• 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.
  • Soundtracks: A Study of Auditory Perception, Memory, and Valuation
    with Jean Gabbert Harrell'S.
    Noûs 26 (3): 373-377. 1992.
  •  10
    Essay Review
    History and Philosophy of Logic 5 (2): 227-232. 1984.
    CHARLES S.PEIRCE(ED.), Studies in logic by members of the Johns Hopkins University. Original Preface by Peirce, new introduction by Max H. Fisch, new preface by Achim Eschbach. A Reprint of the original 1883 edition. Amsterdam andPhiladelphia: John Benjamins Publishing Company, 1983, lviii + vi + 203 pp. No price stated
  • Lewis Rowell, Thinking About Music (review)
    Philosophy in Review 4 178-181. 1984.
  •  23
    Philosophers have almost always said something about emotions and passions whenever they have discussed human mental life. Many have asserted that it is some emotions or, more broadly, passions, that are to be primarily valued and sought. These valued passionate states of mind might include emotions, moods, desires, belief-like feelings of conviction and commitment, and romantic or erotic love, which are typically scarcely distinguished. Not only are these states of mind lumped together, but the…Read more
  •  15
    Artifacts, Art Works, and Agency
    Journal of Aesthetics and Art Criticism 52 (3): 367-369. 1993.
  •  1
  •  22
    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 Peirce’s writings were left in a disastrously disorganized state (mostly unpublished), and the crucial papers on metaphysics from his later years have not yet been republished in the first-rate …Read more
  •  17
    Thinking, Language, and Experience
    Review of Metaphysics 44 (3): 618-620. 1991.
    This is an extensive and diffuse collection of essays woven together by a number of leitmotifs. It is a work by a technically virtuosic professional philosopher for readers with the same credentials; even many of the complicated examples use extensive insider information about the institution of professional analytic philosophy in the last half of the twentieth century in the United States. In the sequence of its chapters, we see a development that in some ways mirrors Castañeda's philosophical …Read more
  •  95
    I do not think that previous writing on artifacts has been satisfactory, for reasons that will become clear. This situation has only been slightly remedied, I believe, by works such as my Artifacts, Agency, and Art Works, Dipert, sometimes referred to here as “AAA.” At the same time, I believe that a general notion of artifact is crucial for philosophy: the concept of an artifact is a central piece of our conception of the world. One of the important projects in the theory of artifacts that is i…Read more
  •  62
    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.
  •  11
    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..
  •  42
    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.
  •  362
    The mathematical structure of the world: The world as graph
    Journal of Philosophy 94 (7): 329-358. 1997.
  •  39
    Art, Artifacts, and Regarded Intentions
    American Philosophical Quarterly 23 (4). 1986.
  •  35
    Set-theoretical music analysis
    with Randall R. Diper and R. M. Whelden
    Journal of Aesthetics and Art Criticism 35 (1): 15-22. 1976.