David Macarthur

In Stanley Cavell’s ethical universe, no concept is of more moment than that of acknowledgement. In Cavell’s view, the question of acknowledgement is not a matter of choice but is at issue whenever we confront, or are confronted by, others. To acknowledge is to admit or confess or reveal to someone, typically another, those things about oneself and one’s relations to the world and others that one, being human, cannot fail to know – except that “nothing is more human than to deny them”. The question of whether I acknowledge others and whether others acknowledge me and the character, depth or failures of our reciprocal acknowledgement, are central to Cavell’s articulation and exploration of the ethical...

If Western philosophy is a series of footnotes to Plato, then aesthetics is a series of footnotes to Kant. This is as true of the analytic tradition as of the Continental. But there has been an important change of emphasis in the object of inquiry of analytic aesthetics, which predominantly concerns theorising about the experience and criticism of works of art. Kant’s idea of aesthetics as primarily concerned with beauty, or heightened or intensified perceptual experiences of natural phenomena, has largely been eclipsed (but not entirely: e.g., Mothersill 1984). Analytic aesthetics, once considered the neglected step-child of analytic philosophy, is beginning to gain confidence as a significant area of study with much to tell us about human experience, art, taste, expression, representation, interpretation, intention, imagination and reason. In the 1950s analytic philosophers complained of the barrenness of aesthetics, but today as analytic philosophy enters an intense period of self-searching and reassessment, it is to aesthetics that one might profitably turn to gain a better understanding of the complex Kantian origins of the discipline. The most significant Kantian legacy in the aesthetic domain has been the idea of the autonomy of the work of art and our experience of it from other theoretical, practical and sensory aspects of human life. To approach the topic of analytic aesthetics let us first ask, ‘What is analytic philosophy?’, before turning to the analytic approach to aesthetics, and the contribution of its Australasian practitioners. It is familiar that there is no dominant paradigm or practice of analysis engaged in by those who regard themselves as analytic philosophers. Analytic philosophy is closely aligned with the development and application of modern symbolic logic and with the attempt to adopt the methods of the natural sciences or to give them a certain metaphysical priority – which goes some way to explaining the lowly status aesthetics has been accorded in Anglo-American circles of philosophy for most of the twentieth century..

Wittgenstein has been likened to a Pyrrhonian sceptic, one who employs dialectical skills to avoid rather than defend doctrine, but it is his role in exposing and excavating the sands upon which modern scepticisms have been built that is the subject of this new volume of largely original essays. The first three chapters, by Crispin Wright, Akeel Bilgrami and Michael Williams find inspiration in On Certainty for singling out key moves in the initial set-up of external world scepticism; the next four chapters, by James Conant, Denis McManus, Ilham Dilman and Jane Heal involve discussions of external world (Cartesian) scepticism, semantic (Kantian) scepticism, scepticism about language (linguistic idealism) and the factuality of the mental that are either commentaries on, or discussions inspired by, Wittgenstein’s writings. The last five chapters focus on Stanley Cavell’s important and under-appreciated work on other minds scepticism—a form of scepticism that, on Cavell’s reading, is never far from the surface of Philosophical Investigations. Responses to modern scepticisms can be broadly divided into two categories: (1) Problem- Accepting Responses: those that regard the sceptical problem as legitimate and seek an answer that takes the form of an appropriate justification for (what the sceptic characterizes as) our ordinary knowledge or beliefs; and (2) Problem-Rejecting Reponses: those that regard the sceptical ‘problem’ as illegitimate (and so, not requiring an answer) because of hidden and contestable theoretical commitments or because it subtly transgresses conditions of sensemaking. This is a volume devoted entirely to the second of these categories, responses that are directed to, as McManus puts it, “a layer in which our philosophical questions are constituted”(p.

In Renewing Philosophy (1992), having surveyed a number of metaphysical programs in contemporary analytic philosophy, including Bernard Williams’ appeal to an absolute conception of the world, Ruth Millikan’s attempt to reduce intentionality to biological function, and Nelson Goodman’s irrealism, Putnam concludes as follows: I have argued that the decision of a large part of contemporary analytic philosophy to become a form of metaphysics is a mistake. Indeed, contemporary analytic metaphysics is in many ways a parody of the great metaphysics of the past. As Dewey pointed out, the metaphysics of previous epochs had a vital connection to the culture of those epochs, which is why it was able to change the lives of men and women, and not always for the worse. Contemporary analytic metaphysics has no connection with anything but the “intuitions” of a handful of philosophers. It lacks what Wittgenstein called “weight”. (Putnam 1992, p. 197) If contemporary analytic metaphysics is a mistake then is the point that we should try to revive traditional metaphysical programs? Or should we perhaps renovate metaphysics so that it will, once again, have “a vital connection” to culture? Or, more radically, is the renewal of philosophy that Putnam calls for a vision of a non-metaphysical form of philosophising – what we might call philosophising without philosophical “musts”? That would certainly fit with the invocation of Wittgenstein and Dewey1 whose therapeutic aims seem to stand in stark contrast to the program of constructive metaphysics. And it is undeniable that at least part of Putnam’s vision of what philosophy ought to be involves resisting the revisionist tendencies of substantial metaphysical programs in order to do justice to our everyday life-world. Philosophy, unlike contemporary analytic metaphysics, ought never to lose contact with the question of how we ought to live or with forms of thought that have ‘weight’ in our lives. The question I want to address in this paper is whether this vision spells the end of metaphysics as such or only of a particular kind of metaphysics of which the analytic version is an example? What is the fate of metaphysics on Putnam’s conception? Various features of his position might suggest an end of metaphysics reading in something like the spirit of logical positivism..

The critical concern of the present volume is contemporary naturalism, both in its scientific version and as represented by newly emerging hopes for another, philosophically more liberal, naturalism.1 The papers collected here are state-of-the-art discussions that question the appeal, rational motivations, and presuppositions of scientific naturalism across a broad range of philosophical topics. As an alternative to scientific naturalism, we offer the outlines of a new non- reductive form of naturalism and a more inclusive conception of nature than any provided by the natural sciences. Our authors collectively believe that holding scientific naturalism up for philosophical scrutiny and challenging its misconceptions is of the first importance both for understanding ourselves and our place in the world; and, also, for the future direction of philosophy itself.

This paper offers a reading of The Awful Truth in order to meditate further on Stanley Cavell's articulation of the themes of the ordinary and perfectionist marriage as exemplified in the genre of films he calls the Hollywood Comedy of Remarriage in Cavell and . I explore different ways in which this film and the medium of film generally are capable of making the unseen visible: revealing the ordinary that is hidden behind its very familiarity; making available an awareness that we are unseen by the projected reality of film; and, in this film in particular, showing that this divorcing couple - whose marriage and sexual life are essentially off-screen - are as if married all along even while they pursue other love interests

This paper is a critical discussion of Quine’s naturalist credos: (1) physicalism; (2) there is no first philosophy; (3) philosophy is continuous with science; and (4) the only responsible theory of the world as a whole is scientific theory. The aim is to show that Quine’s formulations admit of two readings: a strong reading (often Quine’s own) which is compatible with reductive forms of naturalism but implausible; and a mild reading which is plausible but suggestive of more liberal forms of naturalism. The paper ends by claiming that naturalism is a normative doctrine that is inconsistent by its own lights.

Reviewing the state of play in the attempt to naturalise content a quarter of a century after John Haugeland’s survey paper “The Intentionality All-Stars”, Dan Hutto and Glenda Satne propose a new naturalistic account of content that supposedly synthesizes what is best in the three failed programs of neo-Cartesianism, neo-Behaviourism and neo-Pragmatism. They propose to appeal to a Relaxed Naturalism, a non-reductive genealogical form of explanation and a primitive notion of contentless ur-intentionality. In this paper I argue that the authors’ Relaxed Naturalism is a broad form of Scientific Naturalism and, as such, it is unable to account for the problem of conceptual normativity that arises for any scientific naturalist attempt to explain content – whether reductive or not. This is based on the irreconcilability of the objective third-personal character of scientific inquiry and the intersubjective second-personal nature of the normativity of content. I suggest that the authors would do better to simply become neo-Pragmatists who, properly understood, are Liberal Naturalists who have the conceptual and methodological resources to acknowledge and do justice to conceptually normative content