May
3
Fri
Rutgers Epistemology Conference 2019 @ Hyatt Regency, Conference rm. BC
May 3 – May 4 all-day

The REC is a pre-read conference. The papers will be made available on April 15.

Friday, May 3, 2019

1:30 – 3:15 pm

    Alex Byrne (MIT)

    Chair: TBD

Coffee Break

3:45 – 5:30 pm

    Susanna Rinard (Harvard)

    Chair: TBD

Dinner

7:30 – 9:15 pm

    Jonathan Kvanvig (Washington University St Louis)

    Chair: TBD

Reception 9:30 – 11:00 PM

Saturday, May 4, 2019

9:30 – 11:15 am

    Anil Gupta (University of Pittsburgh)

    Chair: TBD

Coffee Break

11:45 – 1:30 pm      Winner of the Young Epistemologist Prize

    TBD

    Chair: TBD

Lunch

2:45 – 4:30 pm

    Maria Lasonen-Aarnio (University of Helsinki)

    Chair: TBD

Discussants

Heather Battaly (University of Connecticut)

John Bengson (University of Wisconsin-Madison)

Annalisa Coliva (University of California Irvine)

Thomas Kelly (Princeton)

Participants

Chris Copan, Andy Egan, Megan Feeney, Peter Klein, Matthew McGrath, Susanna Schellenberg, Ernie Sosa

The REC is a pre-read conference, so papers are to be read in advance. There is no registration fee for the conference, but please notify Megan Feeney, the conference manager, if you plan to attend by sending an email to rutgersepistemologyconference@gmail.com. If you wish to participate in the meals, please send a check made out to “Rutgers University” to Megan Feeney by April 15 ($80 if you are a faculty member or a postdoc; $60 if you are a graduate student or an undergraduate): Megan Feeney; Rutgers Epistemology Conference; 106 Somerset St, 5th Floor; New Brunswick, NJ 08901.

Jun
10
Mon
Rutgers-Bristol Workshop on the Metaphysical Unity of Science @ Rutgers U, Newark. Conklin Hall 455
Jun 10 – Jun 11 all-day

Schedule – June 10th 

(Talks are aprox. 45 minutes with 30 minutes for Q&A)

9:00    Mazviita Chirimuuta, Emergence in Science & the Unity of Science

10:15  Joyce Havstad, TBA

12:00  Lunch, Marcus P&B.  Part of RUN and Newark’s Community Development.

2:00    Ricki Bliss, Fundamentality: From Epistemology to Metaphysics

3:15    Tuomas Tahko, Laws of Metaphysics for Essentialists

 

Schedule – June 11th 

9:00    Kelly Trodgon, Grounding and Explanatory Gaps

10:15  Stuart Glennan, Rethinking Mechanistic Constitution 

12:00  Lunch, Mercato Tomato Pie.

2:00    Alex Franklin,  How Do Levels Emerge?

3:15    Ken Aizawa, New Directions in Compositional Explanation: Two Cases Studies

Abstracts


Mazviita Chirimuuta – Emergence in Science & the Unity of Science

This paper considers the implications of recent accounts of emergent phenomena for the question of the unity of the sciences. I first offer a historical account of physicalism in its different guises since the mid 19th century. Two threads connecting these otherwise quite different views have been the rejection of emergent phenomena and the commitment to the unity of science. In section two I provide an exposition of emergence as presented in recent philosophy of science, where the key claim is that “parts behave differently in wholes”, based on the empirical finding of what Gillett (2016) calls “differential powers.” Gillett argues that the empirical evidence does not yet support the strong emergentist claim that there is downward causation or any other form of influence from the whole system to its constituent parts, but that such evidence might be obtained. In section 3 I propose instead that the question of whether or not the finding of differential powers is taken to provide overwhelming evidence for strong emergence depends on the further interpretation of differential powers, and ultimately on very broad metaphysical commitments. The interpretation of differential powers that is most resistant to objections from opponents of strong emergence involves a rejection of substance ontology, and hence the rejection of physicalism. Thus, as I conclude in section 4, philosophers should not wait in expectation for empirical results that will settle the question of whether or not there is strong emergence.  I offer a preliminary costs/benefits analysis of the different ontologies of differential powers, intended to aid the reader in their decision over the status of strong emergence. On the most radical interpretation, the usual physicalist conception of the unity of science must be rejected, while a different kind of metaphysical wholism stands in its place.

Joyce Havstad, TBC

Ricki Bliss – Fundamentality: from Epistemology to Metaphysics

In this talk, I explore what might follow for the metaphysics of fundamentality if we take seriously certain reasons to believe there is anything fundamental in the first place.

Tuomas Tahko – Laws of Metaphysics for Essentialists

There is a line of thought gathering momentum which suggests that just like causal laws govern causation, there needs to be something in metaphysics that governs metaphysical relations. Such laws of metaphysics would be counterfactual-supporting general principles that are responsible for the explanatory force of metaphysical explanations. There are various suggestions about how such principles could be understood. They could be based on what Kelly Trogdon calls grounding-mechanical explanations, where the role that grounding mechanisms play in certain metaphysical explanations mirrors the role that causal mechanisms play in certain scientific explanations. Another approach, by Jonathan Schaffer, claims to be neutral regarding grounding or essences (although he does commit to the idea that metaphysical explanation is ‘backed’ by grounding relations). In this paper I will assess these suggestions and argue that for those willing to invoke essences, there is a more promising route available: the unificatory role of metaphysical explanation may be accounted for in terms of natural kind essences.

Kelly Trogdon – Grounding and Explanatory Gaps

 Physicalism is the thesis that all mental facts are ultimately grounded by physical facts. There is an explanatory gap between the mental and physical, and many see this as posing a challenge to physicalism. Jonathan Schaffer (2017) disagrees, arguing that standard grounding connections involve explanatory gaps as a matter of course. I begin by arguing that Schaffer and others mischaracterize the explanatory gap between the mental and physical—it chiefly concerns what I call cognitive significance rather than priori implication or related notions. The upshot is that standard grounding connections normally don’t involve explanatory gaps. Then I consider two grounding-theoretic proposals about how to close explanatory gaps in the relevant sense, one involving structural equations (Schaffer 2017) and the other mechanisms (Trogdon 2018). While each of these proposals seeks to illuminate grounding connections, I argue that neither is helpful in closing the explanatory gap between the mental and physical.  

Stuart Glennan – Rethinking Mechanistic Constitution

  

The relationship between a mechanisms and its working parts is known as mechanistic constitution.   In this paper we review the history of the mechanistic constitution debate, starting with Salmon’s original account, and we  explain what we take to be the proper lessons to be drawn from the extensive literature surrounding Craver’s mutual manipulability account.  Based on our analysis, we argue that much of the difficulty in understanding the mechanistic constitution relation arises from a failure to recognize two different forms of mechanistic constitution — corresponding to two different kinds of relationships between a mechanism and the phenomenon for which it is  responsible.  First, when mechanisms produce phenomena, the mechanism’s parts are diachronic stages of the process by which entities act to produce the phenomenon.  Second, when mechanisms underlie some phenomenon, the phenomenon is a activity of a whole system, and the mechanism’s parts are those of the working entities that synchronically give rise to the phenomenon.  Attending to these different kinds of constitutive  relations will clarify the circumstances under which mechanistic phenomena can be said to occur at different levels.

Alex Franklin – How Do Levels Emerge?

 Levels terminology is employed throughout scientific discourse, and is crucial to the formulation of various debates in the philosophy of science. In this talk, I argue that all levels are, to some degree, autonomous. Building on this, I claim that higher levels may be understood as both emergent from and reducible to lower levels. I cash out this account of levels with a case study. Nerve signals are on a higher level than the individual ionic motions across the neuronal membrane; this is (at least in part) because the nerve signals are autonomous from such motions. In order to understand the instantiation of these levels we ought to identify the mechanisms at the lower level which give rise to such autonomy. In this case we can do so: the gated ion channels and pumps underwrite the autonomy of the higher level.

Ken Aizawa – New Directions in Compositional Explanation: Two Cases Studies

The most familiar approach to scientific compositional explanations is that adopted by the so-called “New Mechanists”. This approach focuses on compositional explanations of processes of wholes in terms of processes of their parts. In addition, the approach focuses on the use of so-called “interlevel interventions” as the means by which compositional relations are investigated. By contrast, on the approach I adopt, we see that there are compositional explanations of individuals in terms of their parts and properties of individuals in terms of the properties of their parts. In addition, I draw attention to the use of abductive methods in investigations of compositional relations. I illustrate my approach by use of Robert Hooke’s microscopic investigations of the cork and the development of the theory of the action potential.

Sep
12
Thu
The Ethical Stance and the Possibility of Critique. Webb Keane @ Wolff Conference Room, D1106
Sep 12 @ 6:00 pm – 8:00 pm

Critique is an assertion of values pitted against a state of affairs. To say that things should not be the way they are–to respond to questions such as ‘Why do I think this political or economic arrangement is wrong (and why should I care?)?’ implies an ethical stance. Critique thus draws together fact and value, domains that a long tradition of moral thought has argued exist on distinct planes. For there are dimensions of political life that are incomprehensible without this conjunction between ethical motivations and social realities. But if they are to have political consequences, such questions cannot be confined to private introspection. Scale matters. This talk looks at the articulation between everyday interactions and social movements to show the interplay among the first, second, and third person stances that characterize ethical life. Drawing ethnographic examples from American feminism and Vietnamese Marxism, it considers some of the ways in which ethical intuitions emerge, consolidate, and change, and argues that objectifications and the reflexivity they facilitate help give ethical life a social history.

Oct
17
Thu
Thinking Beyond the Annihilation of Nature: Conscientia and Schelling’s Ethics of Redemptive Epistemology. Bruce Matthews, Bard @ Wolff Conference Room, D1106
Oct 17 @ 6:00 pm – 8:00 pm

In 1804 Schelling diagnosed our impending “annihilation of nature” due to our conceptual detachment from and consequent economic exploitation of our natural world. His critique of Modernity’s Cartesian Idealisms, effected through his inversion of the Kantian categories, results in a philosophical project whose relevance to our ongoing climate crisis is difficult to overstate.

Bruce Matthews
Bard College/BHSEC, professor of philosophy, research in German Idealism and Romanticism, with a focus on life and thought of F.W.J. Schelling, whose recent work revolves around Schelling’s critique of modernity with its anticipation of, as he wrote in 1804, ‘the annihilation of nature,’ and its relevance to the Anthropocene.

“Schelling in the Anthropocene: A New Mythology of Nature,” (Symposium: Canadian Journal of Continental Philosophy, 2015), “Schelling: A Brief Biographical Sketch of the Odysseus of German Idealism,” in The Palgrave Handbook to German Idealism (2014), and “The New Mythology: Between Romanticism and Humanism,” in The Relevance of Romanticism (Cambridge University Press, 2014). Books include the forthcoming intellectual biography, Schelling: Heretic of Modernity (2018), Schelling’s Organic Form of Philosophy: Life as the Schema of Freedom (SUNY 2011).

Presented by the Philosophy Department at The New School for Social Research

Nov
14
Thu
Aristotle’s concept of matter and the generation of animals. Anna Schriefl @ Wolff Conference Room, D1106
Nov 14 @ 6:00 pm – 8:00 pm

There is a broad consensus that Aristotle introduced the concept of matter in order to develop a consistent account of substantial change. However, it is disputed which role matter fulfills in substantial change. According to the traditional interpretation, matter persists while taking on or losing a substantial form. According to a rival interpretation, matter does not persist in substantial change; instead, it is an entity from which a new substance can emerge and which ceases to exist in this process. In my view, both interpretations are problematic in the light of Aristotle’s broader ontological project and are at odds with the way Aristotle describes the substantial generation of living beings. On the basis of Aristotle’s biological theory, I will suggest that Aristotelian matter is a continuant in substantial generation, but does not satisfy the common criteria for persistence that apply to individual substances.

Anna Schriefl
Anna Schriefl is Wissenschaftliche Mitarbeiterin (assistant professor) at the University of Bonn, and currently a visiting scholar at the New School. She has published a book about Plato’s criticism of money and wealth, and most recently an introduction into Stoicism (both in German).

Dec
6
Fri
Symposium on Brian Cantwell Smith’s The Promise of Artificial Intelligence: Reckoning and Judgment (MIT Press, 2019) @ Kellen Auditorium, Room N101
Dec 6 all-day

Selected speakers:

Zed Adams

The New School

Brian Cantwell Smith

University of Toronto, St. George

Mazviita Chirimuuta

University of Pittsburgh
Jan
16
Thu
The Art of Change: An Experimental Opera by Jean-Baptiste Barrière @ Ernst C. Stiefel Concert Hall, 4th floor.
Jan 16 @ 8:00 pm

The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.

As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.

The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.

No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.

 

Performances:

January 16th, 8pm

January 17th, 5pm & 8pm

January 18th, 5pm & 8pm

January 21st, 8pm

 

Creative Team:

Jean-Baptiste Barrière, Concept, Video Design & Composition

Chiara Bottici, Libretto

Ashley Tata, Stage Direction

Timo Rissanen, Costume Design

Abigail Hoke-Brady, Lighting Design

Thomas Goepfer, Sound & Video Design

Camilla Hoitenga, Flutes Solo

Levy Lorenzo, Creative Technologist, Percussion

 

Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu

 

Guest Artists:

January 16: Simon Critchley, philosopher and Joan La Barbara, musician

January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician

January 18: Dmitri Nikulin, philosopher and Ross Karre musician

January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician

Jan
17
Fri
The Art of Change: An Experimental Opera by Jean-Baptiste Barrière @ Ernst C. Stiefel Concert Hall, 4th floor.
Jan 17 @ 5:00 pm

The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.

As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.

The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.

No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.

 

Performances:

January 16th, 8pm

January 17th, 5pm & 8pm

January 18th, 5pm & 8pm

January 21st, 8pm

 

Creative Team:

Jean-Baptiste Barrière, Concept, Video Design & Composition

Chiara Bottici, Libretto

Ashley Tata, Stage Direction

Timo Rissanen, Costume Design

Abigail Hoke-Brady, Lighting Design

Thomas Goepfer, Sound & Video Design

Camilla Hoitenga, Flutes Solo

Levy Lorenzo, Creative Technologist, Percussion

 

Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu

 

Guest Artists:

January 16: Simon Critchley, philosopher and Joan La Barbara, musician

January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician

January 18: Dmitri Nikulin, philosopher and Ross Karre musician

January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician

The Art of Change: An Experimental Opera by Jean-Baptiste Barrière @ Ernst C. Stiefel Concert Hall, 4th floor.
Jan 17 @ 8:00 pm

The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.

As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.

The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.

No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.

 

Performances:

January 16th, 8pm

January 17th, 5pm & 8pm

January 18th, 5pm & 8pm

January 21st, 8pm

 

Creative Team:

Jean-Baptiste Barrière, Concept, Video Design & Composition

Chiara Bottici, Libretto

Ashley Tata, Stage Direction

Timo Rissanen, Costume Design

Abigail Hoke-Brady, Lighting Design

Thomas Goepfer, Sound & Video Design

Camilla Hoitenga, Flutes Solo

Levy Lorenzo, Creative Technologist, Percussion

 

Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu

 

Guest Artists:

January 16: Simon Critchley, philosopher and Joan La Barbara, musician

January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician

January 18: Dmitri Nikulin, philosopher and Ross Karre musician

January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician

Jan
18
Sat
The Art of Change: An Experimental Opera by Jean-Baptiste Barrière @ Ernst C. Stiefel Concert Hall, 4th floor.
Jan 18 @ 5:00 pm

The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.

As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.

The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.

No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.

 

Performances:

January 16th, 8pm

January 17th, 5pm & 8pm

January 18th, 5pm & 8pm

January 21st, 8pm

 

Creative Team:

Jean-Baptiste Barrière, Concept, Video Design & Composition

Chiara Bottici, Libretto

Ashley Tata, Stage Direction

Timo Rissanen, Costume Design

Abigail Hoke-Brady, Lighting Design

Thomas Goepfer, Sound & Video Design

Camilla Hoitenga, Flutes Solo

Levy Lorenzo, Creative Technologist, Percussion

 

Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu

 

Guest Artists:

January 16: Simon Critchley, philosopher and Joan La Barbara, musician

January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician

January 18: Dmitri Nikulin, philosopher and Ross Karre musician

January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician