Abstract: Given plausible assumptions about the nature of evidence and undercutting defeat, many believe that the force of the evidential problem of evil depends on sceptical theism being false: if evil is evidence against God, then seeing no justifying reason for some particular instance of evil must be evidence for it truly being pointless. I think this dialectic is mistaken. In this paper, after drawing a lesson about fallibility and induction from the preface paradox, I argue that the force of the evidential problem of evil is compatible with sceptical theism being true. More exactly, I argue that the collection of apparently pointless evil in the world provides strong evidence for there being truly pointless evil, despite the fact that seeing no justifying reason for some particular instance of evil is no evidence whatsoever for it truly being pointless. I call this result the paradox of evil.
How Do Cross-Cultural Studies Impact Upon the Conventional Definition of Art?
Abstract: While Stephen Davies argues that a debate on cross-cultural aesthetics is possible if we adopt an attitude of mutual respect and forbearance, his fellow symposiasts shed light upon different aspects which merit a closer scrutiny in such a dialogue. Samer Akkach warns that an inclusivistic embrace of difference runs the risk of collapsing the very difference one sought to understand. Julie Nagam underscores that local knowledge carriers and/or the medium should be involved in such a cross-cultural exploration. Enrico Fongaro searches for a way of experiencing cross-cultural art such that it can lead to a transformative experience Relatedly, Meilin Chinn uses the analogy of friendship to explore the edifying dimension of experiencing an art form. Lastly, John Powell studies whether Dickie’s Institutional Theory can be meaningfully used to identify works of art in Western and non-Western traditions.
‘A Lady on the Street but a Freak in the Bed’: On the Distinction Between Erotic Art and Pornography
Abstract: How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.
Against Dryness
Abstract: The complaints which I wish to make are concerned primarily with prose, not with poetry, and primarily with novels, not with drama; and they are brief, simplified, abstract, and possibly insular. They are not to be construed as implying any precise picture of “the function of the writer.” It is the function of the writer to write the best book he knows how to write. These remarks have to do with the background to present-day literature, in Liberal democracies in general and Welfare States in particular, in a sense in which this must be the concern of any serious critic.
The individualism-holism debate on intertheoretic reduction and the argument from multiple realization.
Abstract: The argument from multiple realization is currently considered the argument against intertheoretic reduction. Both Little and Kincaid have applied the argument to the individualism-holism debate in support of the antireductionist holist position. The author shows that the tenability of the argument, as applied to the individualism-holism debate, hinges on the descriptive constraints imposed on the individualist position. On a plausible formulation of the individualist position, the argument does not establish that the intertheoretic reduction of social theories is highly unlikely. Nonetheless, the reductive project may run into other potential obstacles. For this reason, it is concluded that the prospect of intertheoretic reduction is uncertain rather than unlikely.
It’s just a feeling: why economic models do not explain
Abstract: Julian Reiss correctly identified a trilemma about economic models: we cannot maintain that they are false, but nevertheless explain and that only true accounts explain. In this reply we give reasons to reject the second premise – that economic models explain. Intuitions to the contrary should be distrusted.
Feminism and economics
Introduction: An article in The Chronicle of Higher Education of June 30, 1993, reported, “Two decades after it began redefining debates” in many other disciplines, “feminist thinking seems suddenly to have arrived in economics.” Many economists, of course, did not happen to be in the station when this train arrived, belated as it might be. Many who might have heard rumor of its coming have not yet learned just what arguments are involved or what it promises for the refinement of the profession. The purpose of this essay is to provide a low-cost way of gaining some familiarity.
The Openness of Illusions
Abstract: Illusions are thought to make trouble for the intuition that perceptual experience is “open” to the world. Some have suggested, in response to the this trouble, that illusions differ from veridical experience in the degree to which their character is determined by their engagement with the world. An understanding of the psychology of perception reveals that this is not the case: veridical and falsidical perceptions engage the world in the same way and to the same extent. While some contemporary vision scientists propose to draw the distinction between veridical experience and illusion in terms of the satisfaction or non-satisfaction of “hidden assumptions” deployed in the course of normal perceptual inference, I argue for a different approach. I contend that there are, in a sense, no illusions – illusions are as “open” as veridical experiences. Percepts lack the kinds of intentional content that would be needed for perceptual misrepresntation. My view gives a satisfying solution to a philosophical problem for disjunctivism about the good case/bad case distinction: with respect to illusions, every “bad case” of seeing an X can be equally well construed as a “good case” of seeing some Y (different from X). -/- .
Novel Colours and the Content of Experience
Abstract: I propose a counterexample to naturalistic representational theories of phenomenal character. The counterexample is generated by experiences of novel colours reported by Crane and Piantanida. I consider various replies that a representationalist might make, including whether novel colours could be possible colours of objects and whether one can account for novel colours as one would account for binary colours or colour mixtures. I argue that none of these strategies is successful and therefore that one cannot fully explain the nature of the phenomenal character of perceptual experiences using a naturalistic conception of representation
Taxonomising the Senses
Abstract: I argue that we should reject the sparse view that there are or could be only a small number of rather distinct senses. When one appreciates this then one can see that there is no need to choose between the standard criteria that have been proposed as ways of individuating the senses—representation, phenomenal character, proximal stimulus and sense organ—or any other criteria that one may deem important. Rather, one can use these criteria in conjunction to form a fine-grained taxonomy of the senses. We can think of these criteria as defining a multidimensional space within which we can locate each of the senses that we are familiar with and which also defines the space of possible senses there could be.