities appears to entail perception of elements of the agent's environment, perception is not something that can be actively done by agents. This raises the question how perceptual activity and perception are related to one another. This chapter, through reflecting on a discussion of listening offered by Brian O'Shaughnessy, argues that listening to material particulars ought to be understood as the agential (...) maintenance of aural awareness of those particulars, with the aim of knowing what sounds they are making. He goes on to explore some of the consequences of these claims about listening for exercises of perceptual agency involving the other sensory modalities. (shrink)

This paper criticizes contemporary relativist scepticism concerning the universal validity of the concepts ‘art’ and the ‘aesthetic’. As an alternative, it offers a normative definition of art based on intrinsic aesthetic meaning contextualized by innovation and refinement in the diachronic history of art media. In section I, anti-foundationalist relativism, and softer versions (found in the Institutional definitions of art) are expounded in relation to art and the aesthetic. In section II, it is argued that antifoundationalism is conceptually flawed and tacitly (...) racist, and is, in effect, a cultural expression of global consumerism. Section III analyses the scope of the aesthetic in non-western contexts, and then offers a critique of the Institutional definitions as also being conceptually flawed, tacitly racist, and consumerist in orientation. In section IV the positive basis of a normative definition of art is outlined in detail and defended at length against possible relativist objections. It is finally argued that the normative approach taken in this paper shows how cultural conservatism can be a left-wing project. (shrink)

It’s natural to say that when it’s rational for me to φ, I have reasons to φ. That is, there are reasons for φ-ing, and moreover, I have some of them. Mark Schroeder calls this view The Factoring Account of the having reasons relation. He thinks The Factoring Account is false. In this paper, I defend The Factoring Account. Not only do I provide intuitive support for the view, but I also defend it against Schroeder’s criticisms. Moreover, I show that (...) it helps us understand the requirements of substantive rationality, or what we are rationally required to do when responding to reasons. (shrink)

Why are the visual arts so important and what is it that makes their forms significant? Countering recent interpretations of meaning that understand visual artworks on the model of literary texts, Crowther formulates a theory of the visual arts based on what their creation achieves both cognitively and aesthetically. He develops a phenomenology that emphasizes how visual art gives unique aesthetic expression to factors that are basic to perception. At the same time, he shows how various artistic media embody (...) these factors in distinctive ways. Attentive to both the creation and reception of all major visual art forms, _Phenomenology of the Visual Arts_ also addresses complex idioms, including abstract, conceptual, and digital art. (shrink)

In seeking an answer to the question of what it means for a theory to be fundamental, it is enlightening to ask why the current best theories of physics are not generally believed to be fundamental. This reveals a set of conditions that a theory of physics must satisfy in order to be considered fundamental. Physics aspires to describe ever deeper levels of reality, which may be without end. Ultimately, at any stage we may not be able to tell whether (...) we’ve reached rock bottom, or even if there is a base level—nevertheless, I draft a checklist to help us identify when to stop digging, in the case where we may have reached a candidate for a final theory. Given that the list is—according to mainstream belief in high-energy physics—complete, and each criterion well-motivated, I argue that a physical theory that satisfies all the criteria can be assumed to be fundamental in the absence of evidence to the contrary. (shrink)

It is a truism that we ought to be rational. Despite this, it has become popular to think that it is not the case that we ought to be rational. In this paper I argue for a view about rationality—the view that what one is rationally required to do is determined by the normative reasons one possesses—by showing that it can vindicate that one ought to be rational. I do this by showing that it is independently very plausible that what (...) one ought to do is determined by the normative reasons one possesses. Thus, the paper also makes a contribution tos the debate about the nature of our obligations. (shrink)

There are parallel debates in metaethics and aesthetics about the rational merits of deferring to others about ethics and aesthetics. In both areas it is common to think that there is something amiss about deference. A popular explanation of this in aesthetics appeals to the importance of aesthetic acquaintance. This kind of explanation has not been explored much in ethics. This chapter defends a unified account of what is amiss about ethical and aesthetic deference. According to this account, deference is (...) a non-ideal way of thinking about ethics and aesthetics because it does not allow us to possess the full range of reasons provided by the ethical and aesthetic facts. It has this feature because it does not acquaint us with ethical and aesthetic facts. It is argued further that despite this defect, there is no general obligation not to defer. The upshot is a moderate optimism about ethical and aesthetic deference. (shrink)

Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing the (...) moment : artistic projections of time -- Conclusion : the status and future of art. (shrink)