ExcerptWith the increasing attention devoted to Ernst Jünger, this superb translation of his 1934 essay “On Pain” is sure to enrich discussions on its subjects of pain, sensitivity, the body, and visual media. It comes with an informative introduction by translator David C. Durst as well as a substantial and wide-ranging preface by Russell A. Berman, which situates Jünger's text in the contexts of the Weimar Republic and contemporary culture. In Jünger's essay, pain is the measure of all things. Like (...) our shadow, it is always at our side. But Jünger knows that we wish to be rid of this…. (shrink)

There are many different oughts. There is a moral ought, a prudential ought, an epistemic ought, the legal ought, the ought of etiquette, and so on. These oughts can prescribe incompatible actions. What I morally ought to do may be different from what I self-interestedly ought to do. Philosophers have claimed that these conflicts are resolved by an authoritative ought, or by facts about what one ought to do simpliciter or all-things-considered. However, the only coherent notion of an ought simpliciter (...) has preposterous first-order normative commitments. It is more reasonable to reject the ought simpliciter in favor of the form of normative pluralism advocated in (Tiffany 2007). (shrink)

ABSTRACT Contemporary relativists often see their view as contributing to a semantic/post-semantic account of linguistic data about disagreement and retraction. I offer an independently motivated metasemantic account of the same data, that also handles a number of cases and empirical results that are problematic for the relativist. The key idea is that the content of assertions and beliefs is determined in part by facts about other times, including times after the assertion is made or the belief is formed. On this (...) temporal externalist view, speaker behaviours such as retraction of previous assertions play a role in making it the case that a past utterance has a given meaning. (shrink)

This paper discusses varieties of normative phenomena, ranging from morality, to epistemic justification, to the rules of chess. It canvases a number of distinctions among these different normative phenomena. The most significant distinction is between formal and authoritative normativity. The prior is the normativity exhibited by any standard one can meet or fail to meet. The latter is the sort of normativity associated with phenomena like the "all-things-considered" ought. The paper ends with a brief discussion of reasons for skepticism about (...) authoritative normativity. (shrink)

Normative discourse frequently involves explanation. For example, we tell children that hitting is wrong because it hurts people. In a recent paper, Selim Berker argues that to account for this kind of explanation, expressivists need an account of normative grounding. Against this, I argue that expressivists should eschew grounding and stick to a more pragmatic picture of explanation, one that focuses on how we use explanatory speech acts to communicate information. I propose that the standard form of a normative explanation (...) is a generalizing explanation, one which shows a particular moral injunction to follow from a more general injunction. I use Marc Lange’s account of unifying explanations in mathematics as a model for the canonical form of a normative explanation, but also to establish that logical entailment can be explanatory, so long as premises entailing the conclusion answer appropriately to our interests. An additional upshot of the resulting view is that it paves the way for a purely metaphysical solution to the problem of creeping minimalism. Quasireal properties are those that, unlike real properties, stand outside of the metaphysical hierarchy of grounding relations. (shrink)

Attitudinal embeddings, such as ‘I hope that murder is wrong’ or ‘she is glad that eating meat is not wrong’ are a less substantial problem for expressivists than is standardly thought. If expressivists are entitled to talk of normative beliefs, they can explain what it is to for an attitude to be semantically related to a normative content in terms of being functionally related to a belief with a normative content.

Are there cases in which agents ought to give up on satisfying an obligation, so that they can avoid a temptation which will lead them to freely commit an even more significant wrong? Actualists say yes. Possibilists say no. Both positions have absurd consequences. This paper argues that common-sense morality is committed to an inconsistent triad of principles. This inconsistency becomes acute when we consider the cases that motivate the possibilism–actualism debate. Thus, the absurd consequences of both solutions are unsurprising: (...) any proposed solution will have consequences incompatible with common moral practice. Arguments for denying one of the principles are considered and rejected. The paper then suggests that the inconsistent moral commitments originate in an inconsistent picture of human agency. Revisionary pictures of human agency are considered. It is argued that a quasi-Platonic picture of agency, similar to that advocated by Gary Watson 1977, is the most promising. (shrink)

This paper introduces the concept of linguistic hijacking, the phenomenon wherein politically significant terminology is co-opted by dominant groups in ways that further their dominance over marginalized groups. Here I focus on hijackings of the words “racist” and “racism.” The model of linguistic hijacking developed here, called the semantic corruption model, is inspired by Burge’s social externalism, in which deference plays a key role in determining the semantic properties of expressions. The model describes networks of deference relations, which support competing (...) meanings of, for example, “racist,” and postulates the existence of deference magnets that influence those networks over time. Linguistic hijacking functions to shift the semantic properties of crucial political terminology by causing changes in deference networks, spreading semantics that serve the interests of dominant groups, and weakening the influence of resistant deference networks. I consider an objection alleging the semantic corruption model gets the semantic data wrong because it entails those who hijack terms like “racist” speak truly, whereas it’s natural to see such hijacking misuses as false speech about racism. I then respond to this objection by invoking the framework of metalinguistic negotiation proposed by Plunkett and Sundell. (shrink)

I argue that standard explanationist solutions to the problem of creeping minimalism are largely on the right track, but they fail to correctly specify the kind of explanation that is relevant to distinguishing realism from quasirealism. Quasirealism should not be distinguished from realism in terms of the explanations it gives of why a normative judgment—a normative sentence or attitude—has the semantic content that it has. Rather, it should be distinguished in terms of the explanations it offers of what the semantic (...) content of a normative judgment is. (shrink)

By creating certain marks on paper, or by making certain sounds-breathing past a moving tongue-or by articulation of hands and bodies, language users can give expression to their mental lives. With language we command, assert, query, emote, insult, and inspire. Language has meaning. This fact can be quite mystifying, yet a science of linguistic meaning-semantics-has emerged at the intersection of a variety of disciplines: philosophy, linguistics, computer science, and psychology. Semantics is the study of meaning. But what exactly is "meaning"? (...) What is the exact target of semantic theory? Much of the early work in natural language semantics was accompanied by extensive reflection on the aims of semantic theory, and the form a theory must take to meet those aims. But this meta-theoretical reflection has not kept pace with recent theoretical innovations. This volume re-addresses these questions concerning the foundations of natural language semantics in light of the current state-of-the-art in semantic theorising. (shrink)

This paper argues that, with certain provisos, predicting one's future actions is incompatible with rationally deliberating about whether to perform those actions. It follows that fully rational omniscient agents are impossible, since an omniscient being could never rationally deliberate about what to do . Consequently, theories that explain practical reasons in terms of the choices of a perfectly rational omniscient agent must fail. The paper considers several ways of defending the possibility of an omniscient agent, and concludes that while some (...) of these may work, they are inconsistent with the aim of explaining practical normativity by appeal to such an agent. (shrink)

In this paper, I argue that forgiveness is a morally appropriate response only when it is grounded in the wrongdoer’s demonstration of genuine remorse, their offer of a sincere apology, and, where appropriate, acts of recompense and behavioral change. I then respond to John Kleinig’s suggestion (in his paper “Forgiveness and Unconditionality”) that when an apology is not forthcoming, there are at least three additional grounds that, when motivated by virtues such as love and compassion, could nevertheless render “unconditional forgiveness” (...) a morally laudable option. I argue that such grounds could indeed constitute or result in laudable responses to wrongdoing, but only if they are not conceived of or described in terms of forgiveness. (shrink)

Mark Schroeder’s expressivist program has made substantial progress in providing a compositional semantics for normative terms. This paper argues that it risks achieving this semantic progress at the cost of abandoning a key theoretical motivation for embracing expressivism in the first place. The problem can be summarized as a dilemma. Either Schroeder must allow that there are cases in which agents are in disagreement with one another, or can make valid inferences, but that these disagreements or inferences are not expressible (...) in natural language; or his version of expressivism must abandon one of the key theoretical advantages expressivist theories seemed to possess over cognitivism, the ability to provide a very straightforward explanation of the action- and attitude-guiding role of normative judgments. (shrink)

Allan Gibbard () argues that the term ‘meaning’ expresses a normative concept, primarily on the basis of arguments that parallel Moore's famous Open Question Argument. In this paper I argue that Gibbard's evidence for normativity rests on idiosyncrasies of the Open Question Argument, and that when we use related thought experiments designed to bring out unusual semantic intuitions associated with normative terms we fail to find such evidence. These thought experiments, moreover, strongly suggest there are basic requirements for a theory (...) of meaning incompatible with Gibbard's ultimate goal of providing an expressivist account of meaning-related concepts. I conclude by considering a possible way in which meaning could be normative, consistent with the intuitions about disagreement; but this form of normativism about meaning appears incompatible with Gibbard's expressivism. (shrink)

Millians about proper names typically claim that it is knowable apriori that Hesperus is Phosphorus. We argue that they should claim instead that it is knowable only aposteriori that Hesperus is Hesperus, since the Kripke-Putnam epistemic arguments against descriptivism are special cases of Quinean arguments that nothing is knowable apriori, and Millians have no resources to resist the more general Quinean arguments.

It is widely acknowledged that low-income and minority communities in liberal democratic societies suffer a disproportionate burden of environmental hazards. Is “environmental injustice” a necessary feature of liberal societies or is its prevalence due to the failure of existing liberal democracies to live up to liberal principles of justice? One leading version of liberalism, John Rawls’ “justice as fairness,” can be “extended” to accommodate the concerns expressed by advocates of environmental justice. Moreover, Rawlsian environmental justice has some significant advantages over (...) existing conceptions of environmental justice. (shrink)

The current study investigated age differences in the use of attentional deployment, positive reappraisal and suppression while regulating responses to sadness-eliciting content. We also tested to what extent these emotion regulation strategies were useful for each age group in managing response to age-relevant sad information. Forty-two young participants (Mage = 18.5, SE =.15) and 48 older participants (Mage = 71.42, SE = 1.15) watched four sadness-eliciting videos (about death/illness, four to five minutes long) under four conditions—no-regulation (no regulation instructions), attentional (...) deployment (divert attention away), positive reappraisal (focus on positive outcomes) and suppression (conceal emotional expressions). We assessed negative emotional experience, expression, skin conductance level (SCL) and visual fixation duration while participants watched the emotional clips and followed the instructions for each condition. Results suggest that older adults were more successful than younger adults at implementing both attentional deployment and positive reappraisal. Ability to suppress emotions appears to remain stable with age. Within age-group comparisons suggested that for the older adults, positive reappraisal was a more useful emotion regulation strategy than the others, while the pattern among younger adults was less conclusive. Age-relevant differences in motivation and successful emotion regulatory efforts based on theoretical and empirical literatures are discussed. (shrink)

What responsibilities does each of us have to reduce or limit our greenhouse gas emissions? Advocates of individual emissions reductions acknowledge that there are limits to what we can reasonably demand from individuals. Climate ethics has not yet systematically explored those limits. Instead, it has become popular to suggest that such judgements should be ‘context-sensitive’ but this does not tell us what role different contextual factors should play in our moral thinking. The current approach to theory development in climate ethics (...) is not likely to be the most effective way to fill this gap. In existing work, climate ethicists use hypothetical cases to consider what can be reasonably demanded of individuals in particular situations. In contrast, ‘climate ethics with an ethnographic sensibility’ uses qualitative social science methods to collect original data in which real individuals describe their own situations. These real-life cases are more realistic, more detailed and cover a broader range of circumstances than hypothetical cases. Normative analysis of real-life cases can help us to develop a more systematic understanding of the role that different contextual factors should play in determining individual climate responsibilities. It can also help us to avoid the twin dangers of ‘idealization’ and ‘special pleading’. (shrink)

Is evidential pluralism possible when we move to the social sciences, and if so, to what degree? What are the analytical benefits? The answer put forward in this article is that there is a tradeoff between how serious social science methodologies take the study of mechanisms and the analytical benefits that flow from evidential pluralism. In the social sciences, there are a range of different approaches to studying mechanisms, differentiated by the degree to which the ‘process’ is unpacked theoretically, and (...) whether the approach takes seriously the particular nature of social phenomena and the epistemological consequences that flow from this, as in realist approaches to the study of mechanisms, or whether more neopositivist-based foundational assumptions are adopted. Depending on which approach to study mechanisms is used, evidential pluralism is either: easy but superficial, very productive but challenging, or almost impossible because of the fundamental differences between the types of claims being made and the forms of evidence used. (shrink)

In my paper “Moral Grounds for Forgiveness,” I argued that forgiveness is morally appropriate only when a sincere apology is received, thus ruling out the three grounds for unconditional forgiveness suggested by John Kleinig in his paper “Forgiveness and Unconditionality.” In response to his reply “Defending Unconditional Forgiveness,” I argue here that my terminology, once clarified, does not undermine my construal of resentment; that conditional forgiveness is just as discretionary as unconditional forgiveness; and that what we choose to take into (...) account when we forgive must be a morally appropriate grounding for that particular end, but that only a sincere apology could satisfy this condition. I end by conceding that the three grounds suggested by Kleinig nevertheless play an essential role in the process of (conditional) forgiveness insofar as they facilitate a willingness to forgive and an openness toward accepting an apology. (shrink)

The conventional view is that Enlightenment thinkers all believed that the fruits of Reason would always be beneficial. Is this accurate? Laclos's celebrated novel "Les Liaisons dangereueses", published in 1782, provides a perspective on the world of Reason that certainly does not square with that view. Working at the level of individual psychology, Reason in Laclos's novel divides the world into the strong and the weak – more specifically, the astute and the naïve. It defines human worth in terms of (...) a capacity to deceive and control others, a capacity that can only be fully expressed by the complete defeat and humiliation of one’s adversary. (shrink)

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

It’s common knowledge that those objects we regard as great works of art have a capacity to survive across time. But that observation is only a half-truth: it tells us nothing about the nature of this power of survival – about how art endures. -/- This question was once at the heart of Western thinking about art. The Renaissance solved it by claiming that great art is “timeless”, “eternal” – impervious to time, a belief that exerted a powerful influence on (...) Enlightenment philosophers and, later, on modern aesthetics. -/- The notion that art is timeless was contradicted by nineteenth century thinkers such as Hegel, Marx, and Taine who stressed the historical embeddedness of art. The conflict of these two ideas, together with other major factors discussed in this paper, has left us today without a viable account of the nature of art’s capacity to transcend time. -/- This paper proposes an alternative solution: the proposition that art survives by a process of metamorphosis. But the principal emphasis of the paper is on the question itself: how does art transcend time? (a question that has nothing to do with the so-called “test of time”). If modern aesthetics is to remain relevant to our modern world of art, in which the art of the past – stretching back to Lascaux and beyond – is as important as Picasso and contemporary art, it urgently needs to address this neglected question. (shrink)

The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.

My main concern in this paper is with Trudy Govier’s acceptability criterion for the adequacy of the premises of an argument considered independently of whether they are “properly connected” to the conclusion. I consider arguments she makes against the view that a good argument must have true premises, and I con-tend that a theory of argument could hold both that for an argument to be a good argument its premises must be true and that for it to be a good (...) argument relative to its audience, the audience must be epistemically justified in accepting its premises as true. (shrink)

One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...) to “imitate a gesture that is always anterior, never original”. This paper explains the understanding of artistic creation developed by the French art theorist André Malraux in his well-known book The Voices of Silence. Malraux argues that the true artist is involved in a creative act in the full sense of the term – creation ex nihilo – despite the debt he or she often owes to other artists. The paper also comments briefly on possible reasons why traditional post-Enlightenment aesthetics has said so little about the topic in question. (shrink)

Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of his times. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a much deeper significance. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the humanist artistic tradition that began with the Renaissance - a tradition founded on the (...) pursuit of a transcendent world of nobility, harmony and beauty. Following an illness that left him deaf for life, Goya developed an art of a fundamentally different kind - an art, Malraux writes, ruled by ‘the unity of the prison house’ which replaced transcendence with a pervasive feeling of dependence and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, the etchings and black paintings are the first announcement of the death of beauty in Western art. (shrink)

The importance of applying game theory to the evolution of information in the presence of noise has recently become widely recognized. This Special Issue addresses the theme of spontaneously emergent order in both classical and quantum systems subject to external noise, and includes papers directly related to game theory or the development of supporting techniques. In the following editorial overview we examine the broader context of the subject, including the tension between the destructive and creative aspects of noise, and foreshadow (...) the significance of some of the subsequent papers in the volume. (shrink)

Cette étude présente une explication systématique des éléments clés de la théorie de l’art d’André Malraux. Se basant sur des œuvres telles que Les Voix du silence, Le Surnaturel, L’Irréel et L’Intemporel, elle aborde des sujets cruciaux comme la nature de la création artistique, la psychologie de notre réaction à l’art, la naissance de la notion d’« art » et sa transformation après Manet, la naissance et la mort de l’idée de beauté, la question cruellement négligée de la relation entre (...) l’art et le passage du temps, l’émergence de notre « premier monde de l’art universel », le rôle contemporain du musée d’art et du Musée Imaginaire, et la question épineuse du lien entre l’art et l’histoire. Contrairement aux critiques négatives parfois émises contre la pensée de Malraux, l’étude soutient qu’il nous offre une théorie de l’art mûrement réfléchie, entièrement cohérente et très éclairante. De surcroît, et malgré des allégations occasionnelles que la pensée de Malraux manque d’originalité, l’analyse montre que sa théorie de l’art est hautement originale et constitue un défi radical aux explications traditionnelles de l’art issues des Lumières qui ont dominé la pensée occidentale pendant quelque trois cents ans. En bref, l’étude dévoile une façon de comprendre la nature de l’art qui n’est rien de moins qu’une révolution intellectuelle. Le livre va être publie également en anglais. (shrink)

My topic is the theme of the E-OSSA 12 conference, namely Evidence, Persuasion and Diversity. I will present relevant material from a selection of Canadian legal cases, along with background information as needed and commentary. My primary focus will be on two landmark Supreme Court of Canada cases—an Aboriginal law case and a case that was both a constitutional law case and a criminal law case.

Explains a key aspect of Malraux's theory of art – his explanation of the nature of artistic creation. The question is widely neglected in modern aesthetics.

Examines Malraux's account of the creative process in art, discusses a misreading of Malraux by Merleau-Ponty, and highlights shortcomings in certain "analytic aesthetics" accounts of the creative process.

Can novels, plays and poetry tell us something important and true about who we are, about others, and about life generally? The question seems to be of interest not only to writers on literary theory and aesthetics, but to people generally. This paper considers the issues involved.

It has long been recognised that great art, whether visual art, literature or music, has a special capacity to “live on” – to endure – long after the moment of its creation. Thus, our world of art today includes, for example, ancient Mesopotamian sculpture, Shakespeare’s plays, and the music of medieval times. How does this capacity to endure operate? Or to ask that question another way: what does “endure” mean in the case of art? The Renaissance concluded that art endures (...) because it is timeless – impervious to change, “eternal”, “immortal” – and this solution, which was ratified without question by Enlightenment philosophers of art such as Hume and Kant, still lingers on in some quarters today. But developments since the nineteenth century have gravely weakened the credibility of the proposition that art is immortal, and the idea is now effectively dead. This leaves us with a major dilemma: if art is not impervious to change, how exactly does it endure? If the time-honoured solution of immortality is no longer viable, what alternative explanation can we find to replace it? -/- This paper explains why immortality is dead, describes our contemporary dilemma, and briefly canvasses a possible solution. (shrink)

Critical notice of Derk Pereboom's "Consciousness and the Prospects of Physicalism". Discusses Pereboom's idea that conscious states might be misrepresented in introspection, and his idea that instantiations of mental properties are composed of instantiations of physical properties.

An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.

Examines the birth of art-as-beauty in Western art and the concomitant birth of the idea of art itself. Also discusses the death of art-as-beauty from Manet onward and certain implications for aesthetics (the philosophy of art). Includes relevant reproductions. (The essay is a longer version of my paper "The Birth and Death of Beauty in Western Art" also listed on PhilPapers.).