Diana Raffman

The goal of this book is to defend a supervaluationist theory of vagueness. Keefe begins by laying out a series of desiderata for an adequate theory of vagueness generally: among other things, such a theory will need to solve the sorites paradox, provide a plausible analysis of borderline cases, preserve so-called penumbral connections among borderline predications, accommodate the phenomenon of higher-order vagueness, and comport with as many of our ordinary linguistic intuitions as possible. She then proceeds to evaluate in turn each of the main competitors to a supervaluationist theory—including epistemic, many-valued, degree-theoretic, and pragmatic accounts—in light of these desiderata, and finds each seriously lacking. Having thus cleared the ground, she advances a version of the supervaluationist approach and replies to a number of potential objections.

Modality, morality and belief are among the most controversial topics in philosophy today, and few philosophers have shaped these debates as deeply as Ruth Barcan Marcus. Inspired by her work, a distinguished group of philosophers explore these issues, refine and sharpen arguments and develop new positions on such topics as possible worlds, moral dilemmas, essentialism, and the explanation of actions by beliefs. This 'state of the art' collection honours one of the most rigorous and iconoclastic of philosophical pioneers.

This paper explores the implications of some experimental data for views that identify colors with objective physical properties such as reflectance profiles. Those who reject objectivist views often argue from the existence of intersubjective differences in color categorization ; but objectivists have managed to stand their ground by identifying colors with sets or ranges of reflectances individuated by the ways in which they stimulate the visual system. In the interest of moving the debate forward, I provide a new kind of evidence against objectivism. Results of a psycholinguistic experiment reveal hysteresis and enhanced contrast in ordinary speakers’ applications of vague terms. These dynamical patterns are purely psychological and give rise to intra-subjective variation in subjects’ applications of vague predicates; in particular, in the case of color predicates, nothing in the stimulus configuration or the illuminant undergoes any change, the only variable being the order in which stimuli are judged. I hypothesize that these order effects are necessary if vague words are to be applicable to values on dimensions, like color, that admit of continuous change. To the extent that this hypothesis is correct, it suggests that if colors are the properties named by ordinary color predicates, and ordinary color predicates are vague, and the application of vague predicates exhibits the order effects found in the experiment, colours cannot be physical or otherwise objective in nature.

Representationalist solutions to the qualia problem are motivated by two fundamental ideas: first, that having an experience consists in tokening a mental representation1; second, that all one is aware of in having an experience is the intentional content of that representation. In particular, one is not aware of any intrinsic features of the representational vehicle itself. For example, when you visually experience a red object, you are aware only of the redness of the object, not any redness or red quale of your experience. You are aware of outer red without being aware of inner red. According to the representationalist, the phenomenal character of your experience is just (an element of) the intentional content of your representation. In effect, inner red just is outer red. For her part, the defender of qualia, or anyway the defender of qualia who will figure in the present discussion, grants that experiencing a red object involves mentally representing it, and that when you have such an experience you are aware of its intentional content. But she denies that that intentional content exhausts your awareness. The defender of qualia (call her ‘Quale’) contends that your mental vehicle is itself mentally or phenomenally red, and that in addition to the outer redness of the object, you are aware of this inner redness, the intrinsic phenomenal character of your representational vehicle. Thus, contra the representationalist (call him ‘Rep’), you are not aware of the content of your representation without being aware of its intrinsic features

It is generally agreed that vague predicates like ‘red’, ‘rich’, ‘tall’, and ‘bald’, have borderline cases of application. For instance, a cloth patch whose color lies midway between a definite red and a definite orange is a borderline case for ‘red’, and an American man five feet eleven inches in height is (arguably) a borderline case for ‘tall’. The proper analysis of borderline cases is a matter of dispute, but most theorists of vagueness agree at least in the thought that borderline cases for vague predicate ‘ ’ are items whose satisfaction of ‘ ’ is in some sense unclear or problematic: it is unclear whether or not the patch is red, unclear whether or not the man is tall.1 For example, Lynda Burns cites a widespread view as holding that borderline cases “are not definitely within the positive or negative extension of the predicate. … Border- line cases are seen as falling within a gap between the cases of definite application of the predicate and cases of definite application of its negation” (1995, 30). Michael Tye writes that the “concept of a border- line case is the concept of a case that is neither definitely in nor defi- nitely out” (1994b, 18).

accounts in general, contrary to what he seems to think. Stanley’s discussion concerns the dynamic or ‘forced march’ version of the sorites, viz. the version framed in terms of the judgments that would be made by a competent speaker who proceeds step by step along a sorites series for a vague predicate ‘F’. According to Stanley, the contextualist treatment of the paradox is based on the idea that the speaker shifts the content of the predicate whenever necessary to make it the case that each successive pair of adjacent items are category-identical – in other words, either both items satisfy ‘F’ or neither does. These adjustments allow the speaker to progress from a clear case for ‘F’ to a clear case for ‘not-F’ without breaking the seeming continuity of the series.

David Papineau’s Thinking About Consciousness tells a skillful, inventive, and plausible story about why, given that the phenomenal character of conscious experience is an unproblematically physical property, we continue to suffer from “intuitions of dualism”. According to Papineau, we are misled by the peculiar structure of the phenomenal concepts we use to introspect upon that phenomenal character. Roughly: unlike physical concepts, phenomenal concepts exemplify the kind of experience they are concepts of; and this creates the mistaken impression that the physical concepts leave something out. I find much of Papineau’s account congenial, though I have some questions about his characterization of phenomenal concepts. I will take up two of these questions here. On Papineau’s view, phenomenal concepts are mental terms that are formed by concatenating an experience operator, namely ‘the experience: —’, together with “an actual state of… perceptual classification” (115). The latter state, itself an experience, fills the blank in the experience operator; and the concept thus formed refers to the type of experience whose instances are relevantly similar to that perceptual filling.1 Papineau writes

Philosophers of music (and also music theorists) have recognized for a long time that research in the sciences, especially psychology, might have import for their own work. (Langer 1941 and Meyer 1956 are good examples.) However, while scientists had been interested in music as a subject of research (e.g., Helmholtz 1912, Seashore 1938), the discipline known as psychology of music, or more broadly cognitive science of music, came into its own only around 1980 with the publication of several landmark works. Among the most important of these were The Psychol- ogy of Music (1980), a collection of papers edited by the psychologist Diana Deutsch, and A Generative Theory of Tonal Music (1983) by music theorist and composer Fred Lerdahl and linguist Ray Jackendoff. These works and others made possible the first attempts to apply scientific research to philosophical issues concerning music (e.g., Raffman 1993, DeBellis 1995). Since the 1980’s, of course, a great deal of research has been done in cognitive science, philosophy, and music. For philosophers, there are perhaps three topics with respect to which findings in the cognitive sciences are most likely to be germane—the nature of musical understanding, the role of emotions or feelings in music, and the evaluation of musical works. This brief overview will describe some of the scientific research that has been done on these topics, and then indicate how it might be philosophically significant.

This paper develops the treatment of vague predicates begun in my "Vagueness Without Paradox" (Philosophical Review 103, 1 [1994]). In particular, I show how my account of vague words dissolves an "eternal" version of the sorites paradox, i.e., a version in which the paradox is generated independently of any particular run of judgments of the items in a sorites series. In so doing I refine the notion of an internal contest, introduced in the earlier paper, and draw a distinction within the class of internal contexts between contexts of judgment and contexts of consideration