Constantine Sandis

This paper distinguishes between various different conceptions of behaviour and action before exploring an accompanying variety of distinct things that ‘action explanation’ may plausibly amount to viz. different objectives of action explanation. I argue that a large majority of philosophers are guilty of conflating many of these, consequently offering inadequate accounts of the relation between actions and our reasons for performing them. The paper ends with the suggestion that we would do well to opt for a pluralistic understanding of action and its explanations

_ Source: _Volume 9, Issue 3, pp 372 - 392 In this essay I revisit some anti-causalist arguments relating to reason-giving explanations of action put forth by numerous philosophers writing in the late ‘50s and early ‘60s in what Donald Davidson dismissively described as a ‘neo-Wittgensteinian current of small red books’. While chiefly remembered for subscribing to what has come to be called the ‘logical connection’ argument, the positions defended across these volumes are in fact as diverse as they are subtle, united largely by a an anti-scientistic spirit which may reasonably be described as historicist. I argue that while Davidson’s causalist attack was motivated by an important explanatory insight borrowed from Hempel, it caused serious damage to the philosophy of action by effectively brushing over a number of vital distinctions made in the aforementioned works. In seeking to revive these I propose an approach to the theory of action explanation that rescues the anti-causalist baby from the historicist bathwater

This essay brings together questions from aesthetic theory and museum management. In particular, I relate a contextualist account of the value of copies to a pluralistic understanding of the purpose of museums. I begin by offering a new defence of the no longer fashionable view that the aesthetic (as opposed to the ethical, personal, monetary, historical, or other) value of artworks may be detached from questions regarding their provenance. My argument is partly based on a distinction between the process of creating a work of art and the artwork in question.Next, I defend a pluralism about the purpose of museums and their exhibitions. I combine this with a pluralist account of the value of replicas which falls out of the above argument, exposing our preference for originality as being frequently fetishistic. I maintain that the importance of the provenance of artworks is relative to the specific purposes of any given exhibition or museum. Those that are primarily educational (such as encyclopaedic ones) are in many cases best served with high-quality replicas. This view may be extended to artefacts that are not artworks, such as fossils and dinosaur skeletons. Finally, I expound the variety of roles that replicas may play in museums and relate these to notions of authenticity.