Contract cheating is a major problem in Higher Education because it is very difficult to detect using traditional plagiarism detection tools. Digital forensics techniques are already used in law to determine ownership of documents, and also in criminal cases, where it is not uncommon to hide information and images within an ordinary looking document using steganography techniques. These digital forensic techniques were used to investigate a known case of contract cheating where the contract author has notified the university and the (...) student subsequently confirmed that they had contracted the work out. Microsoft Word documents use a format known as Office Open XML Format, and as such, it is possible to review the editing process of a document. A student submission known to have been contracted out was analysed using the revision identifiers within the document, and a tool was developed to review these identifiers. Using visualisation techniques it is possible to see a pattern of editing that is inconsistent with the pattern seen in an authentic document. (shrink)

The roots of cognitivism lie deep in the history of Western thought, and to develop a genuinely post-cognitivist psychology, this investigation goes back to presuppositions descended from Platonic/Cartesian assumptions and beliefs about the nature of thought.

Academic misconduct in all its various forms is a challenge for degree-granting institutions. Whilst text-based plagiarism can be detected using tools such as Turnitin™, Plagscan™ and Urkund™, contract cheating and collusion can be more difficult to detect, and even harder to prove, often falling to no more than a ‘balance of probabilities’ rather than fact. To further complicate the matter, some students will make deliberate attempts to obfuscate cheating behaviours by submitting work in Portable Document Format, in image form, or (...) by inserting hidden glyphs or using alternative character sets which text matching software does not always accurately detect.Educators do not tend to think of academic misconduct in terms of criminality per se, but the tools and techniques used by digital forensics experts in law enforcement can teach us much about how to investigate allegations of academic misconduct. The National Institute of Standards and Technology’s Glossary describes digital forensics as ‘the application of computer science and investigative procedures involving the examination of digital evidence - following proper search authority, chain of custody, validation with mathematics, use of validated tools, repeatability, reporting, and possibly expert testimony.’. These techniques are used in criminal investigations as a means to identify the perpetrator of, or accomplices to, a crime and their associated actions. They are sometimes used in cases relating to intellectual property to establish the legitimate ownership of a variety of objects, both written and graphical, as well as in fraud and forgery. Whilst there have been some research articles and case studies that demonstrate the use of digital forensics techniques to detect academic misconduct as proof of concept, there is no evidence of their actual deployment in an academic setting.This paper will examine some of the tools and techniques that are used in law enforcement and the digital forensics field with a view to determining whether they could be repurposed for use in an academic setting. These include methods widely used to determine if a file has been tampered with that could be repurposed to identify if an image is plagiarised; file extraction techniques for examining meta data, used in criminal cases to determine authorship of documents, and tools such as FTK™ and Autopsy™ which are used to forensically examine single files as well as entire hard drives. The paper will also present a prototype of a bespoke software tool that attempts to repurpose some of these techniques into an automated process for detecting plagiarism and / or contract cheating in Word documents.Finally, this article will discuss whether these tools have a place in an academic setting and whether their use in determining if a student’s work is truly their own is ethical. (shrink)

BackgroundThe U.S. Food and Drug Administration traditionally has kept confidential significant amounts of information relevant to the approval or non-approval of specific drugs, devices, and biologics and about the regulatory status of such medical products in FDA’s pipeline.ObjectiveTo develop practical recommendations for FDA to improve its transparency to the public that FDA could implement by rulemaking or other regulatory processes without further congressional authorization. These recommendations would build on the work of FDA’s Transparency Task Force in 2010.MethodsIn 2016-2017, we convened (...) a team of academic faculty from Harvard Medical School, Brigham and Women’s Hospital, Yale Medical School, Yale Law School, and Johns Hopkins Bloomberg School of Public Health to develop recommendations through an iterative process of reviewing FDA’s practices, considering the legal and policy constraints on FDA in expanding transparency, and obtaining insights from independent observers of FDA.ResultsThe team developed 18 specific recommendations for improving FDA’s transparency to the public. FDA could adopt all these recommendations without further congressional action.FundingThe development of the Blueprint for Transparency at the U.S. Food and Drug Administration was funded by the Laura and John Arnold Foundation. (shrink)

The authors discuss some of the conceptual issues that must be considered in using and understanding psychiatric classification. DSM-IV is a practical and common sense nosology of psychiatric disorders that is intended to improve communication in clinical practice and in research studies. DSM-IV has no philosophic pretensions but does raise many philosphical questions. This paper describes the development of DSM-IV and the way in which it addresses a number of philosophic issues: nominalism vs. realism, epistemology in science, the mind/body dichotomy, (...) the definition of mental disorders, and dimensional vs. categorical classification. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Past and Future of Utopian StudiesLaurence Davis (bio)This critical forum on “The Past and Future of Utopian Studies” originated as a roundtable discussion at the conference, “Opening Utopia: New Directions in Utopian Studies,” held at the University of Brighton in July 2022. The title of the conference reflected a determination on the part of the program coordination team—Patricia McManus (University of Brighton), Laurence Davis (University College Cork), Siân (...) Adiseshiah (Loughborough University), Antonis Balasopoulos (University of Cyprus), Tom Moylan (University of Limerick), Michael G. Kelly (University of Limerick), Emrah Atasoy (Cappadocia University), and Ross Sparkes (University of Brighton)—to make the conference an inclusive and potentially radically transformative event, one that would challenge entrenched orthodoxies in the field of utopian studies and help scholars and activists chart new directions in utopian scholarship and practice.This transformative ethos was reflected in the collaboratively produced conference call for papers, which stipulated that the event was dedicated to an exploration of radical utopian thinking and revolutionary praxis. The conference, we emphasized, was intended to create a welcoming and broadly [End Page 478] inclusive space where participants could explore the role of utopian thinking, imagination, and practice in addressing some of the fundamental challenges of our times. Towards this end we appended to the call a section, entitled “USS and Utopia Beyond the University,” in which we noted that our aim was to design a program that would center work intended to blur or break the well-policed and expensive borders between the university and the communities within which universities sit. We proposed, and indeed later fulfilled the promise, to work with local activists in Brighton to establish some in-person and remote-access events that would highlight and explore radical hope as it is present in the politics of migrant solidarity, co-housing initiatives, and anarchist and queer groups and spaces. We also explicitly invited contributions from those working outside the formal limits of academia or who were inside academic spaces pushing out. The enthusiastic response to the call for papers exceeded all expectations, and the resulting conference program was exceptionally varied and promising and indeed suggestive of many possible new directions in utopian studies. What follows in this special section of Utopian Studies is a product of one very lively five-person conference panel that I co-organized with Antonis Balasopoulos (University of Cyprus).The chief impetus for the transformation from conference panel to special journal section was an email invitation from the then-editor of Utopian Studies, who had attended the session and who subsequently invited us to revise and elaborate the talks for publication in the journal. Interestingly, the journal editor suggested that the contributions might provide answers to two questions: first, “where do you see the value of utopian studies in our dark times?” and second, “how can utopia and utopianism inspire activism and political changes?”In response, and speaking in my capacity as the panel chair and prospective editor of the special section, I noted that while it would be fascinating to see the contributors address questions of the value of utopian studies in our dark times, and specifically how utopia and utopianism might inspire activism and political change, such a remit would not get to the heart of what was distinctive about either our panel or the Brighton conference as a whole. The Brighton conference was dedicated specifically to an exploration of radical utopian thinking and revolutionary practice. And its title, “Opening Utopia: New Directions in Utopian Studies” suggested that utopia can be a catalyst for transformative change only if the study of utopia(s) is itself open, or “opened,” to radical influences. In our panel we explored both the past and some possible futures of utopian studies and considered “new [End Page 479] directions” that might facilitate more radical utopian thinking and revolutionary practice. While all of the contributors celebrated utopia’s transformative potential, they also criticized aspects of the field of utopian studies that arguably have limited that transformative potential, including its “blind spots” in relation to the “organizational imaginary” (Balasopoulos), its own privileged “whiteness” and colonial prerogatives (Edwards), its Anglo-American focus and tendency to overlook significant social movements outside... (shrink)

Three recent book-length studies in the philosophy of economics (Mirowski 2002, Davis 2003, Ross 2005) have drawn attention to the fact that mainstream economic theory has consistently avoided commitment to any particular model of the person. This is the most significant respect in which economics has kept aloof from part of psychology. The widespread belief, on the other hand, that economists’ attentiveness to the psychology of choice and decision had to wait for the Allais challenge and then for Kahneman (...) and Tversky is a myth. It is true that for a brief period after World War II economists led by Samuelson tried to operationalize choice as analytically derivative from observed consumer demand. This was a minor episode in the history of theory. Ross (2005) argues that, if anything, mainstream microeconomics has been more sensitive to theoretical fashions in the psychology of choice than has been good for it. (shrink)

Critics of mainstream economics typically rest important weight on the differences between people and the 'agents' that populate economic theory and economic models. Hollis and Nell (1975) is both representative of and ancestral to many more recent variations on the theme. Lately, the upgraded status of behavioral economics (BE) within the discipline's mainstream has encouraged a number of writers to use revolutionary rhetoric in promotion of a 'paradigm shift' that includes the rejection of 'rational economic man' (Ormerod 1994, Heilbroner and (...) Milburg 1995, Fullbrook 2003). The current leading developers of BE are generally more circumspect, claiming that their approach complements standard theory rather than promising to supplant it (Camerer and Loewenstein 2004, Angner and Loewenstein this volume). However, they generally join the more florid critics in supposing that microeconomics is bound to improve its empirical relevance to the extent that it substitutes the study of people for that of abstract economic agents. Another body of thought that promotes this view stems from Sen's (1977) attack on standard economic agents as 'rational fools', amplified in Davis's (2003) argument that since economic agents lack some essential properties of human individuals, economic theory requires fundamental reform if it is to make progress in explaining human behavior. (shrink)

The essays collected in this volume include studies of the history of the word scientist and the origin of the terms of electrochemistry as developed by Faraday, with the aid of the scholars Whewell and Whitlock Nicholl. In this bicentennial year of the birth of Faraday, the topic of his discovery of electromagnetic induction is timely, as described here in the story of the ten-year search that preceded it. Faraday enters also as the major proponent of the chemical theory of (...) the voltaic cell, in opposition to Volta's contact theory. There is also an essay on Sir John Herschel's discovery of hypo and its application to photography. The book covers the formative period of science as a profession in England and introduces some figures of the transition to professionalism, as exemplified by Davy, Herschel, Faraday, Talbot, Whewell, and others, in terms of their work and their attitude toward it. (shrink)

Julie Childers and Bob Arnold’s (2019) article, “The Inner Lives of Doctors: Physician Emotion in the Care of the Seriously Ill,” uses Kübler-Ross’s influential work on death and dying to remind us...

We provide a battery of examples of delusions against which theoretical accounts can be tested. Then, we identify neuropsychological anomalies that could produce the unusual experiences that may lead, in turn, to the delusions in our battery. However, we argue against Maher’s view that delusions are false beliefs that arise as normal responses to anomalous experiences. We propose, instead, that a second factor is required to account for the transition from unusual experience to delusional belief. The second factor in the (...) aetiology of delusions can be described superficially as a loss of the ability to reject a candidate for belief on the grounds of its implausibility and its inconsistency with everything else that the patient knows. But we point out some problems that confront any attempt to say more about the nature of this second factor. (shrink)

According to telling based views of testimony (TBVs), B has reason to believe that p when A tells B that p because A thereby takes public responsibility for B's subsequent belief that p. Andrew Peet presents a new argument against TBVs. He argues that insofar as A uses context-sensitive expressions to express p, A doesn't take public responsibility for B's belief that p. Since context-sensitivity is widespread, the kind of reason TBVs say we have to believe what we're told, is (...) not widespread. Peet doesn't identify any problem with his own argument though he does attempt to limit its sceptical potential by identifying special contexts in which TBVs stand a chance of success. A more general defence of TBVs can be provided by showing Peet's argument to be unsound. I argue that Peet's argument is unsound because it requires us to wrongly suppose that speakers do far less labour than their audiences in context-sensitive linguistic communication. I aim to show why—in the context of the epistemology of testimony and the philosophy of language—it's important to recognize the labour that speakers can do, and so can can be held responsible for not doing, in episodes of context-sensitive linguistic communication. (shrink)

Article copyright 2002. We provide a battery of examples of delusions against which theoretical accounts can be tested. Then we identify neuropsychological anomalies that could produce the unusual experiences that may lead, in turn, to the delusions in our battery. However, we argue against Maher's view that delusions are false beliefs that arise as normal responses to anomalous experiences. We propose, instead, that a second factor is required to account for the transition from unusual experience to delusional belief. The second (...) factor in the etiology of delusions can be described superficially as a loss of the ability to reject a candidate for belief on the grounds of its implausibility and its inconsistency with everything else that the patient knows, but we point out some problems that confront any attempt to say more about the nature of this second factor. (shrink)

Being human while trying to scientifically study human nature confronts us with our most vexing problem. Efforts to explicate the human mind are thwarted by our cultural biases and entrenched infirmities; our first-person experiences as practical agents convince us that we have capacities beyond the reach of scientific explanation. What we need to move forward in our understanding of human agency, Paul Sheldon Davies argues, is a reform in the way we study ourselves and a long overdue break with (...) traditional humanist thinking. Davies locates a model for change in the rhetorical strategies employed by Charles Darwin in _On the Origin of Species_. Darwin worked hard to anticipate and diminish the anxieties and biases that his radically historical view of life was bound to provoke. Likewise, Davies draws from the history of science and contemporary psychology and neuroscience to build a framework for the study of human agency that identifies and diminishes outdated and limiting biases. The result is a heady, philosophically wide-ranging argument in favor of recognizing that humans are, like everything else, subjects of the natural world—an acknowledgement that may free us to see the world the way it actually is. (shrink)

The nonvisual self-touch rubber hand paradigm elicits the compelling illusion that one is touching one’s own hand even though the two hands are not in contact. In four experiments, we investigated spatial limits of distance and alignment on the nonvisual self-touch illusion and the well-known visual rubber hand illusion. Common procedures and common assessment methods were used. Subjective experience of the illusion was assessed by agreement ratings for statements on a questionnaire and time of illusion onset. The nonvisual self-touch illusion (...) was diminished though never abolished by distance and alignment manipulations, whereas the visual rubber hand illusion was more robust against these manipulations. We assessed proprioceptive drift, and implications of a double dissociation between subjective experience of the illusion and proprioceptive drift are discussed. (shrink)

INTRODUCTION: In accounts of the two-factor theory of delusional belief, the second factor in this theory has been referred to only in the most general terms, as a failure in the processes of hypothesis evaluation, with no attempt to characterise those processes in any detail. Coltheart and Davies attempted such a characterisation, proposing a detailed eight-step model of how unexpected observations lead to new beliefs based on the concept of abductive inference as introduced by Charles Sanders Peirce. METHODS: In (...) this paper, we apply that model to the explanation of various forms of delusional belief. RESULTS: We provide evidence that in cases of delusion there is a specific failure of the seventh step in our model: the step at which predictions from hypotheses are considered in the light of relevant evidence. CONCLUSIONS: In the two-factor theory of delusional belief, the second factor consists of a failure to reject hypotheses in the face of disconfirmatory evidence. (shrink)

'Chains of Being' argues that there can be infinite chains of dependence or grounding. Cameron also defends the view that there can be circular relations of ontological dependence or grounding, and uses these claims to explore issues in logic and ontology.

I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these two (...) came to be described in the early twentieth century. (shrink)

Inattentional blindness studies have shown that an unexpected object may go unnoticed if it does not share the property specified in the task instructions. Our aim was to demonstrate that observers develop an attentional set for a property not specified in the task instructions if it allows easier performance of the primary task. Three experiments were conducted using a dynamic selective-looking paradigm. Stimuli comprised four black squares and four white diamonds, so that shape and colour varied together. Task instructions specified (...) shape but observers developed an attentional set for colour, because we made the black–white discrimination easier than the square–diamond discrimination. None of the observers instructed to count bounces by squares reported an unexpected white square, whereas two-thirds of observers instructed to count bounces by diamonds did report the white square. When attentional set departs from task instructions, you may fail to see what you were told to look for. (shrink)

[Crispin Wright] Two kinds of epistemological sceptical paradox are reviewed and a shared assumption, that warrant to accept a proposition has to be the same thing as having evidence for its truth, is noted. 'Entitlement', as used here, denotes a kind of rational warrant that counter-exemplifies that identification. The paper pursues the thought that there are various kinds of entitlement and explores the possibility that the sceptical paradoxes might receive a uniform solution if entitlement can be made to reach sufficiently (...) far. Three kinds of entitlement are characterised and given prima facie support, and a fourth is canvassed. Certain foreseeable limitations of the suggested anti-sceptical strategy are noted. The discussion is grounded, overall, in a conception of the sceptical paradoxes not as directly challenging our having any warrant for large classes of our beliefs but as crises of intellectual conscience for one who wants to claim that we do. /// [ Martin Davies] Wright's account of sceptical arguments and his use of the idea of epistemic entitlement are reviewed. His notion of non-transmission of epistemic warrant is explained and a concern about his notion of entitlement is developed. An epistemological framework different from Wright's is described and several notions of entitlement are introduced. One of these, negative entitlement, is selected for more detailed comparison with Wright's notion. Thereafter, the paper shows how the two notions of entitlement have contrasting consequences for non-transmission of warrant and how they go naturally with two conceptions of the presuppositions of epistemic projects. Problems for negative entitlement are explained and solutions are proposed. (shrink)

In this paper I further elucidate and defend a metaontological position that allows you to have a minimal ontology without embracing an error-theory of ordinary talk. On this view 'there are Fs' can be strictly and literally true without bringing an ontological commitment to Fs. Instead of a sentence S committing you to the things that must be amongst the values of the variables if it is true, I argue that S commits you to the things that must exist as (...) truthmakers for S if it is true. I rebut some recent objections that have been levelled against this metaontological view. (shrink)

[Crispin Wright] Two kinds of epistemological sceptical paradox are reviewed and a shared assumption, that warrant to accept a proposition has to be the same thing as having evidence for its truth, is noted. 'Entitlement', as used here, denotes a kind of rational warrant that counter-exemplifies that identification. The paper pursues the thought that there are various kinds of entitlement and explores the possibility that the sceptical paradoxes might receive a uniform solution if entitlement can be made to reach sufficiently (...) far. Three kinds of entitlement are characterised and given prima facie support, and a fourth is canvassed. Certain foreseeable limitations of the suggested anti-sceptical strategy are noted. The discussion is grounded, overall, in a conception of the sceptical paradoxes not as directly challenging our having any warrant for large classes of our beliefs but as crises of intellectual conscience for one who wants to claim that we do. /// [Martin Davies] Wright's account of sceptical arguments and his use of the idea of epistemic entitlement are reviewed. His notion of non-transmission of epistemic warrant is explained and a concern about his notion of entitlement is developed. An epistemological framework different from Wright's is described and several notions of entitlement are introduced. One of these, negative entitlement, is selected for more detailed comparison with Wright's notion. Thereafter, the paper shows how the two notions of entitlement have contrasting consequences for non-transmission of warrant and how they go naturally with two conceptions of the presuppositions of epistemic projects. Problems for negative entitlement are explained and solutions are proposed. (shrink)

The social impacts of computer technology are often glorified in public discourse, but there is growing concern about its actual effects on society. In this article, we ask: how does “consent” as an analytical framework make visible the social dynamics and power relations in the capture, extraction, and labor of data science knowledge production? We hypothesize that a form of boundary violation in data science workplaces—gender harassment—may correlate with the ways humans’ lived experiences are extracted to produce Big Data. The (...) concept of consent offers a useful way to draw comparisons between gender relations in data science and the means by which machines are trained to learn and reason. Inspired by how Big Tech leaders describe unsupervised machine learning, and the co-optation of “revolutionary” rhetoric they use to do so, we introduce a concept we call “techniques of invisibility.” Techniques of invisibility are the ways in which an extreme imbalance between exposure and opacity, demarcated along fault lines of power, are fabricated and maintained, closing down the possibility for bidirectional transparency in the production and applications of algorithms. Further, techniques of invisibility, which we group into two categories—epistemic injustice and the Brotherhood—include acts of subjection by powerful actors in data science designed to quell resistance to exploitative relations. These techniques may be useful in making further connections between epistemic violence, sexism, and surveillance, sussing out persistent boundary violations in data science to render the social in data science visible, and open to scrutiny and debate. (shrink)

When there is truth, there must be some thing (or things) to account for that truth: some thing(s) that couldn’t exist and the true proposition fail to be true. That is the truthmaker principle. True propositions are made true by entities in the mind-independently existing external world. The truthmaker principle seems attractive to many metaphysicians, but many have wanted to weaken it and accept not that every true proposition has a truthmaker but only that some important class of propositions require (...) truthmakers.1 Let us, following Armstrong, call the claim that all true propositions, without exception, have a truthmaker, Truthmaker Maximalism. Why might one be tempted to the spirit of truthmaker theory but reject Truthmaker Maximalism? Well, you might deny that necessary truths need truthmakers, for one, and insist that only contingent truths have truthmakers. But I think it’s fair to say that the most common motivation for rejecting maximalism concerns negative truths. The thought that negative truths are exempt from the demand for truthmakers could be justified in one of two ways: there is the claim that we don’t need truthmakers for negative truths, and there is the claim that we can’t have.. (shrink)

In this book, psychologists and philosophers describe and discuss a range of case studies of delusional beliefs, drawing out general lessons both for the cognitive architecture of the mind and for the notion of rationality, and exploring connections between the delusional beliefs that occur in schizophrenia and the flawed understanding of beliefs that is characteristic of autism.

Berys Gaut has recently defended a cluster account of art. He proposes it as superior to other anti-essentialist positions. I argue that his defence of this claim is unconvincing. Not only is the cluster theory consistent with the current crop of disjunctive definitions, it is at its most plausible when seen in such terms.

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

Many have been tempted to invoke a primitive notion of grounding to describe the way in which some features of reality give rise to others. Jessica Wilson argues that such a notion is unnecessary to describe the structure of the world: that we can make do with specific dependence relations such as the part–whole relation or the determinate–determinable relation, together with a notion of absolute fundamentality. In this paper I argue that such resources are inadequate to describe the particular ways (...) in which some parts of reality give rise to others, and thus that we do in fact need grounding. (shrink)