Artworld Metaphysics turns a critical eye upon aspects of the artworld, and articulates some of the problems, principles, and norms implicit in the actual practices of artistic creation, interpretation, evaluation, and commodification. Aesthetic theory is treated as descriptive and explanatory, rather than normative: a theory that relates to artworld realities as a semantic theory relates to the fragments of natural language it seeks to describe. Robert Kraut examines emotional expression, correct interpretation and objectivity in the context of artworld practice, the (...) relevance of jazz to aesthetic theory, and the goals of ontology (artworld and otherwise). He also considers the relation between art and language, the confusions of postmodern relativism, and the relation between artistic/critical practice and aesthetic theory. (shrink)

The technical apparatus of modal semantics--Possible worlds, World-Lines, Counterparts, Etc.--Continues to arouse suspicion among philosophers of various persuasions. A way to dispel at least some of the suspicion is to provide a naturalistic interpretation of the semantical machinery. My goal here is precisely that. More specifically, I provide a behavioristically acceptable interpretation of david lewis' counterpart theory. Reference to worlds and counterparts is construed in sober, Quinean terms. The result is a "metalinguistic" construal of counterpart semantics, And thus, Of modality. (...) Having shown that counterpart theory rests on no dubious philosophical assumptions, I briefly explore some of the metaphysical consequences of the resulting theory of modality. (shrink)

Mathematical practice prompts theories about aprioricity, necessity, abstracta, and non-causal epistemic connections. But it is not clear what to count as the data: mathematical necessity or the appearance of mathematical necessity, abstractness or apparent abstractness, a prioricity or apparent aprioricity. Nor is it clear whether traditional metaphysical theories provide explanation or idle redescription. This paper suggests that abstract objects, rather than doing explanatory work, provide codifications of the data to be explained. It also suggests that traditional rivals—conceptualism, nominalism, realism—engage different (...) explanatory projects, and thus are not rivals at all. (shrink)

Pickering & Garrod's (P&G's) theory of dialogue production cannot completely explain recent data showing that when interactants in referential communication tasks have different views of a physical space, they accommodate their language to their partner's view rather than mimicking their partner's expressions. Instead, these data are consistent with the hypothesis that interactants are taking the perspective of their conversational partners.