Common nouns and noun phrases have usually been analyzed semantically as predicates. In quantified sentences, these predicates take variables as arguments. This paper develops and defends an analysis in which common nouns and noun phrases themselves are treated as variables, rather than as predicates taking variables as arguments. Several apparent challenges for this view will be addressed, including the modal non-rigidity of common nouns. Two major advantages to treating common nouns as variables will be presented: Such an analysis predicts that (...) all nominal quantification is conservative, rather than requiring conservativity to be stipulated as a constraint on determiner denotations; and it makes possible some improvements to the analysis of the temperature paradox, allowing for quantificational examples without adding a spurious layer of modal variability. (shrink)

Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and (...) ideas. (shrink)

Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let (...) us explore the differences between the arts. He presents five case studies, three from literature, two from music. With its combination of historical and analytic approaches this is a book for a wide range of readers in philosophy, literary studies, music, and non-academic readers with interests in the arts. (shrink)

Peter Kivy presents a selection of his new and recent writings on the philosophy of music--an area to which he has been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, and does so in a way that will attract the interest of philosophical and musical readers alike. Most works are published here (...) for the first time, each one unique and accessible, making this collection a delight both to followers of Kivy's work and to first-time readers. (shrink)

Members of the field of philosophy have, just as other people, political convictions or, as psychologists call them, ideologies. How are different ideologies distributed and perceived in the field? Using the familiar distinction between the political left and right, we surveyed an international sample of 794 subjects in philosophy. We found that survey participants clearly leaned left (75%), while right-leaning individuals (14%) and moderates (11%) were underrepresented. Moreover, and strikingly, across the political spectrum, from very left-leaning individuals and moderates to (...) very right-leaning individuals, participants reported experiencing ideological hostility in the field, occasionally even from those from their own side of the political spectrum. Finally, while about half of the subjects believed that discrimination against left- or right-leaning individuals in the field is not justified, a significant minority displayed an explicit willingness to discriminate against colleagues with the opposite ideology. Our findings are both surprising and important, because a commitment to tolerance and equality is widespread in philosophy, and there is reason to think that ideological similarity, hostility, and discrimination undermine reliable belief formation in many areas of the discipline. (shrink)

Now reissued with substantial new material, The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Frances Hutcheson, and its huge influence on British aesthetics. Peter Kivy's book is a seminal work on early modern aesthetics, and has been much in demand since going out of print some years ago; this new edition brings the book up to date with the addition of eight essays that Kivy has written on the subject (...) since 1976. (shrink)

Mozart's skull -- The case of the purloined partitur -- A tale of two authenticities -- Ancient authenticities -- Operatic authenticity -- Messiah's message -- Is nothing sacred? -- Sound in sound -- Music, science, and semantics -- Authorial intention and the pure musical parameters -- Leonard Meyer's sonata.

La nueva enfermedad del coronavirus de 2019 (Covid-19), producida por el coronavirus del Síndrome Respiratorio Agudo Severo 2 (SARS-CoV-2), es una pandemia que está creando una creciente crisis sanitaria mundial, dada su novedad, su alcance y sus inicialmente limitadas opciones de tratamiento eficaz. En efecto, se sabe poco acerca de las intervenciones no farmacéuticas óptimas para evitar la morbilidad y mortalidad causadas por él, y también se conoce poco sobre la rentabilidad y aspectos éticos de dichas intervenciones. Por lo tanto, (...) éste es el primer análisis ético y de rentabilidad de las medidas de contención del Covid-19 que se conoce (así como de las medidas de cuarentena de la población para cualquier pandemia en particular), con el fin de ayudar a los sistemas de salud y a los gobiernos a garantizar la atención clínica más rentable que pueda proporcionarse equitativamente al mayor número posible de pacientes, durante esta pandemia y en las futuras crisis mundiales que sean similares. Este análisis utilizó la metodología adoptada por los Centros para el Control y la Prevención de Enfermedades (CDC), cifras comúnmente aceptadas como entradas, y los supuestos mínimos tanto extremos como del mundo real para proporcionar los resultados más sólidos y confiables posibles. El análisis de costos indicó que en los escenarios extremos, o en el mejor de los casos para las medidas de contención del Covid-19 durante la cuarentena de la población, hay una relación de costo-efectividad de $154.86 millones de dólares gastados por cada muerte evitada, y un costo neto de $1.92 billones a nivel mundial. En el mundo real, esta intervención tiene una proporción de 2,520 millones de dólares gastados por cada muerte evitada y un costo neto de 1,99 billones de dólares. La ética del contrato social personalista, tal y como se articula en el popular sistema ético de derechos y deberes de las Naciones Unidas, pone de manifiesto la especial preocupación por el hecho de que estos confinamientos pueden derivar en injusticias poco éticas perpetuadas por los Estados, de manera que socavan las vidas y las libertades individuales, al tiempo que afectan de manera des- proporcionada a las comunidades de menores ingresos, especialmente a las minorías raciales. Este estudio sugiere, por tanto, que la práctica prevalente de la cuarentena entre la población, en comparación con las precauciones de tipo estándar y las intervenciones más específicas, puede proporcionar un beneficio neto inadecuado por su costo financiero y ético. En un momento de escasez mundial, que pone a prueba la capacidad de los sistemas sanitarios para detectar y atender adecuadamente a los pacientes con Covid-19, especialmente en los países en desarrollo y en las comunidades desatendidas, este estudio respalda que se dediquen menos recursos a intervenciones con una relación costo- beneficio poco clara, y más recursos a intervenciones más asequibles, éticas y equitativas, con mayores pruebas de sus beneficios netos para salvar vidas. (shrink)

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of (...) these subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

This chapter contains section titled: Introduction A Little Ontology A Little More Ontology Early Experiences of Literature Reading to Yourself Not Moving Your Lips Other People's Mail A Theory of Language Productions in the Mind The Effect of Words A Musical Interlude Telling Stories Predecessors The Ion Within The Eloquence of Silence Radio Plays Silent Interpretation The Critic's Role Readings as Art The Transparency of the Reading Performance Read it again, Sam Silent Soundings and Silent Performances The Other Ion Literature (...) and Truth The Banality of Literary Truth Gaps and the Afterlife Another Take on the Gaps Doubts Semantic Quibbles Unuttered Conversation And for those without Voices Sight and Sound Parsimony More Parsimony? Reading as Act. (shrink)

The concept of genius—artistic genius in particular—is generally thought of as a quintessentially nineteenth-century phenomenon: the cornerstone, in fact, of German Romanticism. Kant’s treatment of the concept has always been recognized as the source from which the early Romantics drew. But the fact of the matter is that it is to the British Enlightenment that we must look for the first modern formulation of the concept of artistic genius. For it was already well formed and clearly recognizable before Kant got (...) his hands on it. In this article, the author begins by suggesting two ancient sources for the concept of genius as it developed in eighteenth-century Britain, then goes on to discuss the contributions to the concept of Joseph Addison, Edward Young, Alexander Gerard, William Duff, and Gerard again, who dipped his oar in twice. (shrink)

Philosophical work on testimony has flourished in recent years. Testimony roughly involves a source affirming or stating something in an attempt to transfer information to one or more persons. It is often said that the topic of testimony has been neglected throughout most of the history of philosophy, aside from contributions by David Hume (1711–1776) and Thomas Reid (1710–1796).1 True as this may be, Hume and Reid aren’t the only ones who deserve a tip of the hat for recognizing the (...) importance of testimony: St. Augustine of Hippo (354–430) affirms the place of testimony in human cognition, at least in his later writings. (shrink)

“Never attribute to malice that which is adequately explained by stupidity”—so says Hanlon’s Razor. This principle is designed to curb the human tendency toward explaining other people’s behavior by moralizing it. We ask whether Hanlon’s Razor is good or bad advice. After offering a nuanced interpretation of the principle, we critically evaluate two strategies purporting to show it is good advice. Our discussion highlights important, unsettled questions about an idea that has the potential to infuse greater humility and civility into (...) discourse and debate. (shrink)

Recovering Reason: Essays in Honor of Thomas L. Pangle is a collection of essays composed by students and friends of Thomas L. Pangle to honor his seminal work and outstanding guidance in the study of political philosophy. These essays examine both Socrates' and modern political philosophers' attempts to answer the question of the right life for human beings, as those attempts are introduced and elaborated in the work of thinkers from Homer and Thucydides to Nietzsche and Charles Taylor.

In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...

Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses ...

"In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...

This study examined preschool children’s reasoning about and behavioral interactions with one of the most advanced robotic pets currently on the retail market, Sony’s robotic dog AIBO. Eighty children, equally divided between two age groups, 34–50 months and 58–74 months, participated in individual sessions with two artifacts: AIBO and a stuffed dog. Evaluation and justification results showed similarities in children’s reasoning across artifacts. In contrast, children engaged more often in apprehensive behavior and attempts at reciprocity with AIBO, and more often (...) mistreated the stuffed dog and endowed it with animation. Discussion focuses on how robotic pets, as representative of an emerging technological genre, may be blurring foundational ontological categories, and impacting children’s social and moral development. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

In this paper, we move toward offering psychological benchmarks to measure success in building increasingly humanlike robots. By psychological benchmarks we mean categories of interaction that capture conceptually fundamental aspects of human life, specified abstractly enough to resist their identity as a mere psychological instrument, but capable of being translated into testable empirical propositions. Nine possible benchmarks are considered: autonomy, imitation, intrinsic moral value, moral accountability, privacy, reciprocity, conventionality, creativity, and authenticity of relation. Finally, we discuss how getting the right (...) group of benchmarks in human–robot interaction will, in future years, help inform on the foundational question of what constitutes essential features of being human. (shrink)

In De Gustibus Peter Kivy deals with a question that has never been fully addressed by philosophers of art: why do we argue about art? We argue about the 'facts' of the world either to influence people's behaviour or simply to get them to see what we take to be the truth about the world. We argue over ethical matters, if we are ethical 'realists,' because we think we are arguing about 'facts' in the world. And we argue (...) about ethics, if we think matters of ethics are simply matters of 'attitude,' to influence the behaviour of others. But why should we argue about works of art? There are no 'actions' we wish to motivate. Whether I think Bach is greater than Beethoven and you think the opposite, why should it matter to either of us to convince the other? Kivy claims here that we argue over taste because we think, mistakenly or not, that we are arguing over matters of fact. (shrink)

In this paper, we move toward offering psychological benchmarks to measure success in building increasingly humanlike robots. By psychological benchmarks we mean categories of interaction that capture conceptually fundamental aspects of human life, specified abstractly enough to resist their identity as a mere psychological instrument, but capable of being translated into testable empirical propositions. Nine possible benchmarks are considered: autonomy, imitation, intrinsic moral value, moral accountability, privacy, reciprocity, conventionality, creativity, and authenticity of relation. Finally, we discuss how getting the right (...) group of benchmarks in human–robot interaction will, in future years, help inform on the foundational question of what constitutes essential features of being human. (shrink)

Drawing comparisons with other art forms, this book examines the role of aesthetic features in silent reading, such as narrative structure, and the core experience of reading a novel as a story rather than a scholarly exercise. Focuses on the experience of the art form known as the novel Uses the more common perspective of a reader who reads to be told a story, rather than for scholarly or critical analysis Draws comparisons with experience of the other arts, music in (...) particular Explores the different effects of a range of narrative approaches. (shrink)

_The Performance of Reading_ argues that there are distinct analogies between "silent" reading and artistic performance, and so fashions the new role of the reader as performer. An original and insightful exploration of the act of reading by the leading scholar in the field. Discusses the history of reading and the transitions from reading aloud to reading silently, and the changing role of literature as communal, active experience to a more private endeavor.

_The Performance of Reading_ argues that there are distinct analogies between "silent" reading and artistic performance, and so fashions the new role of the reader as performer. An original and insightful exploration of the act of reading by the leading scholar in the field. Discusses the history of reading and the transitions from reading aloud to reading silently, and the changing role of literature as communal, active experience to a more private endeavor.

Peter Kivy presents a fascinating critical examination of the two rival ways of understanding instrumental music. He argues against 'literary' interpretation in terms of representational or narrative content, and defends musical formalism. Along the way he discusses interpretations of a range of works in the canon of absolute music.

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: that musical works possess perceptual properties and universals do not; that musical works are created and universals cannot be; that universals cannot be destroyed and musical works can; that parts of tokens of the same type can be interchanged (...) and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, and seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas and just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)