Daniel Altshuler

Beall’s (e.g., 2009, 2021) transparency theory of truth is recognized as a prominent, deflationist solution to the liar paradox. However, it has been neglected by truth theorists who have attempted to show that a deflationist theory of truth can (or cannot) account for truth dependence, i.e., the claim that the truth of a proposition depends on how things described by the proposition are, but how these things are does not depend on the truth of the proposition. Truth theorists interested in truth dependence have, instead, been focused on Horwich’s Minimalism (e.g., 1998). The goal of this paper is twofold. First, I construct what versions of the transparency theory would say about truth dependence. Second, I argue that even the best version of transparent truth ultimately fails to account for truth dependence. On the assumption that accounting for truth dependence is an adequacy condition on any theory of truth, the paper rejects transparency theory as an adequate theory of truth.

Listening to music can be an intensely moving experience. Many people love music in part because of its power to alter or amplify their moods, and turn to music for inspiration, comfort, or therapy. It is a puzzle, then, why many of us spend so much time listening to sad music. If music can influence our moods, and assuming that most people would prefer to be happy not sad, why would we choose to listen to sad music? I revisit the question of why we like sad music, drawing from work in both the philosophy and psychology of music, as well as work in the philosophy and science of affect. I argue to shift the focus of the question to music-induced moods, not emotions. This reframes the debate but does not dissolve the paradox. To understand what is appealing about the affective experience of listening to sad music I suggest we take into account the unique features of music-induced sad mood. I argue that sad mood and a certain sort of focused music listening are mutually reinforcing in ways that differ from other mood/music interactions. Sad mood and sad music are, in a sense, made for each other.

In this paper I make the case that at least some tattoos are artworks. I go on to propose a definition of tattoo art that distinguishes it from other uses of tattooing, and from other forms of visual art. I argue that tattoo art is an art form that creates artworks in living skin, and that the living body is an essential component of and contributor to the artwork. This gives rise to several other distinctive features of tattoo art, in particular that it reconfigures in interesting ways the relationships between artist, artworks, and viewers. Like street art, tattoo art by its nature resists inclusion in and valuation through art institutions such as galleries and museums.