Abstract: This paper considers the justifications for adhering to a principle of confidentiality within medical practice. These are found to derive chiefly from respect for individual autonomy, the doctor/patient contract, and social utility. It is suggested that these will benefit more certainly if secrecy is rejected and the principle of confidentiality is removed from the area of health care
Particular works of art
Abstract: CRITICS and philosophers of art often appeal to the idea that works of art are particulars. As Mr. Stuart Hampshire says in a passage representative of this sort of appeal, ” He (the artist) did not set himself to create Beauty, but some particular thing “. But although being a particular is plainly supposed to be an important fact about works of art, the criterion of particularity to be invoked in this connection is not always clear. I do not mean to suggest that the way out of this difficulty in identifying particular works of art is obvious or that there must be some single answer which will be uniformly satisfactory in connection with each, of the arts. In short, it seems to me that although the search for analogous type-token distinctions may bring fewer returns in connection with some arts than with others, it will hardly ever entirely fail to be worth the effort. A stagger- ing amount of work needs to be done, but it does not seem to me unduly sanguine to say that in this direction the prospects for some interesting philosophical generalizations are tolerably good.
Verbal Disputes and the Varieties of Verbalness
Abstract: Many philosophical disputes, most prominently disputes in ontology, have been suspected of being merely verbal and hence pointless. My goal in this paper is to offer an account of merely verbal disputes and to address the question of what is problematic with such disputes. I begin by arguing that extant accounts that focus on the semantics of the disputed statement S (Chalmers, Hirsch, Sider) do not capture the full range of cases as they might arise in philosophy. Moreover, these accounts bring in heavy theoretical machinery. I attempt to show that we can capture the full range of cases with an approach that is theoretically lightweight. This approach explains verbal disputes as a pragmatic phenomenon where parties use the same utterance type S with different speaker’s meaning. Moreover, it provides an answer to the crucial question Jackson’s (Erkenntnis 79:31-54, 2014) pragmatic account leaves, at best, highly implicit. Based on my account, we can distinguish between different ways in which disputes can be verbal and different extents to which they are defective. Distinguishing between these varieties of verbalness furthermore allows us to specify what kind of substantive issues remain to be discussed once the linguistic confusion is resolved.
We Did It: From Mere Contributors to Coauthors
Abstract: The diversity and increasing number of recent artistic collaborations raise new and substantive philosophical questions about the nature of authorship. In the past, the problems surrounding the authorship of collaboratively produced art were tackled primarily by film theorists, who defended the conservative view that films were on a par with other artworks, having a single author. Fortunately, this is starting to change. Recently, a number of theorists, including Berys Gaut, Paisley Livingston, and C. Paul Sellors, have argued, contra auteur theory, that films (and many other artworks) are the product of multiple authors.1 Livingston and Sellors draw on recent theories of collective intentionality, specifically theories of shared intention, in order to develop their theories of coauthorship. Although we agree entirely with this anti?individualistic movement, we think there are problems with the accounts of coauthorship on offer. Some of the accounts are too weak, failing to distinguish between mere contributors and genuine coauthors, while others rely on a theory of shared intention that does not adequately account for the range and complexity of artistic collaborations present in contemporary art. Fortunately, there is an alternative theory of collective intentionality that has yet to be considered as a point of departure in developing an account of coauthorship: Margaret Gilbert’s plural subject theory. We argue that her theory provides for an account of coauthorship that successfully distinguishes between mere contributors and coauthors. It also makes sense of a number of actual cases of collaboratively produced art in which intuitively the group, rather than any set of individuals, is the author. In Section I, we rehearse Gaut’s arguments against auteur theory and explain why Gaut’s account of multiple authorship is problematically overpermissive. In Section II, we consider Livingston and Sellors’s attempts to develop an account of coauthorship that relies on the theories of shared intentions by Michael Bratman and John Searle, respectively. Both accounts are ultimately problematic in different ways. In Section III, we turn to Margaret Gilbert’s plural subject theory. At the heart of Gilbert’s theory is the notion of a joint commitment. We develop a theory of coauthorship that appeals to the notion of a joint commitment, and then we show how it helps us to distinguish between mere contributors and genuine coauthors. We also present a number of actual cases of collaboratively produced art and show how Gilbert’s plural subject theory can accommodate these cases in a way that other accounts of coauthorship cannot.
Inseparable insight: Reconciling cognitivism and formalism in aesthetics
Abstract: A thesis that is rarely stated but often assumed in art criticism and aesthetics concerns the inseparability of form and content in art. The thesis of inseparability states that (1) it is impossible to have the same content in two different forms; and (2) it is impossible to have the same form in two different contents. 1 Clearly, the thesis needs elucidation in terms of a plausible account of the distinction between form and content. It also needs to be considered whether the inseparability of form and content motivates a theory of art or, less ambitiously, identifies an important criterion in an account of art. 2 The inseparability thesis is traditionally associated with formalism, which, as a general theory of art, has been widely condemned. Nevertheless, formalism is currently making a comeback in particular philosophies of the arts – notably, philosophy of music and philosophy of film.3 Sophisticated formalism in relation to both music and film allows for the aesthetic relevance of other features of the work besides form while recommending a structural focus for aesthetic appreciation. If the assumption that formalism is no longer relevant to our under- standing of the arts involves a major oversight, then the inseparability thesis cannot be ignored just because of its traditional association with formalism. But even if one persisted in this oversight, it does not warrant ignoring the importance of the inseparability thesis for the thesis bears no necessary relation to any theory of art, including a formalist one. In what follows, I consider whether the inseparability thesis is compatible with aesthetic cognitivism, the view that art is valuable in part because it can give us nontrivial knowledge. Ultimately, I argue that the two are compatible because there are ways of learning from art that depend on the inseparability of form and con- tent. Given the long and tangled history of the debate over the possibility and value of learning from art, it is supremely important to recognize, finally, such compatibility. Against defenders of aesthetic cognitivism, skeptics and critics have regularly resorted to brandishing the inseparability thesis, defiantly claiming that you cannot expect to learn about the world from art if you cannot ‘get to’ a work’s content unaffected by style and medium. Here the assumption is that the kind of aesthetic transformation that grounds the inseparability of form and con- tent precludes either the practicality or the aesthetic significance of looking to art for real-life insight in the form of facts, principles, or new perspectives. If the compatibility I defend is really there, however, we can expect insight through such transformation. As we shall see, art serves as a primary means for gaining insight of a rare and valuable kind. In what follows, I begin by outlining the preliminaries of the contemporary debate between aesthetic cognitivists and aesthetic anti-cognitivists.4 Then I employ three strategies for elucidating the thesis of inseparability: I identify a particular account of form and content as the one invoked by the thesis, I show that the thesis does not motivate a theory of art in order to circumvent standard criticisms against the thesis as a necessary and sufficient condition of art status, and I explore the ways inseparability influences our understanding of representational art. Armed with a proper understanding of inseparability, I then consider its relation to the debate over aesthetic cognitivism. This involves laying out the assumption that inseparability precludes the aesthetic relevance of learning from art. Finally, I challenge this assumption by outlining two kinds of insight that depend on inseparability. The point is not that such insight can only be gained from art but that it is most readily and relevantly gained from art because of the aesthetic value of inseparability.
Fictional characters and literary practices
Abstract: I argue that the ontological status of fictional characters is determined by the beliefs and practices of those who competently deal with works of literature, and draw out three important consequences of this. First, heavily revisionary theories cannot be considered as ‘discoveries’ about the ‘true nature’ of fictional characters; any acceptable realist theory of fiction must preserve all or most of the common conception of fictional characters. Second, once we note that the existence conditions for fictional characters are extremely minimal, it makes little sense to deny the existence of fictional characters, leaving anti-realist views of fiction unmotivated. Finally, the role of ordinary beliefs and practices in determining facts about the ontology of fictional characters explains why non-revisionary theories of fiction are bound to yield no determinate or precise answer to certain questions about fictional characters, demonstrating the limits of a theory of fiction
Explanation and the Explanatory Gap
Abstract: The Explanatory Gap’ is a label for the idea that we cannot explain consciousness in terms of brain activity. There are many different formulations of the explanatory gap, but all discussion about it assumes that there is only one gap, which consists of the absence of a deductive explanation. This assumption is mistaken. In this paper, I show that the position that deductive explanation is privileged in this case is unmotivated. I argue that whether or not there is an explanatory gap depends on the kind of explanation in question, so there is no single, unified explanatory gap but only the absence and (perhaps) presence of different sorts of explanation.
Bioethics: An African perspective
Abstract: In this paper I have attempted to open a window on an African approach to Bioethics – that of the Nso’ of the Bamenda Highlands of Kamerun – from the vantage position of someone who has familiarity with both African and Western cultures. Because of its scientific-cum-technological sophistication and its proselytising character, Western culture, as well as Western systems of thought and practice, have greatly affected and influenced other cultures, particularly African culture. But Western culture, systems of thought and practice, have been highly impervious and immune to influences from other cultures, philosophies, systems of thought and practice, even where these might have been salutary and enriching to Western culture and systems. What I have here termed Nso’ eco-bio-cummunitarianism clearly indicates a viable alternative world-view within which some of the bioethical perplexities and controversies of today might be more satisfactorily resolved than within a Western framework. I have further attempted to show, by way of example, how within such a world-view, abortion and suicide, for instance, would be disapproved of while euthanasia, in its etymological purity, is approved of
Fantasy, imagination, and film
Abstract: In his article ‘Fantasy, Imagination and the Screen’ , Roger Scruton offers an account of fantasy, arguing that it is directed away from reality in some important sense, and that cinema is its natural representational medium. I address certain problems with Scruton’s basic account, thereby producing a signifi cantly amended version, though one that owes a great debt to his. I explain why, as he says, much fantasy is signifi cantly directed away from reality; and conclude with some brief remarks about.
What is Said, Linguistic Meaning, and Directly Referential Expressions
Abstract: Philosophers of language distinguish among the lexical or linguistic meaning of the sentence uttered, what is said by an utterance of the sentence, and speaker’s meaning, or what is conveyed by the speaker to her audience. In most views, what is said is the semantic or truth-conditional content of the utterance, and is irreducible either to the linguistic meaning or to the speaker’s meaning. I will show that those views account badly for people’s intuitions on what is said. I will also argue that no distinguished level of what is said is required, and that the notion of linguistic meaning is the best placed to play the role of what is said. This relies on two points. First, our intuitions on what is said cannot be detached from the ways in which we talk about what is said, and from the semantics of speech reports and indirect discourse in general. Second, besides what is said, there is an equally important notion of what what-is-said is said about, or that about which the speaker is talking. These are, then, the three main ingredients needed for the theory of what is said: linguistic meaning, what is talked about, and a semantic account of reported speech