Frank Jackson often writes as if his descriptivist account of public language meanings were just plain common sense. How else are we to explain how different speakers manage to communicate using a public language? And how else can we explain how individuals arrive at confident judgments about the reference of their words in hypothetical scenarios? Our aim in this paper is to show just how controversial the psychological assumptions behind in Jackson’s semantic theory really are. First, we explain how Jackson’s (...) theory goes well beyond the commonsense platitudes he cites in its defence. Second, we sketch an alternative explanation of those platitudes, the jazz model of meaning, which we argue is more psychologically realistic. We conclude that the psychological picture presupposed by Jackson’s semantic theory stands in need of a much more substantial defence than he has so far offered. (shrink)

Part 1: Metaphysics and Conceptual Analysis 1. Analysis, description and the a priori?, Simon Blackburn 2. Physicalism, conceptual analysis and acts of faith, Jennifer Hornsby 3. Serious metaphysics: Frank Jackson’s defense of conceptual analysis, William G. Lycan 4. Jackson’s classical model of meaning, Laura Schroeter & John Bigelow 5. The semantic foundations of metaphysics, Huw Price 6. The folk theory of colours and the causes of colour experience, Peter Menzies Part 2: The Knowledge Argument 7. Consciousness and (...) the frustrations of physicalism, Philip Pettit 8. Jackson’s change of mind: representationalism, a priorism and the knowledge argument, Robert Van Gulick Part 3: Ethics 9. Analytic moral functionalism meets moral twin earth, Terrence Horgan & Mark Timmons 10. Consequentialism and the nearest and dearest objection, Michael Smith 11. The ’actual’ in actualism, Julia Driver Part 4: Conditionals and the Purposes of Arguing 12. Conditionals, truth and assertion, Dorothy Edgington 13. Conditionals: A debate with Jackson, Graham Priest 14. Two purposes of arguing and two epistemic projects, Martin Davies Replies to my critics, Frank Jackson. (shrink)