If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which musical works are concrete objects. In (...) particular, the theory that we defend takes musical works to be fusions of performances. We defend this view from a series of objections, the first two of which are raised by Julian Dodd in a recent paper and the last of which is suggested by some comments of his in an earlier paper. (shrink)

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)

Thanks to David Kaplan (1989a, 1989b), we all know how to handle indexicals like ‘I’. ‘I’ doesn’t refer to an object simpliciter; rather, it refers to an object only relative to a context. In particular, relative to a context C, ‘I’ refers to the agent of C. Since different contexts can have different agents, ‘I’ can refer to different objects relative to different contexts. For example, relative to a context cwhose agent is Gottlob Frege, ‘I’ refers to Frege; relative to (...) a context 0* whose agent is Alexius.. (shrink)

It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is to (...) defend this platitude from the apparently compelling objections raised against it, by analysing depiction in a way which reveals how it is mediated by resemblance. -/- It’s natural to contrast the platitude that depiction is mediated by resemblance, which emphasises the differences between depictive and descriptive representation, with an extremely close analogy between depiction and description, which emphasises the similarities between depictive and descriptive representation. Whereas the platitude emphasises that the connection between my portrait and me is natural in a way the connection between my name and me is not, the analogy emphasises the contingency of the connection between my portrait and me. Nevertheless, the second aim of this book is to defend an extremely close analogy between depiction and description. -/- The strategy of the book is to argue that the apparently compelling objections raised against the platitude that depiction is mediated by resemblance are manifestations of more general problems, which are familiar from the philosophy of language. These problems, it argues, can be resolved by answers analogous to their counterparts in the philosophy of language, without rejecting the platitude. So the combination of the platitude that depiction is mediated by resemblance with a close analogy between depiction and description turns out to be a compelling theory of depiction, which combines the virtues of common sense with the insights of its detractors. (shrink)

Existing regulation of end-of-life care is flawed. Problems include poorly-designed laws, policies, ethical codes, training, and funding programs, which often are neither effective nor helpful in guiding decision-making. This leads to adverse outcomes for patients, families, health professionals, and the health system as a whole. A key factor contributing to the harms of current regulation is a siloed approach to regulating end-of-life care. Existing approaches to regulation, and research into how that regulation could be improved, have tended to focus on (...) a single regulatory instrument (e.g., just law or just ethical codes). As a result, there has been a failure to capture holistically the various forces that guide end-of-life care. This article proposes a response to address this, identifying “regulatory space” theory as a candidate to provide the much-needed holistic insight into improving regulation of end-of-life care. The article concludes with practical implications of this approach for regulators and researchers. (shrink)

This paper first offers a standard modal extension of dialetheic logics that respect the normal semantics for negation and conjunction, in an attempt to adequately model absolutism, the thesis that there are true contradictions at metaphysically possible worlds. It is shown, however, that the modal extension has unsavoury consequences for both absolutism and dialetheism. While the logic commits the absolutist to dialetheism, it commits the dialetheist to the impossibility of the actual world. A new modal logic AV is then proposed (...) which avoids these unsavoury consequences by invalidating the interdefinability rules for the modal operators with the use of two valuation relations. However, while using AV carries no significant cost for the absolutist, the same isn't true for the dialetheist. Although using AV allows her to avoid the consequence that the actual world is an impossible world, it does so only on the condition that the dialetheist admits that she cannot give a dialetheic solution to all self-refe.. (shrink)

Sometimes people desire that their lives go badly, take pleasure in their lives going badly, or believe that their lives are going badly. As a result, some popular theories of welfare are paradoxical. I show that no attempt to defend those theories from the paradox fully succeeds.

This article assesses the quality of Integrative Social Contracts Theory (ISCT) as a social contract argument. For this purpose, it embarks on a comparative analysis of the use of the social contract model as a theory of political authority and as a theory of social justice. Building on this comparison, it then develops four criteria for any future contractarian theory of business ethics (CBE). To apply the social contract model properly to the domain of business ethics, it should be: (1) (...) self-disciplined, i.e., not aspire results beyond what the contract model can realistically establish; (2) argumentative, i.e., it should seek to provide principles that are demonstrative results of the contractarian method; (3) task-directed, i.e., it should be clear what the social contract thought-experiment is intended to model; and (4) domain-specific, i.e., the contractarian choice situation should be tailored to the defining problems of business ethics. (shrink)

The daring idea that convention - human decision - lies at the root both of necessary truths and much of empirical science reverberates through twentieth-century philosophy, constituting a revolution comparable to Kant's Copernican revolution. This book provides a comprehensive study of Conventionalism. Drawing a distinction between two conventionalist theses, the under-determination of science by empirical fact, and the linguistic account of necessity, Yemima Ben-Menahem traces the evolution of both ideas to their origins in Poincaré's geometric conventionalism. She argues that the (...) radical extrapolations of Poincaré's ideas by later thinkers, including Wittgenstein, Quine, and Carnap, eventually led to the decline of conventionalism. This book provides a fresh perspective on twentieth-century philosophy. Many of the major themes of contemporary philosophy emerge in this book as arising from engagement with the challenge of conventionalism. (shrink)

Whilst certain verbs may appear in both the intransitive inchoative and the transitive causative constructions (The ball rolled/The man rolled the ball), others may appear in only the former (The man laughed/*The joke laughed the man). Some accounts argue that children acquire these restrictions using only (or mainly) statistical learning mechanisms such as entrenchment and pre-emption. Others have argued that verb semantics are also important. To test these competing accounts, adults (Experiment 1) and children aged 5–6 and 9–10 (Experiment 2) (...) were taught novel verbs designed to be construed — on the basis of their semantics — as either intransitive-only or alternating. In support of the latter claim, participants' grammaticality judgments revealed that even the youngest group respected these semantic constraints. Frequency (entrenchment) effects were observed for familiar, but not novel, verbs (Experiment 1). We interpret these findings in the light of a new theoretical account designed to yield effects of both verb semantics and entrenchment/pre-emption. (shrink)

Previous studies have shown that children retreat from argument‐structure overgeneralization errors (e.g., *Don’t giggle me) by inferring that frequently encountered verbs are unlikely to be grammatical in unattested constructions, and by making use of syntax‐semantics correspondences (e.g., verbs denoting internally caused actions such as giggling cannot normally be used causatively). The present study tested a new account based on a unitary learning mechanism that combines both of these processes. Seventy‐two participants (ages 5–6, 9–10, and adults) rated overgeneralization errors with higher (...) (*The funny man’s joke giggled Bart) and lower (*The funny man giggled Bart) degrees of direct external causation. The errors with more‐direct causation were rated as less unacceptable than those with less‐direct causation. This finding is consistent with the new account, under which children acquire—in an incremental and probabilistic fashion—the meaning of particular constructions (e.g., transitive causative = direct external causation) and particular verbs, rejecting generalizations where the incompatibility between the two is too great. (shrink)

From classical, Fraïissé-homogeneous, ($\leq \omega$)-categorical theories over finite relational languages, we construct intuitionistic theories that are complete, prove negations of classical tautologies, and admit quantifier elimination. We also determine the intuitionistic universal fragments of these theories.

In my time at The Hastings Center, the projects I've worked on have intersected in fascinating ways, but one through line has impressed me as especially important: centering the experiences and needs of people and communities most affected by the issue at hand.

The development of technologies for gene editing in the wild has the potential to generate tremendous benefit, but also raises important concerns. Using some form of public deliberation to inform decisions about the use of these technologies is appealing, but public deliberation about them will tend to fall back on various forms of heuristics to account for limited personal experience with these technologies. Deliberations are likely to involve narrative reasoning—or reasoning embedded within stories. These are used to help people discuss (...) risks, processes, and fears that are otherwise difficult to convey. In this article, we identify three forms of collective narrative that are particularly relevant to debates about modifying genes in the wild. Our purpose is not to privilege any particular narrative, but to encourage people involved in deliberations to make these narratives transparent. Doing so can help guard against the way some narratives—referred to here as “crafted narratives”—may be manipulated by powerful elites and concentrated economic interests for their own strategic ends. (shrink)

The paper is dealing with the foundation of the Division for German Literature and Language at the Hebrew University of Jerusalem from the point of view of its first head, Prof. Stéphane Mosès.

Is business intimately related to ethics or can the two be separated? I argue that examining this question by focusing on how the two areas might be separated is logically flawed. Examining how business and ethics are connected, however, can bear fruit. This examination shows that business is a proper subset of ethics. Understanding this intimate connection has two practical benefits. It removes the seemingly incommensurable conflict between financial and ethical responsibilities of managers and it gives us new and positive (...) insights into Milton Friedman’s view that the social responsibility of business is to increase its profits. (shrink)

Millianism and Fregeanism agree that a sentence that contains a name expresses a structured proposition but disagree about whether that proposition contains the object that the name refers to (Millianism) or rather a mode of presentation of that object (Fregeanism). Various problems – about simple sentences, propositional‐attitude ascriptions, and sentences that contain empty names – beset each view. To solve these problems, Millianism can appeal to modes of presentation, and Fregeanism can appeal to objects. But this raises a further problem: (...) namely, to explain why the proposition expressed by a sentence that contains a name matters in some cases but not in others. (shrink)

Many philosophers endorse the view that global or “narrative” features of a life at least partly determine its value. For instance, a life in which the subject redeems her past failures and sacrifices with later successes is thought to be better, ceteris paribus, than one in which her later successes are unrelated to her previous failures. In this paper I distinguish some views about narrative value, including Fischer’s views about the importance of free will for narrative value, and raise a (...) number of problems for the idea of narrative value. (shrink)

This article explores the expanding dimensions of Internet-based communication in connection with the potential up flowing of super-consciousness within virtual worlds. The presence of an Enlightened Master is highlighted as a necessary catalyst precipitating Internet mediated super-consciousness. The virtual world Second Life is cited as a model for addressing present day potentials for such a transformative process. A proposal is outlined for experimenting with the communicative potentials of virtual worlds. The Internet is illustrated as an emerging nervous system of collective (...) consciousness ready to undergo a cleansing process similar to that of an individual nervous system. A vision of future potentials is also considered. (shrink)

However, the barriers and facilitators of such changes - law reform perspectives - have been virtually ignored. Why do so many attempts to change the law fail but others are successful? International Perspectives on End-of-Life Law Reform aims to address this question by drawing on ten case studies of end-of-life law reform from the United Kingdom, the United States, Canada, the Netherlands, Belgium and Australia. Written by leading end-of-life scholars, the book's chapters blend perspectives from law, medicine, bioethics and sociology (...) to examine sustained reform efforts to permit assisted dying and change the law about withholding and withdrawing life-sustaining treatment. Findings from this book not only shed light on changing end-of-life law but also provide insight more generally into how and why law reform succeeds in complex and controversial social policy areas. (shrink)

Purpose The study explores how social media impacts institutional trust through the lens of Kohlberg’s stages of moral development. Specifically, this study aims to understand how moral relativism and moral intuitionism can moderate the relationship between social media use and perception of social authorities. Design/methodology/approach The study analyzes a large data set from the World Values Survey, covering responses from approximately 52,000 individuals across 45 countries between 2017 and 2022. Multiple regression analyses were conducted to test for interactions between social (...) media use and stages of moral development on trust in social institutions. Findings The study finds that different stages of moral development significantly moderate the relationship between social media use and institutional trust. Specifically, higher moral development buffers the negative effect of social media use on trust in three main social institutions: law enforcement, parliament and the legal system. In contrast, individuals with higher levels of moral relativism and moral intuitionism are more susceptible to the negative influence of social media on institutional trust. Research limitations/implications The study relies on self-reported data from the World Values Survey, which may introduce response biases. In addition, while the large-scale data set offers insights into correlations, it does not allow for conclusive causal inferences. Originality/value This research contributes to understanding technology’s impact on modern societies by highlighting the role of individual moral development in shaping perceptions of key social institutions. The study uniquely integrates Kohlberg’s moral development theory with the influence of social media, offering a novel perspective on how personal moral systems can moderate the effect of digital media use. (shrink)

Marxism, Cultural Studies and Sport assesses the contemporary relevance of Marxist approaches and offers a unique and diverse examination of modern sports ...

Many believe that intended harms are more difficult to justify than are harms that result as a foreseen side effect of one's conduct. We describe cases of harming in which the harm is not intended, yet the harmful act nevertheless runs afoul of the intuitive moral constraint that governs intended harms. We note that these cases provide new and improved counterexamples to the so-called Simple View, according to which intentionally phi-ing requires intending to phi. We then give a new theory (...) of the moral relevance of intention. This theory yields the traditional constraint on intending harm as a special case, along with several stronger demands. (shrink)

In this paper, I argue that, when it comes to explaining what can be described as “representational” properties of propositions, Soames’s new conception of propositions—on which the proposition that Seattle is sunny is the act of predicating the property being sunny of Seattle and to entertain that proposition is to perform that act—does not have an advantage over traditional ones.

Suppose you find yourself in a situation in which you can either save both A and B or save only C. A, B and C are relevantly similar – all are strangers to you, none is more deserving of life than any other, none is responsible for being in a life-threatening situation, and so on. John Taurek argued that when deciding what to do in such a situation, you should flip a coin, thereby giving each of A, B and C (...) a 50% chance of survival . Only by doing this can we treat each person with the appropriate degree of respect. Taurek seemed to be employing the “Equal Greatest Chance” principle , according to which, when deciding whom to save, one must give each person the greatest possible chance of survival consistent with everyone else having the same chance. An obvious alternative is the “Save the Greater Number” principle . I describe an example that shows that EGC is false. I show that the example also demonstrates the falsity of other related views, including Jens Timmermann’s “Individualist Lottery Principle.” I conclude that SGN is true. And I extend the argument to other kinds of cases, showing that which person should be saved may depend on whether some additional well-being may be gained for someone in the process. (shrink)

Causal realism is the view that causation is a structural feature of reality; a power inherent in the world to produce effects, independently of the existence of minds or observers. This article suggests that certain problems in the philosophy of mind are artefacts of causal realism; because they presuppose the existence or possibility of a mind-independent causal nexus between the ‘physical’ and the ‘mental’. These dilemmas include the 'hard problem' of consciousness, and the problems of free will and mental causality. (...) Since the ostensible causal nexus cannot be directly perceived, it is sublimated into obscure and elusive phenomena along the purported mental causal chain. The antithesis of causal realism, and the proposed solution to the problems above, is causal anti-realism: the view that causation is not a fundamental property of the world, but of how observers purposively interpret ‘the world’. Causal anti-realism is compatible with causal pragmatism, which allows for the practical use of causal terms. Causal anti-realism denies the possibility of ontological reduction and is therefore incompatible with materialism. The article concludes that causal anti-realism is at least prima facie reconcilable with idealism. (shrink)

It seems that more often than not, refugees and asylum seekers are associated with the notion of ‘limbo’. This terminology is used to illustrate situations in which people are unable to access systems that would alleviate their ‘standstill’ lives. In other words, when it is said that people are in limbo, it is understood they have a sense of hopelessness. Specifically, in the media, at least three examples of ‘limbo’ are often used: limbo as a physical space, limbo as a (...) type of legal conflict or legal irreconcilability and metaphysical limbo or the type of limbo that exists in one’s mind. Unfortunately, the refugee experience is so commonly associated with the idea of limbo that it appears to be the central space that refugees ‘belong’—presumably, due to the inaccessible or unpreventable nature of their predicament, they are unable to escape their life in limbo. However, it is important to understand that limbo does not simply ‘exist’. It is something that is created. In the case of Australia, refugee limbos appear as certain types due to the restrictive nature of the Government’s laws and policies. This article explores the usage of the term ‘limbo’ in the media in order to draw attention to its overwhelming presence and map specific types of discourse and ideologies. Further, it is shown that limbo should not be considered something which is out of our control or something inherent in the refugee experience but instead, is a tool used by governments to restrict refugee access to the border and systems of protection. (shrink)

ABSTRACT Nietzsche and Schlegel both write about practical topics with more than merely descriptive intent. Their intent is also practical insofar as it aims to alter the life of the reader, setting her a task: be thus! Each, however, also evinces skepticism about the propriety of such task setting. This skepticism is more general than the explicitly signaled audience partitioning in which each also engages: it is not that some readers will not be able to make use of the text (...) in the intended way, but that the task setting itself is misplaced. In this article I describe the character of the tasks that give rise to this skepticism, and argue that in both Schlegel's and Nietzsche's cases we get truer and more satisfying interpretations if we take them as disclaiming practical intent: though it is seductive to think we could attain the states they describe through our own effort, they systematically elude such pursuit. (shrink)

In "Demonstratives or Demonstrations", Marga Reimer argues that quotation marks are demonstrations and that expressions enclosed with them are demonstratives. In this paper, I argue against her view. There are two objections. The first objection is that Reimer''s view has unattractive consequences: there is more ambiguity, there are more demonstratives, and there are more English expressions than we thought. The second objection is that, unlike other ambiguous expressions, some expressions that are ambiguous on Reimer''s view can''t be disambiguated by using (...) subscripts. This suggests that, contrary to her view, those expressions aren't really ambiguous. (shrink)

The place of gilds in urban politics has recently attracted considerable interest. Scholars have come to view these organizations, especially those associated with the crafts, as powerful vehicles for influencing municipal affairs. No agreement about the nature of this influence has yet emerged; indeed, gilds have been variously interpreted as promoters of political brotherhood, allies of worker interests, and devices used by urban elites to control artisans and laborers. The prevalence of a different sort of influence has gone largely unnoticed, (...) however. In many English towns of the late Middle Ages a single fraternity came to dominate local government. (shrink)

Two major features of emotions are their personal, interested nature and the centrality of the self-other relation. There seems to be a built-in tension between the two: this is evident, for example, in negative emotions such as envy and hate, where one person has a significant negative attitude toward another. This tension is also obvious in positive emotions, such as schadenfreude, where an individual is pleased about the other’s misfortune. Such tension may even be greater in romantic love, where the (...) lover should give special attention and status to the beloved. The tension gains further momentum when we assume that self-fulfillment is an essential feature of romantic relationships. Indeed, it seems that in many low-quality romantic relations, the tension between self-fulfillment and the needs of the beloved is real and toxic. However, in enduring profound love, which involves the personal growth of each partner, self-fulfillment is not egoistic, and the tension drives mutual thriving. (shrink)