What is the difference between belief and desire? In order to explain the difference, recent philosophers have appealed to the metaphor of.

Response-dependent theories of morality are currently popular. I suspect that this is because they combine ‘objective’ and ‘subjective’ elements in an appealing way. Such theories seem to do justice to the idea that morality is out there to be known, at the same time as connecting moral judgements with our affective and motivational states. However, I shall argue that all response-dependent theories of morality are irretrievably flawed.

I defend the view that supervenience relations need not be explained. My view is that some supervenience relations are brute, and explanatorily ultimate. I examine an argument of Terrence Horgan and Mark Timmons. They aim to rehabilitate John Mackie’s metaphysical queerness argument. But the explanations of supervenience that Horgan and Timmons demand are semantic explanations. I criticize their attempt to explain psychophysical supervenience in this fashion. I then turn to their ‘Twin Earth’ argument against naturalist moral realism. I reconstruct their (...) argument in a charitable spirit. But then I show that the argument mutates into an epistemological argument. That is where the real problems for moral realism lie. (shrink)

Le présent article aborde deux effets de contexte, peu étudiés, sur la représentation du contenu sémantique, en considérant les implications que peuvent avoir ces effets pour la modélisation sémantique. Dans le cas de la sous-minimalité sémantique, le contexte rend même le contenu sémantique minimal redondant pour ce qui est du traitement cognitif réussi d’une expression. Deuxièmement, on aborde la manière dont le contexte de discours influe sur la nature des représentations sémantiques en ligne, en établissant une différence entre le discours (...) planifié et le discours libre en tant que deux contextes différents pour ce qui est de la nature des représentations sémantiques sous-jacentes. En abordant ces deux questions, l’article remet en question l’importance des représentations riches que l’on suppose habituellement dans la sémantique linguistique, et augmente le répertoire des interactions sens-contexte dont il faut rendre compte dans une théorie naturaliste de la compétence sémantique. (shrink)

Articulation and defense of Pragmatism against epistemic critiques leveled by historian John Patrick Diggins. -/- Argues that the inferential structure of pragmatist epistemic authority is misunderstood by Diggins and by other critics. -/- Defends both classical and neo-pragmatist naturalism via inferentialism.

What can a moral realist say about why we should take morality seriously and about the relation between morality and rationality? I take off from Christine Korsgaard's criticism of moral realism on this score. The aim is to achieve an understanding of the relation between moral and rational properties and of the role of practical deliberation on a realist view. I argue that the justification for being concerned with rational and moral normative properties may not be an aspect of our (...) minds to which we have access. I argue against a view that gives automatic pride of place to the rational properties of our mind by drawing attention to valuable non-rational modes of thought such as creative, imaginative and instinctive thought. Thus the value of taking account of rationality is contingent on its benefits. But this is not why we should be taking account of morality. (shrink)

Much apprehension has been expressed by philosophers about the method of renormalisation in quantum field theory, as it apparently requires illegitimate procedure of infinite cancellation. This has lead to various speculations, in particular in Teller (1989). We examine Teller's discussion of perturbative renormalisation of quantum fields, and show why it is inadequate. To really approach the matter one needs to understand the ideas and results of the renormalisation group, so we give a simple but comprehensive account of this topic. With (...) this in hand, we explain how renormalisation can and should be understood. One thing that is revealed is that apparently very successful theories such as quantum electro-dynamics cannot be universally true; resolving the tension between success and falsity leads to a picture in which any theory may be viewed as irreducibly phenomenological. We explain how, and argue that the support for this view is tenuous at best. (shrink)

I very much appreciate Daniel Nathan’s thoughtful commentary on Aesthe- tic Creation. He describes my view accurately, with a full understanding of what is moving me, and with some sympathy for my methodological concerns, even if he thinks that I over emphasize some desiderata and even if he cannot endorse the particular aesthetic theory that I argue emerges from the methodological reflections. He makes a number of interesting criticisms. (A) Nathan worries about doodles being classified as art according the aesthetic (...) creation theory. Nathan says that this violates certain intuitions about the nature of art. I query this appeal to intuition. Whose concepts? Which intuitions? Why do such intuitions have evidential weight? We have intuitions abut the physical world: that the earth is flat not round. More to the point we have intuitions about kinds. For example, it is intuitive that a whale is a fish. But such intuitions may be mistaken. Similarly with intuitions about what is art and what is not art. With intuitions I say at least that there is, or should be, a question mark standing over them. We are interested in the world, not in our concepts or intuitions. The question is: what are these things? And the question about concepts is: which do we need to understand the things? Which concepts should we have? Not: which do we have? As Nathan notes, for me, explanation trumps extension if there is a conflict. Or perhaps rather, for me, extension is subsumed under explanation. It is true that there are avant garde works that I exclude that other theories include. And there also are doodles that I include and they exclude. The question is where we go from there. (B) Nathan worries about the success condition. I required that to some extent artists are right about aesthetic/nonaesthetic dependencies. Actually, I would not kill for the success condition. Perhaps aesthetic intent is enough1. A person might form an aesthetic intention but never get round to acting on it, in which case we do not have a work of art.. (shrink)

I argue that Hanslick was right to think that music should not be understood in terms of emotion. In particular, it is not essential to music to possess emotions, arouse emotions, express emotions, or represent emotions. All such theories are misguided.

“I don’t want to create painful shoes, but it is not my job to create something comfortable.” – Christian Louboutin. (in Alexander, 2012) Pain is an essential part of the grooming process, and that...

Beauty is an important part of our lives. Ugliness too. It is no surprise then that philosophers since antiquity have been interested in our experiences of and judgments about beauty and ugliness. They have tried to understand the nature of these experiences and judgments, and they have also wanted to know whether these experiences and judgments were legitimate. Both these projects took a sharpened form in the twentieth century, when this part of our lives came under a sustained attack in (...) both European and American intellectual circles. Much of the discourse about beauty since the Eighteenth century had deployed a notion of the ‘aesthetic’, and so that notion in particular came in for criticism. This disdain for the aesthetic may have roots in a broader cultural Puritanism, which fears the connection between the aesthetic and pleasure. Even to suggest, in the recent climate, that an artwork might be good because it is pleasurable, as opposed to cognitively, morally or politically beneficial, is to court derision. The twentieth century has not been kind to the notions of beauty or the aesthetic. Nevertheless, some thinkers — philosophers, as well as others in the study of particular arts — have persisted in thinking about beauty and the aesthetic in a traditional way. In the first part of this essay, I look at the particular rich account of judgments of beauty given to us by Immanuel Kant. The notion of a ‘judgment of taste’ is central to Kant's account and also to virtually everyone working in traditional aesthetics; so I begin by examining Kant's characterisation of the judgment of taste. In the second part, I look at the issues that twentieth century thinkers have raised. I end by drawing on Kant's accout of the judgement of taste to consider whether the notion of the aesthetic is viable. (shrink)

In Higher Superstition, published early in 1994, biologist Paul R. Gross and mathematician Norman Levitt denounced an `Academic Left' at once militant and ill-informed in its criticisms of science. Gross and Levitt showed sharp eyes for the pretentious and absurd in the works of American postmodernists, feminists, multiculturalists, radical environmentalists and, alas, exponents of science studies -- that is, historians, philosophers and sociologists of science. In the Autumn of 94, physicist Alan Sokal, inspired by Gross and Levitt's book, submitted a (...) spoof article portentously entitled `Transgressing the Boundaries: Toward a Transformative Hermeneutics of Quantum Gravity' to Social Text, a leading journal in the expanding field of cultural studies. As he later told Janny Scott of the New York Times : I structured the article around the silliest quotations about mathematics and physics from the most prominent academics, and I invented an argument praising them and linking them together. All this was very easy to carry off, because my article wasn't obliged to respect any standards of evidence or logic. The editors of Social Text were hoodwinked. By an unhappy coincidence, shortly after receiving Sokal's article they decided to produce a special `Science Wars' collection, including the unrefereed article together with responses to Higher Superstition. `Transgressing the Boundaries' duly appeared in the Spring/Summer 96 double issue, accompanied by articles from a number of those denounced by Gross and Levitt and lampooned by Sokal -- the perfect setting! (shrink)

This is a chapter of the planned monograph "Out of Nowhere: The Emergence of Spacetime in Quantum Theories of Gravity", co-authored by Nick Huggett and Christian Wüthrich and under contract with Oxford University Press. (More information at www<dot>beyondspacetime<dot>net.) This chapter investigates the meaning and significance of string theoretic dualities, arguing they reveal a surprising physical indeterminateness to spacetime.

This article compares the concept of habitus, as formulated in the work of Mauss and Bourdieu, with the concept of habit, as formulated in the work of Merleau-Ponty and Dewey. The rationale for this, on one level, is to seek to clarify these concepts and any distinction that there may be between them – though the article notes the wide variety of uses of both concepts and suggests that these negate the possibility of any definitive definitions or contrasts. More centrally, (...) however, the purpose of the comparison is to draw out a number of important issues and debates which, it is argued, further work must address if the concepts of habit and habitus are to continue to prove useful and illuminating in social science. (shrink)

We describe music in terms of emotion. How should we understand this? Some say that emotion descriptions should be understood literally. Let us call those views “literalist.” By contrast “nonliteralists” deny this and say that such descriptions are typically metaphorical.1 This issue about the linguistic description of music is connected with a central issue about the na- ture of music. That issue is whether there is any essential connection between music and emotion. According to what we can call “emotion theories,” (...) it is essential to music to be somehow related to real emotion. Prominent examples of such theories are these: it is the main function of all or most music to express emotions, to arouse emotions, or to represent emotions. 2 In my view, such theories have little plausibility, and they face a battery of powerful objections. In particular, these theories are objectionable on the grounds that essential features of emotion preclude such essential relations between music and emotion. 3 Yet to argue against various specific emotion theories of music, of which there is a large variety, does not address the reasons that draw people to emotion theories. I think that there are two main reasons. The first is that the most obvious explanation of why we describe music in emotion terms is that emotions, or relations to emotions, are part of what music is. The second reason is introspective, or phenomenological—that much music moves us when we listen to it, so it seems that music generates emotions in us, which we project onto the music when we describe it in emotion terms. In this article, my negative purpose is to dissolve these two reasons. My positive purpose is to argue for a particular nonliteralist view of linguistic descriptions of music in terms of emotion, a.. (shrink)

This paper develops and defends three related forms of relationism about spacetime against attacks by contemporary substantivalists. It clarifies Newton's globes argument to show that it does not bear on relations that fail to determine geodesic motions, since the inertial effects on which Newton relies are not simply correlated with affine structure, but must be understood in dynamical terms. It develops remarks by Sklar and van Fraassen into relational versions of Newtonian mechanics, and argues that Earman does not show them (...) to trivialize the debate. (shrink)

Many recent aestheticians have criticized the notion of disinterest. The aestheticians in question take the notion to have a vaguely Kantian pedigree. And in attacking this notion, they think of themselves as attempting to remove a cornerstone of Kant’s aesthetics. This procedure is hardly likely to be effective if what they attack bears little resemblance to Kant’s original notion. In this brief note, I want to show how far these anti-Kantian aestheticians have missed their mark.

How sexuality should be regulated in a liberal political community is an important, controversial theoretical and empirical question—as shown by the recent criminalization of possession of some adult pornography in the United Kingdom. Supporters of criminalization argue that Mill, often considered a staunch opponent of censorship, would support prohibition due to his feminist commitments. I argue that this account underestimates the strengths of the Millian account of private conduct and free expression, and the consistency of Millian anticensorship with feminist values. (...) A Millian contextual defense of liberty, however, suggests several other policy approaches to addressing the harms of pornography. (shrink)

This paper examines the evidential argument from evil put forward by William Rowe during his early and middle periods . Having delineated some of the important features of Rowe’s argument, it is then assessed in the light of “the skeptical theist critique.” According to skeptical theists, Rowe’s crucial inference from inscrutable evil to pointless evil can be exposed as unwarranted, particularly by appealing to the disparity between our cognitive abilities and the infinite wisdom of God. However, by relating the problem (...) of evil to that of divine hiddenness, the adverse consequences and hence the highly dubious nature of this skeptical theist position are brought to light. (shrink)

riety of necessity that binds moral and natural his conception of mental properties has no metaphysical consequences. Descartes is properties because the necessity is neither..

I argue against the analytic moral functionalist view propounded by Frank Jackson and Philip Pettit. I focus on the ‘input’ clauses of our alleged ‘folk moral theory’. I argue that the examples they give of such input clauses cannot plausibly be interpreted as analytic truths. They are in fact substantive moral claims about the moral ‘domain’. It is a substantive claim that all human beings have equal moral standing. There are those who have rejected this, such as Herman Göring. He (...) was loyal to a sub-class of humankind, but he suffered no conceptual confusion. Claims about what is morally relevant are substantive claims that cannot be known on purely conceptual grounds. (shrink)

Why does time pass and space does not? Are there just three dimensions? What is a quantum particle? Nick Huggett shows that philosophy -- armed with a power to analyze fundamental concepts and their relationship to the human experience -- has much to say about these profound questions about the universe. In Everywhere and Everywhen, Huggett charts a journey that peers into some of the oldest questions about the world, through some of the newest, such as: What shape is (...) space? Does it have an edge? What is the difference between past and future? What is time in relativity? Is time travel possible? Are there other universes? Huggett shows that answers to these profound questions are not just reserved for physics, and that philosophy can not only address but help advance our view of our deepest questions about the universe, space, and time, and their implications for humanity. His lively, accessible introduction to these topics is suitable for a general reader with no previous exposure to these profound and exciting questions. (shrink)

Received wisdom has it that a plausible explanation or theodicy for Gods permission of at least some instances of natural evil is not beyond the reach of the theist. In this paper I challenge this assumption, arguing instead that theism fails to account for any instance, kind, quantity, or distribution of natural evil found in the world. My case will be structured around a specific but not idiosyncratic conception of natural evil as well as an examination of three prominent theodicies (...) for natural evil. In contrast, however, to much contemporary discussion, my assessment of these theodicies will be grounded in the prior conviction that a successful theodicy for moral evil is available. (shrink)

I shall discuss several related issues about beauty. These are: (1) The place of beauty among other aesthetic properties. (2) The general principle of aesthetic supervenience. (3) The problem of aesthetic relevance. (4) The distinction between free and dependent beauty. (5) The primacy of our appreciation of free beauty over our appreciation of dependent beauty. (6) Personal beauty as a species of beauty. (7) The metaphysics of beauty.

The modeling of black holes is an important desideratum for any quantum theory of gravity. Not only is a classical black hole metric sought, but also agreement with the laws of black hole thermodynamics. In this paper, we describe how these goals are achieved in string theory. We review black hole thermodynamics, and then explicate the general stringy derivation of classical spacetimes, the construction of a simple black hole solution, and the derivation of its entropy. With that in hand, we (...) address some important philosophical and conceptual questions: the confirmatory value of the derivation, the bearing of the model on recent discussions of the so-called ‘information paradox’, and the implications of the model for the nature of space. (shrink)

God is thought of as hidden in at least two ways. Firstly, God's reasons for permitting evil, particularly instances of horrendous evil, are often thought to be inscrutable or beyond our ken. Secondly, and perhaps more problematically, God's very existence and love or concern for us is often thought to be hidden from us (or, at least, from many of us on many occasions). But if we assume, as seems most plausible, that God's reasons for permitting evil will (in many, (...) if not most, instances) be impossible for us to comprehend, would we not expect a loving God to at least make his existence or love sufficiently clear to us so that we would know that there is some good, albeit inscrutable, reason why we (or others) are permitted to suffer? In this paper I examine John Hick's influential response to this question, a response predicated on the notion of 'epistemic distance': God must remain epistemically distant and hence hidden from us so as to preserve our free will. Commentators of Hick's work, however, disagree as to whether the kind of free will that is thought to be made possible by epistemic distance is the freedom to believe that God exists, or the freedom to choose between good and evil, or the freedom to enter into a personal relationship with God. I argue that it is only the last of these three varieties of free will that Hick has in mind. But this kind of freedom, I go on to argue, does not necessitate an epistemically distant God, and so the problem of divine hiddenness remains unsolved.
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I defend extreme formalism about inorganic nature against arguments put forward by Glenn Parsons. I begin by laying out the general issue over aesthetic formalism, and I describe the position of extreme formalism about inorganic nature. I then reconsider -Ronald Hepburn's beach/seabed example. Next I discuss the notions of function in play in our thinking about inorganic nature. And lastly I consider Parsons's flooding river example. I conclude that extreme formalism about inorganic nature is safe from Parsons's arguments.

Do all works of art have an aesthetic purpose? It aesthetic properties are those possessed by is not particularly controversial that many works works of art or that they are those it is the funcof art have an aesthetic purpose. What will be..

In _The Powers of Dignity_ Nick Bromell unpacks Frederick Douglass's 1867 claim that he had “elaborated a political philosophy” from his own “slave experience.” Bromell shows that Douglass devised his philosophy because he found that antebellum Americans' liberal-republican understanding of democracy did not provide a sufficient principled basis on which to fight anti-Black racism. To remedy this deficiency, Douglass deployed insights from his distinctively Black experience and developed a _Black_ philosophy of democracy. He began by contesting the founders' racist (...) assumptions about humanity and advancing instead a more robust theory of “the human” as a collection of human “powers.” He asserted further that the conscious exercise of those powers is what confirms human dignity and that human rights and democracy come into being as ways to affirm and protect that dignity. Thus, by emphasizing the powers and the dignity of all citizens, deriving democratic rights from these, and promoting a remarkably activist, power-oriented model of citizenship, Douglass's Black political philosophy aimed to rectify two major failings of US democracy in his time and ours: its complacence and its racism. (shrink)

Journal of Aesthetics and Art Criticism, 1995.

Liberal egalitarians argue that the state is justified in taxing members of a political community to achieve distributive justice and ensure political equality and regime stability. This involves an uneasy compromise between equality and efficiency, a compromise that many argue has recently been undermined by the growth of unchecked wealth and income inequality. This essay argues that there is also a trade-off between selecting fair processes for taxation and aiming for particular distributive outcomes. The way people accumulate wealth, and the (...) way states tax often matters more than distributive outcomes. Policymakers must allow for the fair assessment of tax liabilities, avoid excessive enforcement costs and prevent political actors from using tax systems to achieve their partial ends. Recognizing these considerations justifies a systematic scheme of taxation while constraining the mechanisms for collecting revenue. I justify this position using comparative analysis, which I contrast with the conceptual intuitionistic approach associated with egalitarianism. (shrink)

ANTI-FORMALISM has become the consensus in aesthetics. But in my view anti-formalism is not true to our aesthetic experience; it gives a revisionary account of the aesthetic properties that we think we find in works of art. The thesis I think we should hold is not extreme formalism—the view that all or almost all aesthetic properties are formal—but the moderate thesis that many are. This view has not been given its due because so many aestheticians have been convinced by anti-formalist (...) arguments. In this short paper, I propose a systematic method for resisting anti-formalist arguments. The method is to apply one of three strategies. These strategies are repeatable archetypes. I shall show these neutralizing strategies at work with seven objections to formalism. (shrink)

ABSTRACT“Evidence-based” methods, which most prominently include randomized controlled trials, have gained increasing purchase as the “gold standard” for assessing the effect of public policies. But the enthusiasm for evidence-based research overlooks questions about the reliability and applicability of experimental findings to diverse real-world settings. Perhaps surprisingly, a qualitative study of British educators suggests that they are aware of these limitations and therefore take evidence-based findings with a much larger grain of salt than do policy makers. Their experience suggests that the (...) real world is more heterogeneous than the world imagined by evidence-based policy enthusiasts. (shrink)

§1.1 What m otivated the perpetrators of the holocaust? Christopher Browning and Daniel Goldhagen differ in their analysis of Reserve Police Battalion 101 (Browning 1992, Goldhagen 1996). The battalion consisted of around 500 ‘ordinary’ Germ ans who, during the period 1942-44, killed around 40,000 Jews and who deported as m any to the death cam ps. Browning and Goldhagen differ over the m otivation wit h which the m en killed. I want to com m ent on a central aspect (...) of this debate. (shrink)

D0 works 0f an essentially involve a relation t0 an audience'? Many otherwise very different theories of art agree than they do. S0 the question ‘Wha1 is art?" has no be answered by describing than relation. I shall argue 10 the ccmmrary [hm a theory of wha; ir is m be art should nm invoke any relacicm m an audience. Art has nothing esscmial to do with an audience.