Stephen Mumford

This paper argues that the technical notion of conditional probability, as given by the ratio analysis, is unsuitable for dealing with our pretheoretical and intuitive understanding of both conditionality and probability. This is an ontological account of conditionals that include an irreducible dispositional connection between the antecedent and consequent conditions and where the conditional has to be treated as an indivisible whole rather than compositional. The relevant type of conditionality is found in some well-defined group of conditional statements. As an alternative, therefore, we briefly offer grounds for what we would call an ontological reading: for both conditionality and conditional probability in general. It is not offered as a fully developed theory of conditionality but can be used, we claim, to explain why calculations according to the RATIO scheme does not coincide with our intuitive notion of conditional probability. What it shows us is that for an understanding of the whole range of conditionals we will need what John Heil (2003), in response to Quine (1953), calls an ontological point of view.

This paper contains a consideration of the notion of genius and its significance to the discussion of the aesthetics of sport. We argue that genius can make a positive aes- thetic contribution in both art and sport, just as some have argued that the moral content of a work of art can affect its aesthetic value. A genius is an exceptional inno- vator of successful strategies, where such originality adds aesthetic value. We argue that an original painting can have greater aesthetic value than an exact replica, merely because it is the original. By parity of reasoning, a successful innovation in sport has additional aesthetic value just because it is a new creation. The genius is one who can provide this extra aesthetic pleasure and on that basis is rightly valued. The genius need not be conscious of how they achieve such innovations and thus find their own genius to be something they cannot explain but only demonstrate. In sport, innova- tions that offer new ways of playing or solving problems can produce competitive success which demands instant recognition and rewards

Sport is a producer of both emotional and aesthetic experiences. But how do these relate? Does a spectator’s emotional engagement in sport enhance or hinder it as an aesthetic experience? And does the aesthetic perception of sport enhance or hinder the emotional experiences? These questions will be addressed with particular reference to the distinction that can be drawn between partisan and purist watchers of sport, and making use of thinking in contemporary aesthetics and philosophy of emotion. There are some reasons to think that emotion and aesthetics pull in opposite directions, in both sport and wider life. Does a purist miss out on the essence of sport if they adopt a detached aesthetic attitude? If that were the case, it would suggest that the sports spectator might have to choose between the two: experiencing one or the other but not both at the same time. Emotions and aesthetics would be a trade-off but I argue for some significant exceptions to this conclusion.

SummaryThere are two rival ways in which events in the world can be explained: the covering law way and the dispositionalist way. The covering law model, which takes the law of nature as its fundamental explanatory unit, faces a number of renown difficulties. Rather than attempt to patch up this approach, the alternative dispositionalist strategy is recommended. On this view, general facts are dependent upon particular facts about what things do, rather than vice versa. This way of viewing the world is not only more intuitive but also handles some of the notorious problems faced by laws; such as those of probabilistic and unrealized facts. The dispositionalist strategy faces its own difficulties of explaining generality and contingency of behaviour. It is shown, however, that at least these difficulties should not dissuade the dispositionalist. The prospects for a convincing dispositionalist ontology to replace one based on laws of nature are thus healthy.

Medically unexplained symptoms (MUS) remain recalcitrant to the medical profession, proving less suitable for homogenic treatment with respect to their aetiology, taxonomy and diagnosis. While the majority of existing medical research methods are designed for large scale population data and sufficiently homogenous groups, MUS are characterised by their heterogenic and complex nature. As a result, MUS seem to resist medical scrutiny in a way that other conditions do not. This paper approaches the problem of MUS from a philosophical point of view. The aim is to first consider the epistemological problem of MUS in a wider ontological and phenomenological context, particularly in relation to causation. Second, the paper links current medical practice to certain ontological assumptions. Finally, the outlines of an alternative ontology of causation are offered which place characteristic features of MUS, such as genuine complexity, context-sensitivity, holism and medical uniqueness at the centre of any causal set-up, and not only for MUS. This alternative ontology provides a framework in which to better understand complex medical conditions in relation to both their nature and their associated research activity

This paper has three aims. First, I aim to stress the importance of the issue of the dispositional/categorical distinction in the light of the evident failure of the traditional formulation, which is in terms of conditional entailment. Second, I consider one radical new alternative on offer from Ullin Place: intentionality as the mark of the dispositional. I explain the appeal of physical intentionality, but show it ultimately to be unacceptable. Finally, I suggest what would be a better theory. If we take disposition ascriptions to be functional characterizations of properties, then we can explain all that was appealing about the new alternative without the unacceptable consequences