Moral Fictionalism
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"Fictionalism: Morality and Metaphor"
- 1 - Fictionalism: Morality and metaphor Richard Joyce Penultimate draft of paper appearing in F. Kroon & B. Armour-Garb (eds.), Philosophical Fictionalism (Oxford University Press, forthcoming). 1. Introduction Language and reflection often pull against each other. Ordinary ways of talking appear to commit speakers to ontologies that may, upon reflection, be deemed problematic for a variety of empirical, metaphysical, and/or epistemological reasons. The use of moral discourse, for example, appears to commit speakers to the existence of obligation, evil, desert, praiseworthiness (and so on), while metaethical reflection raises a host of doubts about how such properties could exist in the world and how we could have access to them if they did. One extreme solution to the tension is to give up reflection—to become like those “honest gentlemen” of England, as Hume described them, who “being always employ’d in domestic affairs, or amusing themselves in common recreations, have carried their thoughts very little beyond those objects” (Treatise 1.4.7.14). Hume sounds a touch envious of the unreflective idyll, but the very fact that he is penning a treatise on human nature shows that this is not a solution available to him; and, likewise, the very fact that you are reading this chapter shows that it’s unlikely to be a solution for you. Another extreme solution to the tension is to give up language—not in toto, of course, but selectively: to stop using those elements of discourse that are deemed to have unacceptable commitments. How radical this eliminativism is will depend on the nature of the problem. -
Impurely Musical Make-Believe
Impurely Musical Make-Believe [Penultimate draft] Forthcoming in How to Make-Believe: The Fictional Truths of the Representational Arts, edited by J. Alexander Bareis and Lene Nordrum. Berlin: De Gruyter, 2015. Eran Guter and Inbal Guter Impurely Musical Make-Believe The mode of narration appropriate to absolute music, that is, “pure instrumental music without text, title, programme, dramatic setting, or any other extraordinary music apparatus” (Kivy 2009, 157), has been a matter of controversy in contemporary Anglophone philosophy of music for some three decades. Musicologist Anthony Newcomb put the issue succinctly: A large component of most music lies in its power […] to delight with its patterns in sound. (Hanslick likened music to the arabesque and the kaleidoscope.) But in some music these patterns seem to force upon some of us recognition of meaning connected to other aspects of our life – of a representational and expressive power. (Newcomb 1997, 132) The crux of the problem is the conviction, which germinated in Eduard Hanslick’s seminal treatise On the Musically Beautiful (Hanslick 1986 [1885]), that pure instrumental music lacks representational, narrative, semantic, or other extra-musical content, hence whatever meaning such music has consists in what Richard Wollheim (1987, 45) called “the much maligned property of the decorative.” Yet arguably, such extra-musical content, and accordingly, the power of music to be “about” such content in some sense, seem to play a prominent role in our understanding and appreciation of pure instrumental music and seem vital to the value that it holds for us. Without extra-musical content we are left with pure repetitive form. -
Why We Should Give up on the Imagination DEREK MATRAVERS
misp_205 190..199 MIDWEST STUDIES IN PHILOSOPHY Midwest Studies in Philosophy, XXXIV (2010) Why We Should Give Up on the Imagination DEREK MATRAVERS lthough there is recent and interesting work on film acting directly on our Anerve endings so as to stimulate feelings and emotions, it is assumed, in Anglo-American philosophy of film (also known as “cognitive film theory”), that our engagement with film is largely mediated by the imagination (Coplan forth- coming). Hence, any account of the relation between film and emotion should take as central that viewers, generally, imagine the contents of the films they are shown. I think this is a mistake. In this paper, I want to argue that the imagination is not a helpful concept in accounting for our engagement with film (or indeed with litera- ture, although here I will focus exclusively on film). More specifically, it is simply not clear what theorists mean when they talk of “the imagination.” Famously, in Mimesis as Make-Believe, Kendall Walton describes the term as “serving as a placeholder for a notion yet to be fully clarified” (Walton 1990, 21). The lack of progress with such clarification has always hampered the debate, but now—in my view—it has become a real barrier to progress. Let us call the claim that viewers are mandated to imagine the content of films the “i-claim.” Although it might look as if this paper is directed against Walton (and some of it is) I think it is much closer to his position than might appear. I shall say a little about this at the end, but in the meantime will omit caveats that explain when Walton’s view escapes my arguments. -
Philosophy 5450: Advanced Philosophy of Art Spring 2019 Prof
Philosophy 5450: Advanced Philosophy of Art Spring 2019 Prof. Robert Kraut Course Overview This course is aimed at philosophy graduate students and advanced undergraduate majors. The goal is to explore a number of issues that concern the interpretation and evaluation of artworks and artistic performances. Philosophy 2450 is not a prerequisite; but reasonable background in metaphysics, epistemology, and philosophy of language is vital. Familiarity with certain metaethical theories (e.g., expressivism) would also be helpful. Our concern is with artworld objects and practices: familiarity with aspects of the visual arts, music, dance, sculpture, literature, photography, and/or other artistic domains is essential. Here are the topics to be explored: 1) The “ontology of art”: What is it? What questions is it intended to answer? Is there any more to the ontology of art than idle (and useless) re-description of the artworld data? How does an ontology of art add to our explanatory and/or justificatory power? 2) Is testimony about aesthetic properties of artworks a sufficient condition for aesthetic knowledge? Or is “direct acquaintance” with the works themselves necessary for such knowledge? Is there an interesting disanalogy between the epistemic credentials of testimony in the sciences and testimony in the arts? Perhaps only expert testimony is relevant here: But who are the artworld experts? By virtue of what do they qualify as experts? We will look at some literature on “moral experts” to see whether it is relevant (and if not, why not); we will also look at Kant’s views about the “autonomy” of “judgments of taste” and ask whether he saw the situation clearly (Hint: he did not). -
Curriculum Vitae: KENDALL LEWIS WALTON
Curriculum Vitae: KENDALL LEWIS WALTON (Revised 31 October 2015) Department of Philosophy E-Mail: [email protected] 2215 Angell Hall WARNING: My email address contains 435 S. State St. TWO initials. Omitting the 'L' will send University of Michigan your message to another person. Ann Arbor, MI 48109 Webpage: https://sites.lsa.umich.edu/kendallwalton/ EDUCATION University of California, Berkeley, B.A. Cornell University, Ph.D. DISSERTATION Conceptual Schemes: A Study of Linguistic Relativity and Related Philosophical Problems. PROFESSIONAL POSITIONS Lecturer, Assistant Professor, Associate Professor, Professor, University of Michigan, 1965 – 2012. Charles L. Stevenson Collegiate Professor of Philosophy, University of Mich- igan, 1999 - 2012. Professor, School of Art and Design, University of Michigan, 2005 - 2012. Professor Emeritus of Philosophy, University of Michigan, 2012-present. Cowling Distinguished Visiting Professor in Philosophy, Carleton College, spring quarter, 2012. Wm H. Bonsall Visiting Professor, Stanford University, spring quarters 2015 - present. FELLOWSHIPS AND AWARDS (Selected) Stanford Humanities Center, Marta Sutton Weeks Fellowship, 1982-83. Rockefeller Foundation Humanities Fellowship, 1982-83. National Endowment for the Humanities Fellowship, 1990-91. Princeton University, Carl Hempel Lecturer, 1991. American Academy of Arts and Sciences, Fellow, elected 1998. Romanell-Phi Beta Kappa Professor of Philosophy, 2001-2002. President, American Society for Aesthetics, 2003-2005. Honorary degree: Doctor of Letters, University of Nottingham (UK), con- ferred July 2005. Curriculum Vitae KENDALL L. WALTON 2 SYMPOSIA AND WORKSHOPS ON MY WRITINGS Symposium, Listening with Imagination, on my writings on music. American Musicological Society, New York. Four speakers, with my responses. November 1995. “Workshop on the work of Kendall Walton,” Nottingham University (UK), July 2005. -
Curriculum Vitae (Abbreviated) KENDALL L. WALTON
Curriculum Vitae (abbreviated) KENDALL L. WALTON (Revised 24 March 2014) Department of Philosophy E-Mail: [email protected] 2215 Angell Hall WARNING: My email address 435 S. State St. contains TWO initials. Omitting the University of Michigan 'L' will send your message to Ann Arbor, MI 48109-1003 another person. Webpage: (734) 763-3492; (734) 764-6285 http://sitemaker.umich.edu/klwalton FAX: (734) 763-8071 EDUCATION B.A., University of California, Berkeley; PhD, Cornell University. PROFESSIONAL POSITIONS Charles L. Stevenson Collegiate Professor of Philosophy, University of Michigan. Currently Emeritus. Cowling Distinguished Visiting Professor in Philosophy, Carleton College, spring quarter, 2012. Wm H. Bonsall Visiting Professor, Stanford University, spring quarters 2015, 2016, 2017. FELLOWSHIPS AND AWARDS (Selected) Princeton University, Carl Hempel Lecturer, 1991. American Academy of Arts and Sciences, Fellow, elected 1998. President, American Society for Aesthetics, 2003-2005. Honorary degree: Doctor of Letters, University of Nottingham (UK), conferred July 2005. Fellowships from: American Council of Learned Societies, Australian National University, National Endowment for the Humanities, Stanford Humanities Center, Rockefeller Foundation, Sydney University. SYMPOSIA AND WORKSHOPS ON MY WRITINGS Symposium, Listening with Imagination, on my writings on music. American Musicological Society, New York. Four speakers, with my responses. November 1995. Curriculum Vitae, - KENDALL L. WALTON 2 “Workshop on the work of Kendall Walton,” Nottingham University (UK), July 2005. “Metaphysics, Mimesis, and Make-Believe: A Conference in Honour of Kendall Walton.” Leeds University, U.K. 21-23 June, 2007. Symposium: “Kendall Walton and the Aesthetics of Photography and Film.” University of Kent (Canterbury, U.K.), School of Drama, Film, & Visual Arts. -
"Fictionalism in Metaethics"
- 1 - Fictionalism in metaethics Richard Joyce Penultimate draft of paper appearing in D. Plunkett & T. McPherson (eds.), Routledge Handbook of Metaethics (forthcoming). 1. Introduction Looking back, it is clear that humans have held massively mistaken beliefs about virtually every aspect of the world: the place of the Earth in the universe, the physical nature of everyday objects, where living things come from and how they reproduce, what happens to us when we die, and so forth. We are pretty good at getting things wrong. Often these errors can be corrected while the key concepts are revised rather than rejected. We didn’t decide that the Earth, stars, animals, death, etc., don’t exist; rather, we rectified our false beliefs about them and carried on talking about these topics (now, hopefully, more truly). Sometimes, however, the errors are so entrenched that the concepts in question seem beyond salvaging. Regarding angels, vitalistic life force, karmic reincarnation, tapu, supernatural divination, phlogiston, astrology, and so on, we didn’t simply undertake an internal correction to the concepts in question, but rather decided that the whole conceptual framework in question was faulty. It will be widely agreed that humans have held massively mistaken beliefs about morality. These mistakes may pertain to the substantive content of morality (believing that women should be subservient to men, for example) or to the general nature of morality (believing that God’s will determines moral properties, for example). (One might try to reduce the extent of moral error by plumping for a form of radical relativism, but then one would have to ascribe false beliefs about morality to all those absolutists.) Many philosophers maintain (or hope) that these mistakes in moral thinking are of the former variety, such that our moral concepts can be patched up and we can carry on talking (now, hopefully, more truly) about right and wrong, virtue and vice, obligations and responsibilities, and so on. -
Aesthetics—What? Why? and Wherefore?
KENDALL WALTON Aesthetics—What? Why? and Wherefore? It is a very great honor to address my friends and philosophy of quantum physics are younger. But colleagues as president of the American Society these are clearly subcategories of traditional, well- for Aesthetics, an organization that plays a unique established areas of philosophy—ethics and phi- role in a field that is, at once, a major traditional losophy of science—and they inherit much of their branch of philosophy and also central to disci- identity and sense of purpose from their parents. plines often regarded as remote from philosophy, Aesthetics is not so fortunate. It is related in vari- as well as depending crucially on their contribu- ous important ways to epistemology, metaphysics, tions. philosophy of mind, philosophy of language— I will follow the lead of one of my distinguished indeed it overlaps all of them—but these older predecessors in this office, Peter Kivy, who used relatives are at best aunts and uncles to aesthetics, the occasion of his own presidential address twelve not parents. Aesthetics must figure out for itself years ago to step back and reflect on the state of what exactly it is. the discipline and the nature of aesthetics.1 Two kinds of issues about the field need to be addressed: What is distinctive about this branch i. what is aesthetics? of philosophy, in contrast to others? And what is philosophy? Under the first heading, we will ask Aesthetics is a strange field, in some ways a con- what aesthetics is the philosophy of , what domain fused one. -
Towards a New Theory of Modal Fictionalism
Dombrovszki, A.: Towards a New Theory of Modal Fictionalism. In: Ostium, roč. 13, 2017, č. 4. Abstract: In our everyday discourse, most of us use modal statements to express possibility, necessity, or contingency. Logicians, linguists, and philosophers of language tend to use the possible world discourse to analyse the semantics of this kind of sentences. There is a disadvantage of this method: in the usual Quinean meta-ontology it commits the users to the existence of possible worlds. Even though there are many theories on metaphysics of these possible worlds, I will focus on the fictionalist approach, which aims to suspend the undesired ontological commitment. Therefore it is an anti-realist theory. The fictionalist strategy is based on the idea that according to our common- sense ontology, fictions and fictional entities do not exist, and one can treat the possible world discourse as a fiction, and the possible worlds as fictional entities. However, in the last two decades, realist theories about fictions and fictional entities have arisen, especially the abstract artefact theory. In this paper I try to revise the fictionalist approach to modality by keeping the main idea that possible worlds are fictional entities, while accepting that fictional entities are abstract artefacts. The result is a new realist theory of modal fictionalism. Keywords: analytic philosophy, metaphysics, philosophy of language, fictionalism, modality, possible worlds The aim of this paper is to provide a revised version of the so-called fictionalist approach to modality.[1] Proponents of this view hold that realist theories about possible worlds, and therefore the whole possible world discourse is just a useful fiction, and – at least I suppose that – possible worlds are fictional entities. -
Realism and Anti-Realism in Mathematics
REALISM AND ANTI-REALISM IN MATHEMATICS The purpose of this essay is (a) to survey and critically assess the various meta- physical views - Le., the various versions of realism and anti-realism - that people have held (or that one might hold) about mathematics; and (b) to argue for a particular view of the metaphysics of mathematics. Section 1 will provide a survey of the various versions of realism and anti-realism. In section 2, I will critically assess the various views, coming to the conclusion that there is exactly one version of realism that survives all objections (namely, a view that I have elsewhere called full-blooded platonism, or for short, FBP) and that there is ex- actly one version of anti-realism that survives all objections (namely, jictionalism). The arguments of section 2 will also motivate the thesis that we do not have any good reason for favoring either of these views (Le., fictionalism or FBP) over the other and, hence, that we do not have any good reason for believing or disbe- lieving in abstract (i.e., non-spatiotemporal) mathematical objects; I will call this the weak epistemic conclusion. Finally, in section 3, I will argue for two further claims, namely, (i) that we could never have any good reason for favoring either fictionalism or FBP over the other and, hence, could never have any good reason for believing or disbelieving in abstract mathematical objects; and (ii) that there is no fact of the matter as to whether fictionalism or FBP is correct and, more generally, no fact of the matter as to whether there exist any such things as ab- stract objects; I will call these two theses the strong epistemic conclusion and the metaphysical conclusion, respectively. -
Fictionalism for Cheap
FICTIONALISM IN METAPHYSICS. EDITED BY MARK ELI KALDERON. OXFORD: CLARENDON PRESS, 2005. PP I-X, 1-354. Zoltán Gendler Szabó Yale University Anti-realists about a particular region of discourse think the subject matter is either non- existent or non-objective. Typically they provide a semantic exposition of their view. Non-factualists argue that the declarative sentences within the discourse are not truth-apt. Deflationists concede that they are, but claim that their content is not representational. Indeterminists accept that the sentences have representational contents, but not contents that can determine truth-values. Reductionists propose contents yielding determinate truth-values, but insist that those contents are not what we would naively think they are. All such views face an uphill battle against the realist who thinks that “if the theory seems to say, for example, that every person has a guardian angel in heaven, then the theory is true only if the angels in heaven really exist.”1 Fictionalists are a new breed of anti-realists who don’t fight these semantic battles. They subscribe to a full-blown realist construal of the disputed discourse, but maintain that the point of accepting claims within the relevant discourse is not to commit ourselves to the truth of those claims. If we were clearheaded about what the discourse is for, we would accept those claims without believing them. Hermeneutic fictionalists think we are in fact clearheaded; revolutionary fictionalists think we should be.2 1 Gideon Rosen, ‘Problems in the History of Fictionalism.’ In Kalderon (2005): 14. 2 The hermeneutic/revolutionary distinction is from Burgess (1983). -
Musical Expression
AESTHETIC GESTURES: ESSAY IN FREGE–WITTGENSTEIN THEORY OF ART Nikolay Milkov (University of Paderborn) Summary Frege’s conception of works of art was scarcely discussed in the literature. This is a pity since, as we are going to see in this paper, his innovative philosophy of language also outlined fruitful perspectives in the realm of aesthetics. In short, Frege holds that only complete sen- tences express thought. Sentences of literature express only “mock thoughts”. The early Wittgenstein closely followed Frege on this point. The Tractatus holds that only propositions model (“picture”) states of affairs. Works of art are merely objects seen sub specie aeternitatis, beyond time (Wittgenstein 1961, p. 83). In the 1930s and 1940s, however, Wittgenstein started to claim that works of art can convey thoughts. But these thoughts do not model the world of facts. Instead, they can shape the style of our life. To be more exact, successful (gelungene), or cogent works of art can play the role of gestures that show life directions. In this sense, artists “have something to teach” (Wittgenstein 1980, p. 36). 1. Frege: Works of Art as One and Many We shall begin with Gottlob Frege’s philosophy of language which claims that only com- plete sentences express thoughts. Sentences stating commands, wishes, requests, etc., are “exclamations in which one vents feelings, groans, sighs, laugh”. (Frege 1918, p. 355) They are “mock thoughts” (Scheingedanken). Staring from this position, Frege advanced an idiosyncratic theory of art. According to it, “the poet does not really depict (malt) anything: he only provides the impetus for others to do so, furnishing hints (Winke) to this end, and leaving it to the hearer to give his words body and shape.” (Frege 1897, p.