In lieu of an abstract, here is a brief excerpt of the content:Two NarractsAntoine Volodine (bio)1. DögbruzDögbruz dépassa le dernier lampadaire de l'avenue et il s'arrêta pour calmer sa respiration haletante. Derrière lui, la ville semblait déserte. La nuit était tombée depuis des heures, de longues heures, un grand nombre d'heures, et, alors que cette idée prenait naissance dans l'esprit de Dögbruz, la phrase bourgeonna et devint quelque chose d'inquiétant, une réflexion qui n'appartenait pas totalement à notre monde : la (...) nuit, pensa soudain Dögbruz. Elle est tombée depuis plusieurs jours.Plusieurs jours sans soleil ni lune, sans crépuscule, plusieurs longues tranches noires de vingt-quatre heures. La noirceur n'avait connu aucune interruption.– Je... Mais qu'est-ce que... bougonna Dögbruz.L'air était tiède, le sol sous ses pieds était chaud, de temps en temps une ombre minuscule voletait en silence autour de sa tête, puis disparaissait. Un flocon charbonneux. Une mouche, pensa-t-il. Elle est épuisée ou déjà morte, pensa-t-il.– Non, non, pas ça, murmura-t-il, effrayé par ce qui faisait des allées et venues entre sa sous-conscience et sa conscience, des images et des expressions qui avaient rompu avec la logique du réel.Il avait besoin de bouger les lèvres et les cordes vocales pour les chasser, ces images et ces expressions désagréables.– Non, pas morte, cette sale bestiole, corrigea-t-il à voix basse. Très fatiguée, peut-être. Comme moi, très, très fatiguée. Mais pas encore morte. Autrement elle serait au sol. Elle ne pourrait pas voler.Comme moi, pensa-t-il. Moi aussi je suis au sol. Et, s'il y a au moins une certitude ici cette nuit, c'est que je ne vole pas.Il resta quelques minutes immobile, sans rien faire d'autre que combattre les petites intuitions délirantes qui traversaient les couches inférieures de son intelligence et montaient sans hâte, comme des bulles de méthane cherchant, dans un marécage, la surface de la vase. Il reprenait son souffle en observant l'avenue, devant et derrière lui : une vallée d'obscurité monotone, deux parois de maisons non éclairées, quelques arbres qui agonisaient sous la poussière, des palmiers en phase terminale, quatre ou cinq, dans la distance, et, pour le reste, une vilaine coulée [End Page 60] de bitume, qui donnait l'impression d'avoir pour origine le ciel sans la moindre étoile, d'une épaisseur et d'une opacité repoussantes. Les lampadaires étaient rares. À la fin de l'image, rien ne brillait. Pas d'horizon, pas de séparation entre le monde des nuages et le ruban bitumeux, les maisons noyées dans le rien, plus de différence entre la nuit du haut et la nuit du bas.Il s'aperçut soudain qu'il ne respirait plus et il s'empressa de mettre un terme à ce moment d'apnée indésirable.– Saletés de poumons de merde, jura-t-il.De nouveau, ses sacs pulmonaires se gonflaient et se dégonflaient. Certes. Mais il devait y veiller, leur donner l'ordre de s'emplir puis de se vider. Sans cesse il devait contrôler cela. Il haussa les épaules au bout d'une minute.– Tu parles d'un organisme pourri, protesta-t-il, s'adressant à lui-même, ou plutôt à on ne sait quelle divinité familière qu'il associait à son destin, une divinité camarade et, face à l'adversité, aussi impuissante que lui.Alors qu'il essayait de confier son alimentation en oxygène à des réflexes qui fonctionnaient avec réticence, il distingua au bout de l'avenue une forme que d'abord il se refusa à identifier, puis qu'il fut bien obligé de reconnaître. C'était loin, à plus de cent cinquante mètres, noyé d'obscurité, mais le doute n'était pas possible. Non, non, je ne peux pas me tromper, pensa-t-il.Un lama.L'univers ici est en noir et blanc, pensa-t-il. Aucune couleur et presque aucune nuance de gris. Mais... (shrink)

Review of Felice C. Frankel's "The visual elements—design: a handbook for communicating science and engineering.".

This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not of (...) failed-art; and art’s intention-dependence is perfectly compatible with the role that luck plays in artistic creation. (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of creation. (...) I introduce palaeoart—the depiction of extinct prehistoric fauna and flora, especially from the Mesozoic—as a paradigmatic case of remote art, showing that its remoteness is secured both by the deceptively rich cognitive load required for its creation and appreciation, and by its existence at the margins of the institutional artworld, which ensures that this cognitive loading is largely obscured. Too often, remote art is not just inscrutable, it is invisible to us. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

Surveillance programs supporting the management of One Health issues such as antibiotic resistance are complex systems in themselves. Designing ethical surveillance systems is thus a complex task (retroactive and iterative), yet one that is also complicated to implement and evaluate (e.g., sharing, collaboration, and governance). The governance of health surveillance requires attention to ethical concerns about data and knowledge (e.g., performance, trust, accountability, and transparency) and empowerment ethics, also referred to as a form of responsible self-governance. Ethics in reflexive governance (...) operates as a systematic critical-thinking procedure that aims to define its value: What are the “right” criteria to justify how to govern “good” actions for a “better” future? The objective is to lay the foundations for a methodological framework in empirical bioethics, the rudiments of which have been applied to a case study to building reflexive governance in One Health. This ongoing critical thinking process involves “mapping, framing, and shaping” the dynamics of interests and perspectives that could jeopardize a “better” future. This paper proposes to hybridize methods to combine insights from collective deliberation and expert evaluation through a reflexive governance functioning as a community-based action-ethics methodology. The intention is to empower individuals and associations in a dialogue with society, which operation is carried out using a case study approach on data sharing systems. We based our reasoning on a feasibility study conducted in Québec, Canada (2018–2021), envisioning an antibiotic use surveillance program in animal health for 2023. Using the adaptive cycle and governance techniques and perspectives, we synthesize an alternative governance model rooted in the value of empowerment. The framework, depicted as a new “research and design (R&D)” practice, is linking operation and innovation by bridging the gap between Reflexive, Evaluative, and Deliberative reasonings and by intellectualizing the management of democratizing critical thinking locally (collective ethics) by recognizing its context (social ethics). Drawing on the literature in One Health and sustainable development studies, this article describes how a communitarian and pragmatic approach can broaden the vision of feasibility studies to ease collaboration through public-private-academic partnerships. The result is a process that “reassembles” the One Health paradigm under the perspective of global bioethics to create bridges between the person and the ecosystem through pragmatic ethics. (shrink)

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they reflect (...) deep-seated theoretical and methodological commitments to transparency of exposition. (shrink)

It has recently been argued that metal’s ‘heaviness’ is conceptually inarticulable. I argue, on the contrary, that ‘heaviness’ is a matter of inaccessibility—the ‘something more’ that makes metal ‘heavy’ is actually something less: less auditory processing fluency. Like profound literature, metal resists, but also invites and rewards, interpretation. I argue that understanding ‘heaviness’ in terms of auditory processing fluency allows us to make sense of a number of otherwise puzzling features of the music, and to articulate a unifying gestalt for (...) the genre. (shrink)

Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...) to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming. (shrink)

In 2018, the Art Gallery of Ontario retitled a painting by Emily Carr which contained an offensive word. Controversy ensued, with some arguing that unsanctioned changes to a work’s title infringe upon artists’ moral and free speech rights. Others argued that such a change serves to whitewash legacies of racism and cultural genocide. In this paper, I show that these concerns are unfounded. The first concern is not supported by law or the history of our titling practices; and the second (...) concern misses the mark by ignoring the gallery’s substantial efforts to avoid just such an outcome. Picking up on a suggestion from Loretta Todd, I argue that we can use Aboriginal Title as a model for thinking about the harms perpetuated by cultural appropriation, and the practices we should adopt to mitigate them. (shrink)

It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin and (...) end with conceptual analysis. Against this tendency towards concept-driven ontology, I offer a trio of objections derived from: the cultural and temporal variability of concepts of art, the systematic tendency, on the part of would-be ontological assessors, to err on the side of familiar categories or, conversely, to exaggerate minor differences between familiar and unfamiliar practices, and the influence artworld precedents exert over expert and folk concepts alike. These considerations, I argue, mandate an epistemic humility that is simply unavailable to the concept-descriptivist. (shrink)

Julian Dodd has characterized the default position in metaphysics as meta-ontologically realist: the answers to first-order ontological questions are thought to be entirely independent of the things we say and think about the entities at issue. Consequently, folk ontologies are liable to substantial error. But while this epistemic humility is commendable where the ontology of natural kinds is concerned, it seems misplaced with respect to social kinds since their ontology is dependent upon the human social world. Using art and art-kinds (...) as paradigmatic examples of social kinds, I argue that meta-ontological realism sets conditions that are too strict to apply to social kinds. Nevertheless, I argue that we should not be too quick to embrace the conclusion that our folk theories of social kinds cannot err substantially. By modelling the reference of social kind-terms on that of natural kind-terms, it becomes clear that in both cases, our sole epistemic privilege lies in our ability to pinpoint the subject of our inquiries. (shrink)

Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create a “great”character,theauthor cannot (...) just endowher with certain attributes; she must actively work to overcome her audience’s tendency to import structures of oppression into the story, and she must wrestle against the conventions of the genre. In doing so, however, authors risk setting their stories in a wholly different genre. (shrink)

It is not uncommon for art historians and philosophers of art to deride the kinds of aesthetic experiences tourists seek out by characterizing them as bowing to the will of the herd, succumbing to peer pressure, or simply seeking out what is popular. Two charges, in particular, tend to be levelled against tourists. The first, which I call the motivation problem, contends that tourists are motivated to seek out aesthetic experiences for the wrong kinds of reasons. The second, which I (...) call the appreciation problem, maintains that tourist tastes are aesthetically uninformed and are thus the inauthentic product of aesthetic luck. But there is a better way of thinking about aesthetic tourism, one that can capture both the tourist’s motivations and the role of aesthetic luck. I argue that aesthetic tourists, like many experts, subscribe to the acquaintance principle, and that doing so generates aesthetic obligations to their practical identity. The tourist, in the end, is no more – and no less – a product of aesthetic luck than the expert connoisseur. (shrink)

A critical reflection on John Woods's new monograph, Truth in Fiction – Rethinking its Logic. I focus in particular on Woods’s world-inheritance thesis (what others have variously called ‘background,’ ‘the principle of minimal departure,’ and ‘the reality assumption,’ and which replaces Woods’s earlier ‘fill-conditions’) and its interplay with auctorial say-so, arguing that world-inheritance actually constrains auctorial say-so in ways Woods has not anticipated.

ABSTRACTThe financial crisis of 2008 was unforeseen partly because the academic theories that underpin policy making do not sufficiently account for uncertainty and complexity or learned and evolved human capabilities for managing them. Mainstream theories of decision making tend to be strongly normative and based on wishfully unrealistic “idealized” modeling. In order to develop theories of actual decision making under uncertainty, we need new methodologies that account for how human actors often manage uncertain situations “well enough.” Some possibly helpful methodologies, (...) drawing on digital science, focus on the role of emotions in determining people's choices; others examine how people construct narratives that enable them to act; still others combine qualitative with quantitative data. (shrink)

This paper proposes a presentation and an analysis of the first philosophical writing of Paul Ricœur, on the problem of God in the reflexive philosophies of Lachelier and Lagneau. His principal aim is to situate this first writing in the context of Ricœur’s philosophical work, by underlining his belonging to the french reflexive tradition and his refusing of the absolute idealism of Lachelier and Lagneau. The author insists more precisely on the realistic and personalist thesis of the young Ricœur and (...) on the appearance of the problem of evil in his work.  . (shrink)

Dans le sillage de la pensée rawlsienne, plusieurs défenseurs du « coopérativisme » soutiennent que l’étendue de la justice est strictement nationale et non mondiale. Dans cet article, nous défendons l’idée que la coopération internationale, malgré son caractère tantôt informel, tantôt imparfait, n’en est pas moins fondamentale, et qu’elle génère bel et bien une exigence égalitaire. Nous appuierons cette thèse par un examen attentif du rôle joué par le patrimoine cognitif mondial. Dans l’économie du savoir qui est la nôtre, ce (...) qui fait la richesse d’une société est l’ensemble de ses savoir-faire, techniques productives, etc. Mais le savoir est un bien public mondial puisque son partage ne s’arrête pas aux frontières nationales. Ainsi, la simple possibilité de créer la moindre richesse – au niveau prétendument « national » – dépend d’entrée de jeu d’un produit coopératif mondial. (shrink)

One of the greatest challenges facing current generations is the environmental and climate crisis. Democracies, so far, have not distinguished themselves by their capacity to bring about appropriate political responses to these challenges. This is partly explicable in terms of a lack of state capacity in a globalized context. Yet we also argue that election-centered democracies suffer from several flaws that make them inapt to deal with this challenge properly: youth is not appropriately represented; parliaments suffer from a lack of (...) diversity; elected representatives’ time-horizon is too narrow; anti-regulation lobbies have too much influence. Considering this, we argue for rejuvenating our democratic systems by introducing a randomly selected legislative chamber, which would be permanently integrated to our political systems and would play a deliberative and scrutinizing role. We have identified four eco-political arguments in favor of such reform. The generational rebalancing argument, which we examine first, has some plausibility but is not the strongest. The other three arguments – its eco-epistemic promises; its wider time horizon; and the independence of its members from short-term corporate interests – however, appear to us to be much more convincing. (shrink)

As a result of evolution, human babies are born with outstanding abilities for human communication and cooperation. The other side of the coin is their great sensitivity to any clear and durable violation in their relationship with caregivers. Infant sustained social withdrawal behavior was first described in infants who had been separated from their caregivers, as in Spitz's description of “hospitalism” and “anaclitic depression.” Later, ISSWB was pointed to as a major clinical psychological feature in failure-to-thrive infants. Fraiberg also described (...) freezing behavior as one of the earliest modes of infant defense in the face of adverse situations threatening the infant's ability to synchronize with caregivers. We hypothesize that ISSWB behaviors are associated with poor vagal brake functioning and that an impaired social engagement system is induced by an impoverished and/or dangerous environment. Recent research using animal models highlight the neurobiology and the genetics of the social Approach/Withdrawal Behavior in infants. The present paper is therefore a plea for social withdrawal behavior to be attributed a more important role as a major psychological defensive mechanism in infancy, and for research into early development and early intervention to make more practical and theoretical use of this concept, thus decreasing the challenge of translation in social neurosciences. This work presents several situations involving developmental hazards in which assessment of ISSWB by means of the Alarm Distress Baby Scale has proven useful, i.e., malnutrition, effects of major maternal depression and or traumatization, assessing social withdrawal in infants with an chronic organic illness or assessing ISSWB in out of home placed infants during parental visitation. Relationships between ISSWB and other biophysiological behavioral systems are discussed, particularly links with attachment processes and Porges's polyvagal theory. (shrink)

This essay focuses on two philosophical assumptions.According to the first one, biological normativity is not an irreducible property of the living, but rather the living is the historical result of its normative activity. There is therefore a logic of life at work in every living organism that makes it a subject and an agent. It is not the fact that it is already a subject that explains the presence of this logic. It is therefore not impossible to naturalise biological normativity, (...) even if this concept proposed by Georges Canguilhem makes us bifurcate from a world of facts to a world of values.According to the second, we need to extend Varela’s concept of operational closure in order to naturalise biological normativity. We propose a new way of writing it that takes into account the fact that architectural constraints (ϕ1ϕ2) are always at stake in a biological system. By such constraints, we can predict the presence of specific propulsive and repulsive devices in every organism, by which its organisation can be constantly rebuilt, and through which biological disruption can also be amplified. (shrink)

This volume explores the philosophy of Étienne Bonnot de Condillac. It presents, for the first time, English-language essays on Condillac's philosophy, making the complexity and sophistication of his arguments and their influence on early modern philosophy accessible to a wider readership. Condillac's reflections on the origin and nature of human abilities, such as the ability to reason, reflect and use language, took philosophy in distinctly new directions. This volume showcases the diversity of themes and methods inspired by Condillac's work. The (...) chapters are divided into four thematic sections. Part 1 highlights themes and discussions that were central to Condillac's own philosophical thinking, thus laying the ground for the subsequent discussions that trace Condillac's influence in the 19th century and beyond. Part 2 focuses on the different ways in which Condillac's philosophy has been taken up, criticised and further developed in France. Part 3 discusses thinkers working in other European countries and parts of the world who took up Condillac's work. Finally, Part 4 looks at the practical applications of Condillac's philosophy in a variety of different fields, such as economics, psychology, psychopathology and deaf studies. Condillac and His Reception will appeal to scholars and advanced students working on early modern philosophy, history of science and intellectual history. (shrink)

Existe-t-il une chose de tel qu'une conception herméneutique du langage? C'est à cette question que cet ouvrage se propose de répondre, de façon positive, en opérant une mise en dialogue des herméneutiques de Hans-Georg Gadamer et Paul Ricoeur. Malgré les différences indéniables entre les oeuvres de ces deux philosophes, l'auteur montre qu'elles ont en commun de penser le langage comme étant un principe fondamental de notre expérience du monde et de tout événement de compréhension. Une articulation entre les deux oeuvres, (...) qui mise sur une dialectique entre les notions d'appartenance et de distanciation, est possible à partir de cet accord de fond sur notre appartenance essentielle au langage. De ce point de vue, tout effort pour mettre à distance le langage afin d'en faire un objet d'étude doit tenir compte du caractère premier et irréductible de cette appartenance, s'il veut éviter de n'offrir qu'une vision réductrice du langage. Comme le révèlent les analyses de ce livre, les recherches de Gadamer et Ricoeur se caractérisent par la prise en compte de ce fait dans leurs réflexions sur le dialogue, le texte et la traduction, ainsi que dans leurs travaux sur la puissance créatrice du langage qui se manifeste dans la métaphore, le dire poétique et le récit. Cependant, le plus important pour l'herméneutique est que cette appartenance fondamentale ne soit pas synonyme d'un enfermement dans le langage, mais que le langage offre au contraire une ouverture sur l'être et permette à ce qui est de se dire et de se penser. (shrink)

Through close readings of the poems and prose essays of Joseph Brodsky, Seamus Heaney, and Geoffrey Hill, Defending Poetry makes a timely intervention in current debates about literature's ethics, arguing that any ethics of literature ought to take into account not only poetry, but also the writings of poets on the value of poetry.

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments is a teaching-focused resource, which highlights the contributions that imaginative scenarios—paradoxes, puzzles, and thought experiments alike—have made to the development of contemporary analytic aesthetics. The book is divided into sections pertaining to art-making, ontology, aesthetic judgements, appreciation and interpretation, and ethics and value, and offers an accessible summary of ten debates falling under each section. -/- Each entry also features a detailed annotated bibliography, making it an ideal companion for courses surveying a broad (...) collection of topics and readings in aesthetics. (shrink)

I argue that the coincidence of statue and matter is a special case of a common linguistic phenomenon: the use of partitive terms to individuate uses of non-count nouns (NCNs). By marking partitives and NCNs, we can easily account for the intuition that a statue and its matter are identical.

In Kant’s ethics, disinterest is derived from the concept of the categorical imperative and is taken to be the condition of the possibility of all moral actions. Schopenhauer, by contrast, treats disinterest as a necessary but insufficient condition for morality, and severs it from its ties to the categorical imperative. Disinterest, for Schopenhauer, leads to the concept of compassion, which he praises as the sole ground of all morality. But compassion seems fundamentally opposed to disinterest, since it involves taking an (...) active interest in someone else’s plight: a consideration not really treated in Kant. In this paper, I tackle the problem of reconciling compassion, in Schopenhauer, with the criterion of disinterest that he inherits from Kant. I also take up the challenge of explaining compassion’s altruistic tendency to act for another’s well-being if we take Schopenhauer’s determinism at face value, and acknowledge that human actions are fundamentally egoistic. (shrink)

Review of Fernando Vidal's _Performing brains on screen_ (Amsterdam 2022).

A review of James Young's "Radically Rethinking Copyright in the Arts: A Philosophical Approach" (Routledge 2020).

A review of Tiziana Andina's The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury 2013).

A review of Christy Mag Uidhir's Art & Art-Attempts (OUP 2013).

Rouage essentiel du soin dans des sociétés médicalisées, l’ambulancier-ère accomplit des tâches qui relèvent a priori de registres divers : conduire, brancarder, pratiquer les gestes de premiers secours, assister le malade… Cet article propose de saisir le processus de construction de la profession d’ambulancier à travers le prisme du genre, en portant une attention particulière aux conductrices-ambulancières de la Croix-Rouge française. Ces femmes, engagées en 1939 pour répondre aux besoins du temps de guerre, apparaissent comme des pionnières de la codification (...) de la profession qui a été réglementée en France au tournant des années 1970, alors même qu’elles soient minoritaires dans la profession. Retracer quelques jalons de leur histoire permet alors de mettre au jour ce paradoxe et d’interroger la place du conflit de genre dans la définition d’un care ambulancier. (shrink)

PLoS ONE 3(3): e1897. doi:10.1371/journal.pone.

This article asks whether firms should exempt employees when they object to elements of their work that go against their conscience. Fairness requires that we follow the rules of an organization we have joined voluntarily only if these rules express mutual advantage. In corporations, I argue that subordination and exemption provides for mutual advantage better than subordination plus right of exit. This is because agents want to protect their conscientious convictions, even in hierarchical organizations geared towards efficient preference satisfaction. Thus (...) exemptions should be granted in unforeseeable circumstances, provided the costs are limited. (shrink)

The readings collected here—of Karl Marx, Friedrich Engels, Rosa Luxemburg, Vladimir Ilyich Lenin, Leon Trotsky, and Antonio Gramsci— reflect the experience of the labor, socialist, and communist movements that did so much to shape modern history. A dedication to working-class revolution gives coherence to the influential philosophical, economic, sociological, and historical works of these writers. Paul Le Blanc's introductory essay probes the structure and dynamics of Marxism as a political orientation, tracing connections among components that can be found in (...) the readings: the theory of capitalist development, the theory of the labor movement, the strategy of revolution, the conception of the transition to socialism. Others identified with the Marxist tradition—such as Plekhanov, Kautsky, Stalin, Mao—are also discussed, and attention is given to perspectives of such varied critics of Marxism as Sidney Hook, Bertram D. Wolfe, James Burnham, Daniel Bell, Robert Heilbroner, and C. Wright Mills. Historical reflections are blended with discussion of the durability of capitalism, the disappointment of hopes for workers' revolution, the "collapse of communism," issues of race and gender, the environment, and challenges of the twenty-first century. (shrink)

ABSTRACT:Singer has recently argued that questions related to corporate governance are beyond the reach of Rawls’s political conception of justice. This is because justice applies to the basic structure of society, understood as society’s legally coercive structures, and because corporate governance cannot be considered part of this structure in political liberalism. This commentary challenges the second part of the argument. First, it suggests that the criterion used to exclude corporate governance from the basic structure—whether employees can exit economic organizations—is not (...) conclusive for corporate governance, notably as institutionalized in corporate law. Second, even if the focus were on corporate governance, it would still be possible to argue that it legally coerces citizens, if not employees, in a relevant way. Thus, the argument is not successful in demonstrating that political liberalism goes beyond its legitimate boundaries when considering that aspects of corporate governance may be matters of justice. (shrink)