At the forefront of international concerns about global legislation and regulation, a host of noted environmentalists and business ethicists examine ethical issues in consumption from the points of view of environmental sustainability, economic development, and free enterprise.

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)

Julian Dodd; Discussions: Hornsby on the Identity Theory of Truth, Proceedings of the Aristotelian Society, Volume 99, Issue 1, 1 June 1999, Pages 225–232, http.

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

This paper argues that a consideration of the problem of providing truthmakers for negative truths undermines truthmaker theory. Truthmaker theorists are presented with an uncomfortable dilemma. Either they must take up the challenge of providing truthmakers for negative truths, or else they must explain why negative truths are exceptions to the principle that every truth must have a truthmaker. The first horn is unattractive since the prospects of providing truthmakers for negative truths do not look good neither absences, nor totality (...) states of affairs, nor Graham Priest and J.C. Beall’s ‘polarities’ (Beall, 2000; Priest, 2000) are up to the job. The second horn, meanwhile, is problematic because restricting the truthmaker principle to atomic truths, or weakening it to the thesis that truth supervenes on being, undercuts truthmaker theory’s original motivation. The paper ends by arguing that truthmaker theory is, in any case, an under-motivated doctrine because the groundedness of truth can be explained without appeal to the truthmaker principle. This leaves us free to give the ommonsensical and deflationary explanation of negative truths that common-sense suggests. (shrink)

This book argues that correspondence theories of truth fail because the relation that holds between a true thought and a fact is that of identity, not correspondence. Facts are not complexes of worldly entities which make thoughts true they are merely true thoughts. According to Julian Dodd, the resulting modest identity theory, while not defining truth, correctly diagnoses the failure of correspondence theories, and thereby prepares the ground for a defensible deflation of the concept of truth.

This volume will be the starting point for future discussion and research.

Julian Dodd offers an original approach to the controversial concept of authenticity in musical performance. He argues that the fundamental norm is not historical authenticity but interpretive authenticity: being faithful to the work by evincing a profound, far-reaching, or sophisticated understanding of it.

Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...) ontology of art: a form that does not quarrel with the possibility of revisionism in matters of ‘fundamental metaphysics’, but which argues that special features of the arts make descriptivism in this particular sphere obligatory. David Davies, Andrew Kania and Stephen Davies are local descriptivists in this sense. I argue that the burden of proof lies with the local descriptivist, but that this burden is too heavy for him to carry. Specifically, it emerges that the only way in which the local descriptivist can motivate his position is by arguing that our artistic practices determine the art ontological facts: a thesis that local descriptivists typically appeal to, but have not been able to argue for successfully. My conclusion is that the methodological debate in the ontology of art should now proceed by focussing on the case for global descriptivism: i.e. that form of descriptivism that opposes the possibility of revisionism in ontological matters across the board. (shrink)

ABSTRACTWhat is John Cage's 4′33″? This paper disambiguates this question into three sub-questions concerning, respectively, the work's ontological nature, the art form to which it belongs, and the genre it is in. We shall see that the work's performances consist of silence, that it is a work of performance art, and that it belongs to the genre of conceptual art. Seeing the work in these ways helps us to understand it better, and promises to assuage somewhat the puzzlement and irritation (...) of those who are at first resistant to its charms. (shrink)

This paper asks whether we should accept a weakened version of the truthmaker principle: namely, the claim that truth supervenes on being, in which 'being' is understood as whether things are. I consider a number of positive answers to this question, including the following: that the truthmaker principle is a requirement of any plausible explanation of truth; that the principle must be accepted, if we are to do justice to the Wittgensteinian insight that the world is the totality of facts, (...) not of things; and that the correctness of the principle is a necessary condition of a realist metaphysics. In my view, none of these attempts to motivate the truthmaker principle is satisfactory. (shrink)

This book is forthcoming in Routledge. Here is the barest sketch of our aims: -/- We have two aims in this book. First, we aim to persuade you that conscious experience is sometimes realised by cycles of embodied and world-involving engagement. Second, we aim to persuade you that it is possible to develop and defend the thesis of extended consciousness through the increasingly powerful predictive processing theory developed in cognitive neuroscience.

The main thesis of this paper is that John McDowell (in his Mind and World) tries to occupy a position that is not coherently statable; namely, that facts have objects and properties as constituents and are yet identical with true (Fregean) Thoughts. This position is contrasted with two other identity theories of truth: the robust theory, in which true propositions are identified with facts (which are understood to have objects and properties as constituents); and the modest theory, in which facts (...) are identified with true Fregean Thoughts. I argue that the modest theory is to be preferred. (shrink)

Robert Trueman (2022) sets out and defends an ‘immodest’ identity theory of truth: that is, an identity theory in which the facts with which true propositions are identical are things whose totality is the world: i.e. obtaining states of affairs. This brief reply argues that Truman’s theory falls foul of a perennial objection to such immodest identity theories: namely, that it cannot explain how a candidate proposition’s putative elements can be unified into a proposition proper without this proposition being true.

In “All Play and No Work,” Andrew Kania claims that standard form jazz involves no works, only performances. This article responds to Kania by defending one of the alternative ontological proposals that he rejects, namely, that jazz works are ontologically continuous with works of classical music. I call this alternative “the standard view,” and I argue that it is the default position in the ontology of standard form jazz. Kania has three objections to the standard view. The bulk of the (...) article is devoted to explaining why none of these objections succeed. (shrink)

This paper argues that, within the Western ‘classical’ tradition of performing works of music, there exists a performance value of authenticity that is distinct from that of complying with the instructions encoded in the work's score. This kind of authenticity—interpretive authenticity—is a matter of a performance's displaying an understanding of the performed work. In the course of explaining the nature of this norm, two further claims are defended: that the respective values of interpretive authenticity and score compliance can come into (...) conflict; and that when this happens, compromising ideal score compliance for the sake of making the performance more interpretively authentic can make for a better performance. (shrink)

The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...) meta-ontological questions in the ontology of music. (shrink)

This paper sees me clarify, elaborate, and defend the conclusions reached in my ‘Musical Works as Eternal Types’ in the wake of objections raised by Robert Howell, R. A. Sharpe, and Saam Trivedi. In particular, I claim that the thesis that musical works are discovered rather than created by their composers is obligatory once we commit ourselves to thinking of works of music as types, and once we properly understand the ontological nature of types and properties. The central argument of (...) the paper is ‘the argument from the eternal existence of properties’, its moral being that types are eternal entities because they inherit their existence conditions from their eternally existent property-associates. The two key premises in this argument—that properties exist eternally, and that a type exists just in case its property-associate exists—are motivated and then defended at length. (shrink)

Peter Kivy has become convinced that it is impossible for pure, instrumental music to be profound. This is because he takes works of such music to be incapable of meeting what he claims to be two necessary conditions for artistic profundity: that the work denotes something profound, and that the work expresses profound propositions about its profound denotatum. The negative part of this paper argues as follows. Although works of pure, instrumental music do, indeed, fail to meet these conditions, the (...) said conditions are not themselves necessary for artistic profundity. In fact, each is a misinterpretation of a distinct, genuinely necessary condition for a work’s being profound: respectively, that the work has a profound subject matter, and that the work handles its profound subject matter in such a way as to elicit a deeper understanding of it in the suitably situated and prepared appreciator. The positive part of the paper elaborates these genuinely necessary conditions for artistic profundity and then argues that, once they have been disentangled from Kivy’s misconstruals of them, it becomes evident that they can be met by pieces of pure, instrumental music. (shrink)

This reissue, first published in 1980, is based on the experiences of the International Extension College in developing distance teaching. The volume begins by reviewing the world problems of educational quality and quantity, and then examines the ways in which print, broadcasts and group study have been used to train teachers, to improve classroom education, to teach by correspondence out of school, and to support rural development. It then considers how that experience can be used, perhaps by creating a network (...) of radio colleges, to supplement and extend existing schools and colleges. Finally, the book includes a descriptive and annotated bibliography of over 100 distance teaching projects in 65 third world countries. (shrink)

It has recently been suggested that the type/token theorist concerning musical works cannot come up with an adequate semantic theory of those sentences in which we purport to talk about such works. Specifically, it has been claimed that, since types are abstract entities, a type/token theorist can only account for the truth of sentences such as “The 1812 Overture is very loud” and “Bach's Two Part Invention in C has an F-sharp in its fourth measure” by adopting an untenable semantic (...) claim: namely, that the predicates in such sentences, once applied to musical works, undergo a systematic shift in their meanings. This article is a sustained explanation of why our talk about musical works in fact provides no problem for the type/token theorist. First, we demonstrate that the aforementioned “meaning shift” approach to the sentences’ predicates is well motivated and very credible. Second, we explain how the type/token theorist can adopt the best available version of an alternative, generic quantificational approach to such sentences. Third, we establish that other semantic theories, presented as undermining the type/token theory by giving us a reason for adopting eliminativism about types, are much less theoretically virtuous than the two theories that a type/token theorist can freely adopt. (shrink)

We develop a truism of commonsense psychology that perception and action constitute the boundaries of the mind. We do so however not on the basis of commonsense psychology, but by using the notion of a Markov blanket originally employed to describe the topological properties of causal networks. We employ the Markov blanket formalism to propose precise criteria for demarcating the boundaries of the mind that unlike other rival candidates for “marks of the cognitive” avoids begging the question in the extended (...) mind debate. Our criteria imply that the boundary of the mind is nested and multiscale sometimes extending beyond the individual agent to incorporate items located in the environment. Chalmers has used commonsense psychology to develop what he sees as the most serious challenge to the view that minds sometimes extend into the world. He has argued that perception and action should be thought of as interfaces that separate minds from their surrounding environment. In a series of recent papers Hohwy has defended a similar claim using the Markov blanket formalism. We use the Markov blanket formalism to show how both of their objections to the extended mind fail. (shrink)

For the last 40 years or so the is/ought gap, the fact/value distinction and the naturalistic fallacy have figured prominently in ethical debates. This longevity, however, has had an adverse side effect. So familiar have they become that they—and their respective rationales—have tended to become blurred. It is the purpose of this paper to explain why they should be kept distinct.

Julian Dodd; Discussions: Hornsby on the Identity Theory of Truth, Proceedings of the Aristotelian Society, Volume 99, Issue 1, 1 June 1999, Pages 225–232, http.

Are works of music types of performance or are they continuants? Types are unchanging entities that could not have been otherwise; continuants can undergo change through time and could have been different. Picking up on this distinction, Guy Rohrbaugh has recently argued that musical works are continuants rather than performance-types. This paper replies to his arguments and, in the course of so doing, elaborates and defends the conception of musical works as types of performance. I end the article by arguing (...) that the conception of musical works as continuants is under-motivated and, ultimately, obscure. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 85-90, Winter 2020.

Simplifying somewhat, sonicists believe that works of music are individuated purely in terms of how they sound. For them, exact sound-alikes are identical. Stephen Davies, in his ‘Musical Works and Orchestral Colour’ ( BJA 48 (2008), pp. 363–375) took me to task for defending a version of sonicism. In this paper I seek to explain why Davies's objections miss their mark. In the course of the discussion, I make some methodological remarks about the ontology of music.

We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...) occurrences are physical particulars. And nontraditional techniques and materials employed in contemporary art violate the boundaries of conventional media, prompting a rethinking of what artistic medium might be. (shrink)

In a recent paper, Robert Stecker proposes the following test for whether a value possessed by an artwork is artistic or not: ‘Does one need to understand the work to appreciate its being valuable in that way? If so, it is an artistic value. If not, it is not.’ An important question here is what Stecker means by ‘appreciation’ in this context. Stecker himself says little about this, but I offer him two accounts of the nature of appreciation, both of (...) which are suggested by remarks of his own. It turns out that Stecker’s proposed test is flawed on either understanding of ‘appreciation’. (shrink)

This paper is about style appropriation: the use by someone of stylistic cultural innovations distinctive of a cultural group that is not her own. While I agree with the key insight of C. Thi Nguyen and Matthew Strohl : 981-1002) – namely, that style appropriation is sometimes found objectionable because group intimacy is believed to have been breached – I disagree with their core claim that the settled beliefs of the group cannot be wrong about whether its group intimacy has, (...) in fact, been compromised in this way. I accept that facts about group intimacy can generate normative reasons concerning style appropriation, but develop a distinctive account of how this comes to be so: one which holds that such facts are independently grounded, rather than being decided by group opinion. This alternative picture of how group intimacy grounds normative reasons does better justice to the intuitive thought that reality, including its normative regions, is belief-independent. The paper ends with some replies to potential objections. (shrink)

This paper aims to provide a theoretical framework for explaining the subjective character of pain experience in terms of what we will call ‘embodied predictive processing’. The predictive processing (PP) theory is a family of views that take perception, action, emotion and cognition to all work together in the service of prediction error minimisation. In this paper we propose an embodied perspective on the PP theory we call the ‘embodied predictive processing (EPP) theory. The EPP theory proposes to explain pain (...) in terms of processes distributed across the whole body. The prediction error minimising system that generates pain experience comprises the immune system, the endocrine system, and the autonomic system in continuous causal interaction with pathways spread across the whole neural axis. We will argue that these systems function in a coordinated and coherent manner as a single complex adaptive system to maintain homeostasis. This system, which we refer to as the neural-endocrine-immune (NEI) system, maintains homeostasis through the process of prediction error minimisation. We go on to propose a view of the NEI ensemble as a multiscale nesting of Markov blankets that integrates the smallest scale of the cell to the largest scale of the embodied person in pain. We set out to show how the EPP theory can make sense of how pain experience could be neurobiologically constituted. We take it to be a constraint on the adequacy of a scientific explanation of subjectivity of pain experience that it makes it intelligible how pain can simultaneously be a local sensing of the body, and, at the same time, a more global, all-encompassing attitude towards the environment. Our aim in what follows is to show how the EPP theory can meet this constraint. (shrink)

Bruineberg and colleagues' critique of Friston blankets relies on what we call the “literalist fallacy”: the assumption that in order for Friston blankets to represent real boundaries, biological systems must literally possess or instantiate Markov blankets. We argue that it is important to distinguish a realist view of Friston blankets from the literalist view of Bruineberg and colleagues’ critique.

When the benefits of surgery do not outweigh the harms or where they do not clearly do so, surgical interventions become morally contested. Cutting to the Core examines a number of such surgeries, including infant male circumcision and cutting the genitals of female children, the separation of conjoined twins, surgical sex assignment of intersex children and the surgical re-assignment of transsexuals, limb and face transplantation, cosmetic surgery, and placebo surgery.

This impressive volume of essays that includes contributions from Herbert Dreyfus, Sean Kelly, Mike Wheeler, Dan Zahavi, and Shaun Gallagher reflects an emerging trend in cognitive science, and explores this new approach to cognitive science informed by Heidegger's thoughts on human existence.

Disagreement about how best to think of the relation between theories and the realities they represent has a longstanding and venerable history. We take up this debate in relation to the free energy principle (FEP) - a contemporary framework in computational neuroscience, theoretical biology and the philosophy of cognitive science. The FEP is very ambitious, extending from the brain sciences to the biology of self-organisation. In this context, some find apparent discrepancies between the map (the FEP) and the territory (target (...) systems) a compelling reason to defend instrumentalism about the FEP. We take this to be misguided. We identify an important fallacy made by those defending instrumentalism about the FEP. We call it the literalist fallacy: this is the fallacy of inferring the truth of instrumentalism based on the claim that the properties of FEP models do not literally map onto real-world, target systems. We conclude that scientific realism about the FEP is a live and tenable option. (shrink)