•  4
    Book Reviews (review)
    with Stephen Read, C. B. Schmitt, Thomas Kesselring, Rolf George, S. J. Surma, A. Grieder, P. M. Simons, Wolfe Mays, David B. Resnik, Allen Stairs, N. C. A. Da Costa, J. W. Van Evra, and Richard L. Epstein
    History and Philosophy of Logic 7 (1): 77-117. 1986.
    MEDIEVAL AND RENAISSANCE LOGICSIMON OF FAVERSHAM, Quaestiones super Libro Elenchorum. Text in Latin with introduction and notes in English, edited by Sten Ebbesen, Thomas Izbicki, John Longeway, Francesco del Punta, Eileen Serene and Eleonore Stump. Toronto: Pontifical Institute of Mediaeval Studies, 1984. xiv + 270 pp. $3 1.OO.JACOPO ZABARELLA, De methodis libri quatuor; Liber de regressu. Edited by Cesare Vasoli. Bologna: Editrice CLUEB, 1985. xxxviii+ 193 pp. Lire 57,000.EDITIONSG. W. F. HEGE…Read more
  •  1
    Soundtracks: A Study of Auditory Perception, Memory, and Valuation
    with Jean Gabbert Harrell'S.
    Noûs 26 (3): 373-377. 1992.
  •  9
    Peirce, frege, the logic of relations, and church's theorem
    History and Philosophy of Logic 5 (1): 49-66. 1984.
    In this essay, I discuss some observations by Peirce which suggest he had some idea of the substantive metalogical differences between logics which permit both quantifiers and relations, and those which do not. Peirce thus seems to have had arguments?which even De Morgan and Frege lacked?that show the superior expressiveness of relational logics
  • Morris R. Cohen and Ernest Nagel, "An Introduction to Logic" (review)
    Transactions of the Charles S. Peirce Society 30 (4): 1064. 1994.
  •  18
    The Puzzle of Music and Emotion in Rand's Aesthetics
    Journal of Ayn Rand Studies 2 (2). 2001.
    Randall R. Dipert argues that, at first glance, Rand's view of representational arts, such as literature and the visual arts, might seem to have little applicability to pure music. Nevertheless, Rand took music without words as a serious art form, and struggled to develop a plausible theory of music. As Torres and Kamhi note in What Art Is, Rand's approach probably contradicted certain elements of her full aesthetic theory. But her theory of music and its relationship to emotions offers some fas…Read more
  •  3
    I spent 18 years as a faculty member at SUNY Fredonia. I moved to my position at West Point in 1995, and assumed teaching duties at Buffalo in fall of 2000. In addition to my dissertation, I have published extensively on the history and philosophy of logic, especially on Peirce and the..
  •  16
    Types and tokens: A reply to Sharpe
    Mind 89 (356): 587-588. 1980.
  •  2
    If I look from the outside at the practices of a discipline—any discipline—and see some members declaring themselves to be upholders of one “ism,” or labeling others’ views as representatives of some other failed or flawed “ism,” then I would frankly form the suspicion that this is an immature profession, not quite developed. It has tendencies to fall into modes of discourse that are more characteristic of religious or political fealty and factionalism
  • Knapp on Kelley
    Reason Papers 13 206-207. 1988.
  •  35
    The mathematical structure of the world: The world as graph
    Journal of Philosophy 94 (7): 329-358. 1997.
  •  48
    Art, Artifacts, and Regarded Intentions
    American Philosophical Quarterly 23 (4). 1986.
  •  1
    Set-theoretical music analysis
    with Randall R. Diper and R. M. Whelden
    Journal of Aesthetics and Art Criticism 35 (1): 15-22. 1976.
  •  70
    Preventive War and the Epistemological Dimension of the Morality of War
    Journal of Military Ethics 5 (1): 32-54. 2006.
    This essay makes three claims about preventive war, which is demarcated from preemptive war and is part of a broader class of ?anticipatory? wars. Anticipatory wars, but especially preventive war, are ?hard cases? for traditional Just War theory; other puzzles for this tradition include nuclear deterrence, humanitarian intervention, and provability a priori of the success of Tit-for-Tat. First, and despite strong assertions to the contrary, it is far from clear that preventive war is absolutely …Read more
  •  4
    Few philosophers today know much about Charles Peirce’s metaphysics, although a great many know something about his epistemology, philosophy of science, and logic. Indeed, few Peirce experts have written much on his metaphysics or made it the focus of their research. To an extent, this is understandable. Peirce’s writings were left in a disastrously disorganized state (mostly unpublished), and the crucial papers on metaphysics from his later years have not yet been republished in the first-rate …Read more
  •  25
    Coherence and engineering design
    Studies in History and Philosophy of Science Part A 37 (1): 152-158. 2006.
  •  92
    The Ethics of Cyberwarfare
    Journal of Military Ethics 9 (4): 384-410. 2010.
    The paper addresses several issues in the morality of cyberwar and cyberwarfare, defined as one nation's attacks on the governmental or civilian information systems of another nation. It sketches the diverse technical ways in which an attack may occur, including denial-of-service attacks and the insertion of various forms of malware. It argues that existing international law and widely discussed principles of Just War Theory do not straightforwardly apply to cyberwarfare, and many forms of cyber…Read more
  •  36
    Peirce on Mach and Absolute Space
    Transactions of the Charles S. Peirce Society 9 (2). 1973.
  •  7
    Book reviews (review)
    with Beth Preston, Matthew Elton, Michael Losonsky, Saul Traiger, and Jerome A. Shaffer
    Minds and Machines 4 (3): 353-376. 1994.
  • Lewis Rowell, Thinking About Music Reviewed by
    Philosophy in Review 4 (4): 178-181. 1984.
  •  35
    The Mathematical Structure of the World
    Journal of Philosophy 94 (7): 329-358. 1997.
  •  16
    Artifacts, art works, and agency
    Temple University Press. 1993.
    This is the first philosophical study of artifacts that is book length. In it Randall Dipert develops a theory of what artifacts are and applies it extensively to one of the most complex and intriguing kind of artifacts, art works. He presents his own account of what agents, intentions, and actions are, then uses these notions to clarify what it is for an agent to "make" something. From this starting point, he develops a full theory of artifacts and other artificial things - and, especially, a t…Read more