Introduction: With such a robust set of explanatory advantages, stereotype semantics are increasingly influencing the development of theories of slurring terms. My aim here is quite simply to quell the tide. I focus upon the two best developed and most general theories, those of Hom and Camp, whose accounts differ primarily in how the stereotype is expressed and how the encoding of the stereotype affects truth conditions.

Abstract: Intuitions about the transparency of experience have recently begun to play a key role in the debate about qualia. Specifically, such intuitions have been used by representationalists to support their view that the phenomenal character of our experience can be wholly explained in terms of its intentional content.[i] But what exactly does it mean to say that experience is transparent? In my view, recent discussions of transparency leave matters considerably murkier than one would like. As I will suggest, there is reason to believe that experience is not transparent in the way that representationalism requires. Although there is a sense in which experience can be said to be transparent, transparency in this sense does not give us any particular motivation for representationalism - or at least, not the pure or strong representationalism that it is usually invoked to support

Abstract: What methods, what strategies, is it defensible for us to employ when campaigning on a contentious moral issue? What kinds of intolerance may we legitimately manifest towards the opposition in our endeavour to win converts and influence opinion? Could we be justified in refusing on principle even to engage with the opposition in public debate? And what of the legitimacy of 'playing' on people's emotions, or of not correcting misinformation put about by some of our supporters which helps our cause? Or, in making use of premises in argument that our opponents accept but we do not or, of appealing to arguments that we know to be invalid but by which the opposition may be taken in?

Abstract: This paper argues that, by construing emotion as epistemologically subversive, the Western tradition has tended to obscure the vital role of emotion in the construction of knowledge. The paper begins with an account of emotion that stresses its active, voluntary, and socially constructed aspects, and indicates how emotion is involved in evaluation and observation. It then moves on to show how the myth of dispassionate investigation has functioned historically to undermine the epistemic authority of women as well as other social groups associated culturally with emotion. Finally, the paper sketches some ways in which the emotions ofunderclass groups, especially women, may contribute to the development of a critical social theory.

Abstract: This paper challenges the appeal to theory virtues in theory choice as well as the appeal to the intellectual and moral virtues of an agent as determining unique choices between empirically equivalent theories. After arguing that theoretical virtues do not determine the choice of one theory at the expense of another theory, I argue that nor does the appeal to intellectual and moral virtues single out one agent, who defends a particular theory, and exclude another agent defending an alternative theory. I analyse Duhem's concept of good sense and its recent interpretation in terms of virtue epistemology. I argue that the virtue epistemological interpretation does not show how good sense leads to conclusive choices and scientific progress.

Abstract: In this article I discuss a recent argument due to Dan McArthur, who suggests that the charge that Michael Friedman's relativised a priori leads to irrationality in theory change can be avoided by adopting structural realism. I provide several arguments to show that the conjunction of Friedman?s relativised a priori with structural realism cannot make the former avoid the charge of irrationality. I also explore the extent to which Friedman's view and structural realism are compatible, a presupposition of McArthur's argument. This compatibility is usually questioned, due to the Kantian aspect of Friedman's view, which clashes with the metaphysical premise of scientific realism. I argue that structural realism does not necessarily depend on this premise and as a consequence can be compatible with Friedman's view, but more importantly I question whether Friedman's view really implies mind dependence

Abstract: There has been a significant interest in the recent literature in developing a solution to the problem of theory choice which is both normative and descriptive, but agent-based rather than rule-based, originating from Pierre Duhem's notion of 'good sense'. In this paper we present the properties Duhem attributes to good sense in different contexts, before examining its current reconstructions advanced in the literature and their limitations. We propose an alternative account of good sense, seen as promoting social consensus in science, and show that it is superior to its rivals in two respects: it is more faithful to Duhemian good sense, and it cashes out the effect that virtues have on scientific progress. We then defend the social consensus account against objections that highlight the positive role of diversity and division of labour in science

Abstract: The Hard Problem is surrounded by a vast literature, to which it is increasingly hard to contribute to in any meaningful way. Accordingly, the strategy here is not to offer any new metaphysical or 'in principle' arguments in favour of the success of materialism, but to assume a Type Q approach and look to contemporary consciousness science to see how the concept of consciousness fares there, and what kind of explanations we can hope to offer of it. It is suggested that while they will be materialist explanations, they will not be of the form that many scientists and philosophers would have us believe, but instead prompt a very different set of expectations and research projects.

Introduction: Contemporary artworks raise a variety of ontological, epistemological, and interpretative questions that have not yet been adequately dealt with in aesthetics. Whereas traditional visual artworks have typically had a set of privi leged and (ideally) unchanging properties fixed at a particular moment early in their histories, a contemporary installation artwork may be installed differently each time it is taken out of storage, or even constituted out of different objects at each exhibition site. The resulting variation in its configuration and visual properties may simply be a function of the changing features of galleries or available materials, or it may be essential to the work's meaning. Or both: many contemporary works are site specific, essentially responsive to their environments in such a way that context is incorporated into the work's meaning

Abstract: Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it.