What are the meanings of empty names such as ‘Vulcan,’ ‘Pegasus,’ and ‘Santa Claus’ in such sentences as ‘Vulcan is the tenth planet,’ ‘Pegasus flies,’ and especially ‘Santa Claus does not exist’?

Our view, developed in Adams et al. (1992, 1994, 1997, 2004), consists of a direct-reference account of the meaning of empty names in combination with a pragmatic-implicature account of why we have certain intuitions that seem to conflict with a direct-reference account.

Classical Electrodynamics is a classical theory treating Systems comprising an electromagnetic field and electrically charged matter. In a recent book Mathias Frisch argues that this theory is inconsistent within its intended domain of application and that a number of interesting methodological morals follow from this conclusion (2005,33-5; all citations of Frisch refer to this work).

How do we acquire moral obligations to others? The most straightforward cases are those where we acquire obligations as the result of particular actions which we voluntarily perform. If I promise you that I will trim your hedge, I face a moral Obligation to uphold my promise, and in the absence of some morally significant countervailing reason, I should indeed cut your hedge. Moral obligations which arise as a result of wrongdoing, as a function of corrective justice, are typically thought to be of a similar nature.

In 1968, Nelson Goodman made an observation about artistic forgery that has never been fully appreciated, though his discussion of forgery has received plenty of philosophical attention. Goodman describes the case in which you, the viewer, are confronted with an original work and a forgery that is, for you, perceptually indistinguishable from it. On the basis of lab tests, you know which of the works is forged, but you can see no difference between them. Nonetheless, Goodman says, the knowledge that one of them is forged makes for an aesthetic difference between the works, for you, now. One reason is that this knowledge changes the way you look at the works, and the way you should look at them; it alters the sorts of scrutiny it is appropriate to apply. In fact, knowledge that one of the works is forged ‘assigns the present looking a role as training toward … perceptual discrimination’ (Goodman, 1976,105).