Diversity Reading List

Abstract: This essay responds to a (1991) Tanner Lecture by Rorty in which he criticizes 'universalist-realist' views in ethics, as exemplified by the work of Lovibond up to 'Feminism and Postmodernism' (where he is discussed, along with Alasdair MacIntyre and Jean-Francois Lyotard, as a specimen postmodern thinker), and promotes his pragmatist philosophy as a congenial intellectual basis for feminism. The essay questions the claims of pragmatism in this respect, and reflects more generally on issues of realism, essentialism, conceptual innovation, and legitimation. It argues that to acknowledge the historically situated character of human existence is not to give up on the idea of an ethically orientated politics. Likewise, it suggests that the risk of flawed or irresponsible generality in political discourse is not all located on the side of realism. Finally, some consideration is given to the notion of gendered identity as a basis for feminist consciousness.

Abstract: Poincare is well known for his conventionalism and structuralism. However, the relationship between these two theses and their place in Poincare's epistemology of science remain puzzling. In this paper I show the scope of Poincare's conventionalism and its position in Poincare's hierarchical approach to scientific theories. I argue that for Poincare scientific knowledge is relational and made possible by synthetic a priori, empirical and conventional elements, which, however, are not chosen arbitrarily. By examining his geometric conventionalism, his hierarchical account of science and defence of continuity in theory change, I argue that Poincare defends a complex structuralist position based on synthetic a priori and conventional elements, the mind-dependence of which precludes epistemic access to mind-independent structures.

Introduction: The concept of artistic freedom, like that of academic freedom, is as potent as it is slippery. Its indeterminacy may in fact lend the concept some power, since it can be uncritically applied to many different kinds of situations involving artists and their creations. Philosopher Paul Crowther has observed that the prevailing conception of artistic freedom is essentially negative in character: it is based 'purely on the absence of ideological or conceptual restraint.' There is a widespread art-world intuition that the creative freedom of the artist should be given virtually absolute precedence in decisions about the creation, exhibition, and treatment of artworks. As a recent controversy involving Swiss artist Christoph Buchel and the Massachusetts Museum of Contemporary Art (Mass MoCA) shows, the dominant conception of artistic freedom also entails freedom from financial and logistical constraints such as museum budgets and exhibition deadlines. In this particular case, the artist and his supporters argued that the museum violated his artistic freedom by attempting to display his unfinished and abandoned artwork against his wishes. As with the Tilted Arc controversy in the 1980s, this case raises provocative questions about the nature of artistic freedom as 'artistic' as it comes into conflict with the needs and interests of the institutions that pay for, exhibit, and, in Mass MoCA's case, construct the work.

Abstract: There is still little consensus among scholars regarding how best to characterize the relationship between readers of fictional narratives and the characters in those narratives. Part of the problem is that many of the explanatory concepts used in the debate - concepts like identification and empathy - are somewhat vague or ambiguous. In this article, I consider some recent relevant empirical research on text processing and narrative comprehension and argue for a pluralist account of character engagement, in which empathy plays an important role. In Section I, I review several empirical studies that strongly suggest that readers often adopt the perspective of one or more of the characters in fictional narratives. In Section II, I turn to the concept of empathy and provide an explanation of empathy based on models and research in empirical psychology. I focus in particular on self-other differentiation, a critical feature of empathy that has been underemphasized in the literature. Next I discuss two psychological phenomena that are closely related to empathy and often confused or conflated with it: emotional contagion and sympathy. In the final section of the paper, I employ the account of empathy developed in Section II to address Noel Carroll's objections to the view that readers typically empathize with fictional characters.

Abstract: The basic philosophical controversy regarding ordinary objects is: Do tables and chairs, sticks and stones, exist? This paper aims to do two things: first, to explain why how this can be a controversy at all, and second, to explain why this controversy has arisen so late in the history of philosophy. Section 1 begins by discussing why the 'obvious' sensory evidence in favor of ordinary objects is not taken to be decisive. It goes on to review the standard arguments against the existence of ordinary objects - including those based on problems with causal redundancy, parsimony, co-location, sorites arguments, and the special composition question. Section 2 goes on to address what it is about the contemporary approach to metaphysics that invites and sustains this kind of controversy, and helps make evident why debates about ordinary objects lead so readily to debates in metametaphysics about the nature of metaphysics itself.

Abstract: Consider utterances of the following two sentences: (1) Have you had breakfast? (2) Have you had sex? Utterances of (1) and (2) typically differ in temporal import. An utterance of (1) raises a 'this morning' question. An utterance of (2) raises an 'ever' question. The difference in felt temporal import clearly has something to do with the difference between our more or less shared breakfast eating practices and our more or less shared sexual practices. People tend to eat breakfast daily - though there are, of course, exceptions. People tend not to have sex daily - though here too there are exceptions. Moreover, people by and large mutually know these facts. The first goal of these remarks is to explain how our mutual knowledge of such shared practices influences the perceived temporal import of utterances like (1) and (2). The explanation is not terribly surprising, but this unsurprising explanation reveals something significant about the nature of the great divide between pragmatics and semantics. In particular, I'm going to argue that Grice got it pretty close to right. The explanation of this phenomenon, and certain others like it, turns out to be roughly, but still deeply Gricean. I say 'roughly' Gricean because the account I offer does not entail that the difference in temporal import between (1) and (2) is a difference in conversational implicature strictly so-called. But for reasons that will become clear in due course, the explanation I offer even if not strictly Gricean is nonetheless deeply Gricean. Armed with our roughly but deeply Gricean understanding of this easy case, I turn to the somewhat more challenging and controversial case of incomplete definite descriptions. Imagine an utterance of: (3) The cat is on the couch again. In uttering such a sentence, a speaker commits what we might call descriptus interruptus. The context independent meaning of the uttered sentence is insufficient to fix a fully determinate descriptive significance for the contained descriptions. Though we may justly infer that a speaker who utters such a sentence intends thereby to communicate some proposition or other to the effect that some unique cat or other is once again on some unique couch or other, nothing more determinate may be inferred on the basis of sentence meaning alone about the relevant cat and the relevant couch. But the speaker's act of descriptus interruptus does not prevent speaker and hearer from enjoying a mutually consummated communicative exchange. The roughly though deeply Gricean approach I outline explains how such consummation is possible in a relatively straightforward way.

Abstract: Philosophers have placed some or all works of art in nearly every available ontological category, with some considering them to be physical objects, others abstract structures, imaginary entities, action types or tokens, and so on. How can we decide which among these views to accept? I argue that the rules of use for sortal terms like 'painting' and 'symphony' establish what ontological sorts of thing we are referring to with those terms, so that we must use a form of conceptual analysis in adjudicating these debates. This has several interesting consequences, including that revisionary answers are suspect, that adequate answers may require broadening our systems of categories, and that certain questions about the ontology of art - including the basic question 'What is the ontological status of the work of art?'- are ill?formed and unanswerable.

Introduction: In the late twentieth century, zombies began to play an important role in philosophical discussions about consciousness. But unlike the zombies of Hollywood, philosophical zombies are very much alive - or at least, they would be were they to exist. As philosophers use the term, a zombie is a creature that is microphysically identical to a human being - and thus produces behavior that is indistinguishable from that of a normal human being - but lacks any sort of consciousness in the phenomenal sense. Zombies behave as if they are in pain when you stick them with a pin, and they will report that they are in pain, but they don ' t experience any painful sensations.

Introduction: Physicalism - the claim that everything is physical - has been the dominant position in philosophy of mind since at least the middle of the twentieth century. Nonetheless, physicalism has long been accused of being unable to account satisfactorily for the qualitative or subjective aspect of experience, for example, the reddishness of one ' s visual experience of a ripe tomato or the painfulness of one ' s tactile experience of a sharp object. Many have charged that it is dif? cult to see how these aspects of experience could be accounted for in solely physical terms. Focusing speci? cally on the experi- ence that a bat has when using its sonar, Thomas Nagel formulated this charge in a particularly powerful way. His argument is designed to show that subjective facts about experience, which are essential to it, cannot be captured in the objective language of physicalism. Although most philoso- phers assume that the argument, if successful, would show that physicalism is false, Nagel himself is careful to claim only that we currently lack the conceptual resources to see how physicalism could be true.

Abstract: In (Chalmers, 1996), David Chalmers influentially argued that if physicalism is true then every positive truth is a priori entailed by the full physical description—this is called 'the a priori entailment thesis'. However, ascriptions of phenomenal consciousness are not so entailed and thus he concludes that Physicalism is false. As he puts it, 'zombies' are metaphysically possible. I attempt to show that this argument is refuted by considering an analogous argument in the mouth of a zombie. The conclusion of this argument is false so one of the premises is false. I argue at length that this shows that the original conceivability argument also has a false premise and so is invalid.