Putnam may refer to:

People

• Putnam (surname)

Places in Canada

• Putnam, Ontario, community in Thames Centre

Places in the United States

• Putnam, Alabama
• Putnam, Connecticut
• Putnam, New York
• Putnam, Oklahoma
• Putnam, Texas
• Putnam Lake, New York
• Putnam Mountain, Idaho (Fort Hall, Idaho)
• Putnam Valley, New York

Other uses[link]

• William Lowell Putnam Mathematical Competition
• Putnam Investments
• Putnam Magazine, regional lifestyle magazine that covers Putnam County, New York
• Putnam's Magazine, 19th and early 20th century monthly American publication
• Putnam Division, portion of New York and Putnam Railroad routes
• G. P. Putnam's Sons, at times called "Wiley and Putnam", "Putnam Press", "Putnam Penguin", publisher
• Putnam Museum and IMAX Theater a museum in Davenport, Iowa
• Putnam-Parker Block, listed on the NRHP in Iowa

See also[link]

• The 25th Annual Putnam County Spelling Bee, musical play
• Putnam's cottage, historical site in Connecticut
• Putnam House (disambiguation), historical homes of the Putnam family
• Putnam model, cost-estimation method
• List of places named for Israel Putnam

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

`

Hilary Whitehall Putnam

Born	(1926-07-31) July 31, 1926 (age 85) Chicago, Illinois, U.S.
Era	20th-century philosophy
Region	Western Philosophy
School	Analytic Pragmatism
Main interests	Philosophy of mind Philosophy of language Philosophy of mathematics Metaphilosophy Epistemology
Notable ideas	Multiple realizability Functionalism Causal theory of reference Semantic externalism Brain in a vat · Twin Earth Internal realism
Influenced by W.V.O. Quine, John Dewey, Hans Reichenbach, Alan Turing, Immanuel Kant, Nelson Goodman, Charles Sanders Peirce, William James, Ludwig Wittgenstein, Søren Kierkegaard, Karl Marx, Sigmund Freud[1]
Influenced Jerry Fodor, Ned Block, Joseph LeDoux, Tyler Burge, David Marr, Daniel Dennett, David Lewis, Donald Davidson

Hilary Whitehall Putnam (born July 31, 1926) is an American philosopher, mathematician and computer scientist, who has been a central figure in analytic philosophy since the 1960s, especially in philosophy of mind, philosophy of language, philosophy of mathematics, and philosophy of science.^[2] He is known for his willingness to apply an equal degree of scrutiny to his own philosophical positions as to those of others, subjecting each position to rigorous analysis until he exposes its flaws.^[3] As a result, he has acquired a reputation for frequently changing his own position.^[4] Putnam is currently Cogan University Professor Emeritus at Harvard University.

In philosophy of mind, Putnam is known for his argument against the type-identity of mental and physical states based on his hypothesis of the multiple realizability of the mental, and for the concept of functionalism, an influential theory regarding the mind-body problem.^[2][5] In philosophy of language, along with Saul Kripke and others, he developed the causal theory of reference, and formulated an original theory of meaning, inventing the notion of semantic externalism based on a famous thought experiment called Twin Earth.^[6]

In philosophy of mathematics, he and his mentor W. V. Quine developed the "Quine-Putnam indispensability thesis," an argument for the reality of mathematical entities,^[7] later espousing the view that mathematics is not purely logical, but "quasi-empirical".^[8] In the field of epistemology, he is known for his critique of the well known "brain in a vat" thought experiment. This thought experiment appears to provide a powerful argument for epistemological skepticism, but Putnam challenges its coherence.^[9] In metaphysics, he originally espoused a position called metaphysical realism, but eventually became one of its most outspoken critics, first adopting a view he called "internal realism",^[10] which he later abandoned in favor of a pragmatist-inspired direct realism. Putnam's "direct realism" aims to return the study of metaphysics to the way people actually experience the world, rejecting the idea of mental representations, sense data, and other intermediaries between mind and world.^[11] In his later work, Putnam has become increasingly interested in American pragmatism, Jewish philosophy, and ethics, thus engaging with a wider array of philosophical traditions. He has also displayed an interest in metaphilosophy, seeking to "renew philosophy" from what he identifies as narrow and inflated concerns.

Outside philosophy, Putnam has contributed to mathematics and computer science. Together with Martin Davis he developed the Davis–Putnam algorithm for the Boolean satisfiability problem^[12] and he helped demonstrate the unsolvability of Hilbert's tenth problem.^[13] He has been at times a politically controversial figure, especially for his involvement with the Progressive Labor Party in the late 1960s and early 1970s.^[14][15]

Personal life[link]

Putnam was born in Chicago, Illinois in 1926. His father, Samuel Putnam, was a scholar of Romance languages, columnist and translator who wrote for the Daily Worker, a publication of the American Communist Party from 1936 to 1946 (when he became disillusioned with communism).^[16] As a result of his father's commitment to communism, Putnam had a secular upbringing, although his mother, Riva, was Jewish.^[3] The family lived in France until 1934, when they returned to the United States, settling in Philadelphia.^[3] Putnam attended Central High School; there he met Noam Chomsky, who was a year behind him. The two have been friends—and often intellectual opponents—ever since.^[17] Putnam studied mathematics and philosophy at the University of Pennsylvania, receiving his BA (undergraduate degree) and becoming a member of the Philomathean Society, one of the oldest collegiate literary societies in the U.S.^[3][14] He went on to do graduate work in philosophy at Harvard University,^[3] and later at UCLA's Philosophy Department, where he received his Ph.D. in 1951 for a dissertation entitled "The Meaning of the Concept of Probability in Application to Finite Sequences". Putnam's teacher Hans Reichenbach (his dissertation supervisor) was a leading figure in logical positivism, the dominant school of philosophy of the day; one of Putnam's most consistent positions has been his rejection of logical positivism as self-defeating.^[14]

After briefly teaching at Northwestern, Princeton, and MIT, he moved to Harvard in 1965 with his wife, Ruth Anna Jacobs, who took a teaching position in philosophy at Wellesley College.^[14] Hilary and Ruth Anna were married in 1962.^[18] Ruth Anna Jacobs, descendant of a family with a long scholarly tradition in Gotha (her ancestor was the German classical scholar Christian Friedrich Wilhelm Jacobs), was born in Berlin, Germany,^[19] in 1927 to anti-Nazi political-activist parents and, like Putnam himself, she was raised an atheist (her mother was Jewish and her father had been from a Christian background).^[18] The Putnams, rebelling against the anti-Semitism that they had experienced during their youth, decided to establish a traditional Jewish home for their children.^[18] Since they had no experience with the rituals of Judaism, they sought out invitations to other Jews' homes for Seder. They had "no idea how to do it [themselves]", in the words of Ruth Anna. They therefore began to study Jewish ritual and Hebrew, and became more Jewishly interested, identified, and active. In 1994, Hilary Putnam celebrated a belated Bar Mitzvah service. His wife had a Bat Mitzvah service four years later.^[18]

Hilary was a popular teacher at Harvard. In keeping with the family tradition, he was politically active.^[14] In the 1960s and early 1970s, he was an active supporter of civil rights causes and an opponent of American military intervention in Vietnam.^[15] In 1963, he organized one of the first faculty and student committees at MIT against the war. Putnam was disturbed when he learned from reading the reports of David Halberstam that the U.S. was "defending" South Vietnamese peasants from the Vietcong by poisoning their rice crops.^[14] After moving to Harvard in 1965, he organized campus protests and began teaching courses on Marxism. Hilary became an official faculty advisor to the Students for a Democratic Society and, in 1968, became a member of the Progressive Labor Party (PLP).^[14]

He was elected a Fellow of the American Academy of Arts and Sciences in 1965.^[20] After 1968, his political activities were centered on the PLP.^[15] The Harvard administration considered these activities disruptive and attempted to censure Putnam, but two other faculty members criticized the procedures.^[21] Putnam permanently severed his ties with the PLP in 1972.^[22] In 1997, at a meeting of former draft resistance activists at Arlington Street Church in Boston, Putnam described his involvement with the PLP as a mistake. He said that he had been impressed at first with PLP's commitment to alliance-building, and its willingness to attempt to organize from within the armed forces.^[15]

In 1976, he was elected President of the American Philosophical Association. The following year, he was selected as Walter Beverly Pearson Professor of Mathematical Logic, in recognition of his contributions to philosophy of logic and mathematics.^[14] While breaking with his radical past, Putnam has never abandoned his belief that academics have a particular social and ethical responsibility toward society. He has continued to be forthright and progressive in his political views, as expressed in the articles "How Not to Solve Ethical Problems" (1983) and "Education for Democracy" (1993).^[14]

Putnam is a Corresponding Fellow of the British Academy. He retired from teaching in June 2000, but, as of 2009, he still gives a seminar almost yearly at Tel Aviv University. He is the Cogan University Professor Emeritus at Harvard University. He is also a founding patron of the small liberal arts college Ralston College. His corpus includes five volumes of collected works, seven books, and more than 200 articles. Putnam's renewed interest in Judaism has inspired him to publish several recent books and essays on the topic.^[23] With his wife, he has co-authored several books and essays on the late-19th century American pragmatist movement.^[14]

Philosophy of mind[link]

Multiple realizability[link]

An illustration of multiple realizability. M stands for mental and P stands for physical. It can be seen that more than one P can instantiate one M, but not vice versa. Causal relations between states are represented by the arrows (M1 goes to M2, etc.)

Putnam's best-known work concerns philosophy of mind. His most noted original contributions to that field came in several key papers published in the late 1960s that set out the hypothesis of multiple realizability.^[24] In these papers, Putnam argues that, contrary to the famous claim of the type-identity theory, it is not necessarily true that "Pain is identical to C-fibre firing." Pain, according to Putnam's papers, may correspond to utterly different physical states of the nervous system in different organisms, and yet they all experience the same mental state of "being in pain".

Putnam cited examples from the animal kingdom to illustrate his thesis. He asked whether it was likely that the brain structures of diverse types of animals realize pain, or other mental states, the same way. If they do not share the same brain structures, they cannot share the same mental states and properties. The answer to this puzzle had to be that mental states were realized by different physical states in different species. Putnam then took his argument a step further, asking about such things as the nervous systems of alien beings, artificially intelligent robots and other silicon-based life forms. These hypothetical entities, he contended, should not be considered incapable of experiencing pain just because they lack the same neurochemistry as humans. Putnam concluded that type-identity theorists had been making an "ambitious" and "highly implausible" conjecture which could be disproven with one example of multiple realizability.^[25] This argument is sometimes referred to as the "likelihood argument".^[24]

Putnam formulated a complementary argument based on what he called "functional isomorphism". He defined the concept in these terms: "Two systems are functionally isomorphic if 'there is a correspondence between the states of one and the states of the other that preserves functional relations'." In the case of computers, two machines are functionally isomorphic if and only if the sequential relations among states in the first are exactly mirrored by the sequential relations among states in the other. Therefore, a computer made out of silicon chips and a computer made out of cogs and wheels can be functionally isomorphic but constitutionally diverse. Functional isomorphism implies multiple realizability.^[25] This argument is sometimes referred to as an "a priori argument".^[24]

Jerry Fodor, Putnam, and others noted that, along with being an effective argument against type-identity theories, multiple realizability implies that any low-level explanation of higher-level mental phenomena is insufficiently abstract and general.^[25][26][27] Functionalism, which identifies mental kinds with functional kinds that are characterized exclusively in terms of causes and effects, abstracts from the level of microphysics, and therefore seemed to be a better explanation of the relation between mind and body. In fact, there are many functional kinds, such as mousetraps, software and bookshelves, which are multiply realized at the physical level.^[25]

Machine state functionalism[link]

A Turing machine can be visualized as an infinite tape of slots that are written or erased one at a time, with the choice of action determined by a "state". According to Putnam's machine-state functionalism, the notions of state in an abstract computer and mental state are essentially the same.

The first formulation of such a functionalist theory was put forth by Putnam himself. This formulation, which is now called "machine-state functionalism", was inspired by analogies noted by Putnam and others between the mind and theoretical "Turing machines" capable of computing any given algorithm.^[28]

In non-technical terms, a Turing machine can be visualized as an infinitely long tape divided into squares (the memory) with a box-shaped scanning device that sits over and scans one square of the memory at a time. Each square is either blank (B) or has a 1 written on it. These are the inputs to the machine. The possible outputs are:

• Halt: Do nothing.
• R: move one square to the right.
• L: move one square to the left.
• B: erase whatever is on the square.
• 1: erase whatever is on the square and print a 1.

A simple example of a Turing machine which writes out the sequence '111' after scanning three blank squares and then stopping is specified by the following machine table:

This table states that if the machine is in state one and scans a blank square (B), it will print a 1 and remain in state one. If it is in state one and reads a 1, it will move one square to the right and also go into state two. If it is in state two and reads a B, it will print a 1 and stay in state two. If it's in state two and reads a 1, it will move one square to the right and go into state three. Finally, if it is in state three and reads a B, it prints a 1 and remains in state three.^[29]

The point, for functionalism, is the nature of the "states" of the Turing machine. Each state can be defined in terms of its relations to the other states and to the inputs and outputs. State one, for example, is simply the state in which the machine, if it reads a B, writes a 1 and stays in that state, and in which, if it reads a 1, it moves one square to the right and goes into a different state. This is the functional definition of state one; it is its causal role in the overall system. The details of how it accomplishes what it accomplishes and of its material constitution are completely irrelevant.

According to machine-state functionalism, the nature of a mental state is just like the nature of the automaton states described above. Just as "state one" simply is the state in which, given an input B, such-and-such happens, so being in pain is the state which disposes one to cry "ouch", become distracted, wonder what the cause is, and so forth.^[30]

Rejection of functionalism[link]

In the late 1980s, Putnam abandoned his adherence to functionalism and other computational theories of mind. His change of mind was primarily due to the difficulties that computational theories have in explaining certain intuitions with respect to the externalism of mental content. This is illustrated by Putnam's own Twin Earth thought experiment (see Philosophy of language).^[11] He also developed a separate argument against functionalism in 1988, based on Fodor's generalized version of multiple realizability. Asserting that functionalism is really a watered-down identity theory in which mental kinds are identified with functional kinds, Putnam argued that mental kinds may be multiply realizable over functional kinds. The argument for functionalism is that the same mental state could be implemented by the different states of a universal Turing machine.^[31]

Despite Putnam's rejection of functionalism, it has continued to flourish and has been developed into numerous versions by thinkers as diverse as David Marr, Daniel Dennett, Jerry Fodor, and David Lewis.^[32] Functionalism helped lay the foundations for modern cognitive science^[32] and is the dominant theory of mind in philosophy today.^[33]

Philosophy of language[link]

Semantic externalism[link]

One of Putnam's contributions to philosophy of language is his claim that "meaning just ain't in the head". He illustrated this using his "Twin Earth" thought experiment to argue that environmental factors play a substantial role in determining meaning. Twin Earth shows this, according to Putnam, since on Twin Earth everything is identical to Earth, except that its lakes, rivers and oceans are filled with XYZ whereas those of earth are filled with H₂O. Consequently, when an earthling, Fredrick, uses the Earth-English word "water", it has a different meaning from the Twin Earth-English word "water" when used by his physically identical twin, Frodrick, on Twin Earth. Since Fredrick and Frodrick are physically indistinguishable when they utter their respective words, and since their words have different meanings, meaning cannot be determined solely by what is in their heads. This led Putnam to adopt a version of semantic externalism with regard to meaning and mental content.^[9][25] The late philosopher of mind and language Donald Davidson, despite his many differences of opinion with Putnam, wrote that semantic externalism constituted an "anti-subjectivist revolution" in philosophers' way of seeing the world. Since the time of Descartes, philosophers had been concerned with proving knowledge from the basis of subjective experience. Thanks to Putnam, Tyler Burge and others, Davidson said, philosophy could now take the objective realm for granted and start questioning the alleged "truths" of subjective experience.^[34]

Theory of meaning[link]

Putnam, along with Saul Kripke, Keith Donnellan, and others, contributed to what is known as the causal theory of reference.^[2] In particular, Putnam maintained in The Meaning of "Meaning" that the objects referred to by natural kind terms—such as tiger, water, and tree—are the principal elements of the meaning of such terms. There is a linguistic division of labor, analogous to Adam Smith's economic division of labor, according to which such terms have their references fixed by the "experts" in the particular field of science to which the terms belong. So, for example, the reference of the term "lion" is fixed by the community of zoologists, the reference of the term "elm tree" is fixed by the community of botanists, and the reference of the term "table salt" is fixed as "NaCl" by chemists. These referents are considered rigid designators in the Kripkean sense and are disseminated outward to the linguistic community.^[25]

Putnam specifies a finite sequence of elements (a vector) for the description of the meaning of every term in the language. Such a vector consists of four components:

1. the object to which the term refers, e.g., the object individuated by the chemical formula H₂O;
2. a set of typical descriptions of the term, referred to as "the stereotype", e.g., "transparent", "colorless", and "hydrating";
3. the semantic indicators that place the object into a general category, e.g., "natural kind" and "liquid";
4. the syntactic indicators, e.g., "concrete noun" and "mass noun".

Such a "meaning-vector" provides a description of the reference and use of an expression within a particular linguistic community. It provides the conditions for its correct usage and makes it possible to judge whether a single speaker attributes the appropriate meaning to that expression or whether its use has changed enough to cause a difference in its meaning. According to Putnam, it is legitimate to speak of a change in the meaning of an expression only if the reference of the term, and not its stereotype, has changed. However, since there is no possible algorithm that can determine which aspect—the stereotype or the reference—has changed in a particular case, it is necessary to consider the usage of other expressions of the language.^[25] Since there is no limit to the number of such expressions which must be considered, Putnam embraced a form of semantic holism.^[35]

Philosophy of mathematics[link]

Putnam made a significant contribution to philosophy of mathematics in the Quine–Putnam "indispensability argument" for mathematical realism.^[28] This argument is considered by Stephen Yablo to be one of the most challenging arguments in favor of the acceptance of the existence of abstract mathematical entities, such as numbers and sets.^[36] The form of the argument is as follows.

1. One must have ontological commitments to all entities that are indispensable to the best scientific theories, and to those entities only (commonly referred to as "all and only").
2. Mathematical entities are indispensable to the best scientific theories. Therefore,
3. One must have ontological commitments to mathematical entities.^[37]

The justification for the first premise is the most controversial. Both Putnam and Quine invoke naturalism to justify the exclusion of all non-scientific entities, and hence to defend the "only" part of "all and only". The assertion that "all" entities postulated in scientific theories, including numbers, should be accepted as real is justified by confirmation holism. Since theories are not confirmed in a piecemeal fashion, but as a whole, there is no justification for excluding any of the entities referred to in well-confirmed theories. This puts the nominalist who wishes to exclude the existence of sets and non-Euclidean geometry, but to include the existence of quarks and other undetectable entities of physics, for example, in a difficult position.^[37]

Putnam holds the view that mathematics, like physics and other empirical sciences, uses both strict logical proofs and "quasi-empirical" methods. For example, Fermat's last theorem states that for no integer Failed to parse (Missing texvc executable; please see math/README to configure.): n>2

are there positive integer values of x, y, and z such that Failed to parse (Missing texvc executable; please see math/README to configure.): x^n+y^n=z^n

. Before this was proven for all Failed to parse (Missing texvc executable; please see math/README to configure.): n>2

in 1995 by Andrew Wiles,[38] it had been proven for many values of n. These proofs inspired further research in the area, and formed a quasi-empirical consensus for the theorem. Even though such knowledge is more conjectural than a strictly proven theorem, it was still used in developing other mathematical ideas.[8]

Mathematics and computer science[link]

Putnam has contributed to scientific fields not directly related to his work in philosophy.^[2] As a mathematician, Putnam contributed to the resolution of Hilbert's tenth problem in mathematics. Yuri Matiyasevich had formulated a theorem involving the use of Fibonacci numbers in 1970, which was designed to answer the question of whether there is a general algorithm that can decide whether a given system of Diophantine equations (polynomials with integer coefficients) has a solution among the integers. Putnam, working with Martin Davis and Julia Robinson, demonstrated that Matiyasevich's theorem was sufficient to prove that no such general algorithm can exist. It was therefore shown that David Hilbert's famous tenth problem has no solution.^[13]

In computability theory, Putnam investigated the structure of the ramified analytical hierarchy, its connection with the constructible hierarchy and its Turing degrees. He showed that there exist many levels of the constructible hierarchy which do not add any subsets of the integers^[39] and later, with his student George Boolos, that the first such "non-index" is the ordinal Failed to parse (Missing texvc executable; please see math/README to configure.): \beta_0

of ramified analysis[40] (this is the smallest Failed to parse (Missing texvc executable; please see math/README to configure.): \beta
such that Failed to parse (Missing texvc executable; please see math/README to configure.): L_\beta
is a model of full second-order comprehension), and also, together with a separate paper with Richard Boyd (another of Putnam's students) and Gustav Hensel,[41] how the Davis–Mostowski–Kleene hyperarithmetical hierarchy of arithmetical degrees can be naturally extended up to Failed to parse (Missing texvc executable; please see math/README to configure.): \beta_0

.

In computer science, Putnam is known for the Davis-Putnam algorithm for the Boolean satisfiability problem (SAT), developed with Martin Davis in 1960.^[2] The algorithm finds if there is a set of true or false values that satisfies a given Boolean expression so that the entire expression becomes true. In 1962, they further refined the algorithm with the help of George Logemann and Donald W. Loveland. It became known as the DPLL algorithm. This algorithm is efficient and still forms the basis of most complete SAT solvers.^[12]

Epistemology[link]

A "brain in a vat"—Putnam uses this thought experiment to argue that skeptical scenarios are impossible.

In the field of epistemology, Putnam is known for his "brain in a vat" thought experiment (a modernized version of Descartes' evil demon hypothesis). The argument is that one cannot coherently state that one is a disembodied "brain in a vat" placed there by some "mad scientist".^[9]

This follows from the causal theory of reference. Words always refer to the kinds of things they were coined to refer to, thus the kinds of things their user, or the user's ancestors, experienced. So, if some person, Mary, were a "brain in a vat", whose every experience is received through wiring and other gadgetry created by the "mad scientist", then Mary's idea of a "brain" would not refer to a "real" brain, since she and her linguistic community have never seen such a thing. Rather, she saw something that looked like a brain, but was actually an image fed to her through the wiring. Similarly, her idea of a "vat" would not refer to a "real" vat. So, if, as a "brain in a vat", she were to say "I'm a brain in a vat", she would actually be saying "I'm a brain-image in a vat-image", which is incoherent. On the other hand, if she is not a "brain in a vat", then saying that she is still incoherent, but now because she actually means the opposite. This is a form of epistemological externalism: knowledge or justification depends on factors outside the mind and is not solely determined internally.^[9]

Putnam has clarified that his real target in this argument was never skepticism, but metaphysical realism.^[42] Since realism of this kind assumes the existence of a gap between how man conceives the world and the way the world really is, skeptical scenarios such as this one (or Descartes' Evil demon) present a formidable challenge. Putnam, by arguing that such a scenario is impossible, attempts to show that this notion of a gap between man's concept of the world and the way it is, is in itself absurd. Man cannot have a "God's eye" view of reality. He is limited to his conceptual schemes. Metaphysical realism is therefore false, according to Putnam.^[43]

Metaphilosophy and ontology[link]

In the late 1970s and the 1980s, stimulated by results from mathematical logic and by some ideas of Quine, Putnam abandoned his long-standing defence of metaphysical realism—the view that the categories and structures of the external world are both causally and ontologically independent of the conceptualizations of the human mind. He adopted a rather different view, which he called "internal realism".^[10][44]

Putnam renounced internal realism in his reply to Simon Blackburn in the volume Reading Putnam.^[45] The reasons he gave up his "antirealism" are stated in the first three of his replies in "The Philosophy of Hilary Putnam", an issue of the journal Philosophical Topics, where he gives a history of his use(s) of the term "internal realism", and, at more length, in his The Threefold Cord: Mind, Body and World (1999).^[46]

Internal realism was the view that, although the world may be causally independent of the human mind, the structure of the world—its division into kinds, individuals and categories—is a function of the human mind, and hence the world is not ontologically independent. The general idea is influenced by Kant's idea of the dependence of our knowledge of the world on the "categories of thought".^[47]

The problem with metaphysical realism, according to Putnam, was that it fails to explain the possibility of reference and truth. According to the metaphysical realist, our concepts and categories refer because they match up in some mysterious manner with the pre-structured categories, kinds and individuals that are inherent in the external world. But how is it possible that the world "carves up" into certain structures and categories, the mind carves up the world into its own categories and structures, and the two "carvings" perfectly coincide? The answer must be that the world does not come pre-structured but that structure must be imposed on it by the human mind and its conceptual schemes. In Reason, Truth, and History, Putnam identified truth with what he termed "idealized rational acceptability." The theory, which owes something to C.S. Peirce, is that a belief is true if it would be accepted by anyone under ideal epistemic conditions.^[10]

Nelson Goodman had formulated a similar notion in Fact, Fiction and Forecast in 1956. In that work, Goodman went as far as to suggest that there is "no one world, but many worlds, each created by the human mind."^[48] Putnam rejected this form of social constructivism, but retained the idea that there can be many correct descriptions of reality. No one of these descriptions can be scientifically proven to be the "one, true" description of the world. This does not imply relativism, for Putnam, because not all descriptions are equally correct and the ones that are correct are not determined subjectively.^[49]

Under the influence of C.S. Peirce and William James, Putnam also became convinced that there is no fact–value dichotomy; that is, ethical and aesthetic judgments often have a factual basis, while scientific judgments have an ethical element.^[49]

Neopragmatism and Wittgenstein[link]

At the end of the 1980s, Putnam became increasingly disillusioned with what he perceived as the "scientism" and the rejection of history that characterize modern analytic philosophy. He rejected internal realism because it assumed a "cognitive interface" model of the relation between the mind and the world. Under the increasing influence of James and the pragmatists, he adopted a direct realist view of this relation. For a time, under the influence of Ludwig Wittgenstein, he adopted a pluralist view of philosophy itself and came to view most philosophical problems as nothing more than conceptual or linguistic confusions created by philosophers by using ordinary language out of its original context.^[49]

Many of Putnam's most recent works have addressed the concerns of ordinary people, particularly their concerns about social problems.^[50] For example, he has written about the nature of democracy, social justice and religion. He has discussed the ideas of the continental philosopher, Jürgen Habermas, and has written articles influenced by "continental" ideas.^[14]

Criticism[link]

Putnam himself may be his own most formidable philosophical adversary.^[6] His frequent changes of mind have led him to attack his previous positions. However, many significant criticisms of his views have come from other philosophers and scientists. For example, multiple realizability has been criticized on the grounds that, if it were true, research and experimentation in the neurosciences would be impossible.^[51] According to Bechtel and Mundale, to be able to conduct such research in the neurosciences, universal consistencies must either exist or be assumed to exist in brain structures. It is the similarity (or homology) of brain structures that allows us to generalize across species.^[51] If multiple realizability were an empirical fact, results from experiments conducted on one species of animal (or one organism) would not be meaningful when generalized to explain the behavior of another species (or organism of the same species).^[52] Other criticisms of MR have been proposed by Jaegwon Kim, David Lewis, Robert Richardson and Patricia Churchland.^{[53][54][55][56]}

One of the main arguments against functionalism was formulated by Putnam himself: the Twin Earth thought experiment. However, there have been other criticisms. The Chinese room argument by John Searle (1980) is a direct attack on the claim that thought can be represented as a set of functions. The thought experiment is designed to show that it is possible to mimic intelligent action, without any interpretation or understanding, through the use of a purely functional system. In short, Searle describes a situation in which a person who speaks only English is locked in a room with Chinese symbols in baskets and a rule book in English for moving the symbols around. The person is instructed, by people outside the room, to follow the rule book for sending certain symbols out of the room when given certain symbols. Further, suppose that the people outside the room are Chinese speakers and are communicating with the person inside via the Chinese symbols. According to Searle, it would be absurd to claim that the English speaker inside "knows" Chinese based on these syntactic processes alone. This thought experiment attempts to show that systems that operate merely on syntactic processes cannot realize any semantics (meaning) or intentionality (aboutness). Thus, Searle attacks the idea that thought can be equated with the following of a set of syntactic rules. Thus, functionalism is an inadequate theory of the mind.^[57] Several other arguments against functionalism have been advanced by Ned Block.^[58]

Putnam has consistently adhered to the idea of semantic holism, in spite of the many changes in his other positions. The problems with this position have been described by Michael Dummett, Jerry Fodor, Ernest Lepore, and others. In the first place, they suggest that, if semantic holism is true, it is impossible to understand how a speaker of a language can learn the meaning of an expression, for any expression of the language. Given the limits of our cognitive abilities, we will never be able to master the whole of the English (or any other) language, even based on the (false) assumption that languages are static and immutable entities. Thus, if one must understand all of a natural language to understand a single word or expression, language learning is simply impossible. Semantic holism also fails to explain how two speakers can mean the same thing when using the same linguistic expression, and therefore how any communication at all is possible between them. Given a sentence P, since Fred and Mary have each mastered different parts of the English language and P is related differently to the sentences in each part, the result is that P means one thing for Fred and something else for Mary. Moreover, if a sentence P derives its meaning from its relations with all of the sentences of a language, as soon as the vocabulary of an individual changes by the addition or elimination of a sentence, the totality of relations changes, and therefore also the meaning of P. As this is a common phenomenon, the result is that P has two different meanings in two different moments in the life of the same person. Consequently, if I accept the truth of a sentence and then reject it later on, the meaning of that which I rejected and that which I accepted are completely different and therefore I cannot change my opinions with regard to the same sentences.^[59][60][61]

The brain in a vat argument has also been subject to criticism.^[62] Crispin Wright argues that Putnam's formulation of the brain-in-a-vat scenario is too narrow to refute global skepticism. The possibility that one is a recently disembodied brain in a vat is not undermined by semantic externalism. If a person has lived her entire life outside the vat—speaking the English language and interacting normally with the outside world—prior to her "envatment" by a mad scientist, when she wakes up inside the vat, her words and thoughts (e.g., "tree" and "grass") will still refer to the objects or events in the external world that they referred to before her envatment.^[42] In another scenario, a brain in a vat may be hooked up to a supercomputer that randomly generates perceptual experiences. In this case, one's words and thoughts would not refer to anything, and would therefore be devoid of content. Semantics would no longer exist and the argument would be meaningless.^[63]

In philosophy of mathematics, Stephen Yablo has argued that the Quine–Putnam indispensability thesis does not demonstrate that mathematical entities are truly indispensable. The argumentation is sophisticated, but the upshot is that one can achieve the same logical results by simply replacing all occurrences of the expression "so-and-so exists" (e.g., numbers exist) by occurrences of the expression "so-and-so is assumed (or hypothesized) to exist". For example, one can take the argument for indispensability described above and replace all references to existent entities with references to entities assumed to exist as follows.

1*. One must have ontological commitments to all and only the entities that are assumed to exist and are indispensable to the best scientific theories.

2*. Mathematical entities that are assumed to exist are indispensable to the best scientific theories. Therefore,

3*. One must have ontological commitments to mathematical entities that are assumed to exist.^[36]

Finally, Putnam's internal realism has been accused by Curtis Brown of being a disguised form of subjective idealism. If this is the case, it is subject to the traditional arguments against that position. In particular, it falls into the trap of solipsism. That is, if existence depends on experience, as subjective idealism maintains, and if one's consciousness were to stop existing, then the rest of the universe would stop existing as well.^[47]

Academic genealogy[link]

Major works[link]

• The "Innateness Hypothesis" and Explanatory Models in Linguistics, 1967.^[64]
• Philosophy of Mathematics: Selected Readings. Edited with Paul Benacerraf. Englewood Cliffs, N.J.: Prentice-Hall, 1964. 2nd ed., Cambridge: Cambridge University Press, 1983. ISBN 0-521-29648-X
• Philosophy of Logic. New York: Harper and Row, 1971. London: George Allen and Unwin, 1972. ISBN 0-04-160009-6
• Mathematics, Matter and Method. Philosophical Papers, vol. 1. Cambridge: Cambridge University Press, 1975. 2nd. ed., 1985 paperback: ISBN 0-521-29550-5
• Mind, Language and Reality. Philosophical Papers, vol. 2. Cambridge: Cambridge University Press, 1975. 2003 paperback: ISBN 0-521-29551-3
• Meaning and the Moral Sciences. London: Routledge and Kegan Paul, 1978.
• Reason, Truth, and History. Cambridge: Cambridge University Press, 1981. 2004 paperback: ISBN 0-521-29776-1
• Realism and Reason. Philosophical Papers, vol. 3. Cambridge: Cambridge University Press, 1983. 2002 paperback: ISBN 0-521-31394-5
• Methodology, Epistemology, and Philosophy of Science: Essays in Honour of Wolfgang Stegmüller. edited with Wilhelm K. Essler and Carl G. Hempel. Dordrecht: D. Reidel, 1983.
• Epistemology, Methodology, and Philosophy of Science: Essays in Honour of Carl G. Hempel. edited with Wilhelm K. Essler and Wolfgang Stegmüller. Dordrecht: D. Reidel, 1985.
• The Many Faces of Realism. La Salle, Ill.: Open Court, 1987. ISBN 0-8126-9043-5
• Representation and Reality. Cambridge, Mass.: MIT Press, 1988. ISBN 0-262-66074-1
• Realism with a Human Face. edited by James F. Conant. Cambridge, Mass.: Harvard University Press, 1990. ISBN 0-674-74945-6
• Renewing Philosophy. Cambridge, Mass.: Harvard University Press, 1992. ISBN 0-674-76094-8
• Pursuits of Reason: Essays in Honor of Stanley Cavell. edited with Ted Cohen and Paul Guyer. Lubbock: Texas Tech University Press, 1993. ISBN 0-89672-266-X
• Words and Life. edited by James F. Conant. Cambridge, Mass.: Harvard University Press, 1994. ISBN 0-674-95607-9
• Pragmatism: An Open Question. Oxford: Blackwell, 1995. ISBN 0-631-19343-X
• The Threefold Cord: Mind, Body, and World. New York: Columbia University Press, 1999. ISBN 0-231-10287-9
• Enlightenment and Pragmatism. Assen: Koninklijke Van Gorcum, 2001. 48pp.
• The Collapse of the Fact/Value Dichotomy and Other Essays. Cambridge, Mass.: Harvard University Press, 2002. Description. ISBN 0-674-01380-8
• Ethics Without Ontology. Cambridge, Mass.: Harvard University Press, 2002. ISBN 0-674-01851-6
• Jewish Philosophy as a Guide to Life: Rosenzweig, Buber, Levinas, Wittgenstein. Bloomington: Indiana University Press, 2008.
• Philosophy in an Age of Science. edited by Mario De Caro and David Macarthur. Cambridge, Mass.: Harvard University Press, forthcoming.

Works about Putnam[link]

• Y. Ben-Menahem (ed.), Hilary Putnam, Contemporary Philosophy in Focus, Cambridge University Press, Cambridge, 2005.
• P. Clark-B. Hale (eds.), Reading Putnam, Blackwell, Cambridge (Massachusetts)-Oxford 1995.
• C.S. Hill (ed.), The Philosophy of Hilary Putnam, Fayetteville, Arkansas 1992.
• M. Rüdel, Erkenntnistheorie und Pragmatik: Untersuchungen zu Richard Rorty und Hilary Putnam, (Dissertation) Hamburg 1987.
• Maximilian de Gaynesford Hilary Putnam McGill-Queens University Press / Acumen, 2006.

See also[link]

	Biography portal
	Logic portal

• American philosophy
• List of American philosophers
• Rietdijk–Putnam argument

Notes[link]

References[link]

External links[link]

• Harvard University Philosophy Faculty page
• An extensive bibliography
• An extensive directory
• Hilary Putnam at the Mathematics Genealogy Project
• London Review of Books contributor page
• Hilary Putnam: On Mind, Meaning and Reality, Interview by Josh Harlan, The Harvard Review of Philosophy, spring 1992.
• Putnam, Hilary and Ruth Anna, "The Quarrel Between Poetry and Philosophy", read to the Santayana Society at its annual meeting in New York on December 28, 1995.
• "To Think with Integrity", Hilary Putnam's Farewell Lecture, The Harvard Review of Philosophy, Spring 2000.
• Putnam, "The Depths and Shallows of Experience", video lecture, UCSB, September 1, 2003. Comments by Hubert Schwyzer and Bruno Latour.
• Putnam, "The Fact/Value Dichotomy and its critics"; Roundtable on Externalism audio/video lecture, audio discussion, March 2007, University College Dublin.
• Hilary Putnam - Externalism: Its Motivation And Its Critics, video of a lecture, delivered at Harvard University on October 4, 2007
• A short film about the Putnam-Rorty debate and its influence on the pragmatist revival
• The Moscow Center for Consciousness Studies video interview with Hilary Putnam 2010-04-21 (with transcript)

Tom Waits
Waits during an interview in Buenos Aires, Argentina, April 2007
Background information
Birth name	Thomas Alan Waits
Born	(1949-12-07) December 7, 1949 (age 62) Pomona, California, United States
Genres	Rock, experimental
Occupations	Singer-songwriter, musician, actor, composer
Instruments	Vocals, piano, guitar
Years active	1972–present
Labels	Asylum Records, Island Records, ANTI-
Website	Official website

Thomas Alan "Tom" Waits (born December 7, 1949) is an American singer-songwriter, composer, and actor. Waits has a distinctive voice, described by critic Daniel Durchholz as sounding "like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car."^[1] With this trademark growl, his incorporation of pre-rock music styles such as blues, jazz, and vaudeville, and experimental tendencies verging on industrial music,^[2] Waits has built up a distinctive musical persona. He has worked as a composer for movies and musical plays and has acted in supporting roles in films including Paradise Alley and Bram Stoker's Dracula; he also starred in the 1986 film Down by Law. He was nominated for an Academy Award for his soundtrack work on One from the Heart.

Lyrically, Waits' songs frequently present atmospheric portrayals of grotesque, often seedy characters and places—although he has also shown a penchant for more conventional ballads. He has a cult following and has influenced subsequent songwriters despite having little radio or music video support. His songs are best-known through cover versions by more commercial artists: "Jersey Girl", performed by Bruce Springsteen, "Ol' '55", performed by the Eagles, and "Downtown Train", performed by Rod Stewart. Although Waits' albums have met with mixed commercial success in his native United States, they have occasionally achieved gold album sales status in other countries. He has been nominated for a number of major music awards and has won Grammy Awards for two albums, Bone Machine and Mule Variations. In 2011, Waits was inducted into the Rock and Roll Hall of Fame.^[3][4]

Waits lives in Sonoma County, California with his wife, Kathleen Brennan, and three children.

Origins and musical beginnings[link]

Waits was born at Park Avenue Hospital in Pomona, California to Jesse Frank Waits and Alma Johnson McMurray, both schoolteachers.^[5][6] His father was of Scots-Irish descent and his mother was a Norwegian American. After Waits' parents divorced in 1960, he lived with his mother in Whittier, and then moved to National City, in San Diego County, near the Mexico–United States border.^[6] Waits, who taught himself how to play the piano on a neighbor's instrument, often took trips to Mexico with his father, who taught Spanish; he would later say that he found his love of music during these trips through a Mexican ballad that was "probably a Ranchera, you know, on the car radio with my dad."^[7]

By 1965, while attending Hilltop High School within the Sweetwater Union High School District, Chula Vista,^[6] Waits was playing in an R&B/soul band called The Systems and had begun his first job at Napoleone Pizza House in National City (about which he would later sing on "I Can't Wait to Get Off Work (And See My Baby on Montgomery Avenue)" from Small Change and "The Ghosts of Saturday Night (After Hours at Napoleone's Pizza House)" on The Heart of Saturday Night).^[5] He later admitted that he was not a fan of the 1960s music scene, stating, "I wasn't thrilled by Blue Cheer, so I found an alternative, even if it was Bing Crosby."^[8] Five years later, he was working as a doorman at the Heritage nightclub in San Diego—where artists of every genre performed—when he did his first paid gig for $6.^[5] A fan of Bob Dylan, Lord Buckley, Jack Kerouac, Louis Armstrong, Howlin' Wolf, and Charles Bukowski, Waits began developing his own idiosyncratic musical style.

After serving with the United States Coast Guard,^[9] he took his newly formed act to Monday nights at The Troubadour in Los Angeles, where musicians would line up all day for the opportunity to perform on stage that night. In 1971, Waits moved to the Echo Park neighborhood of L.A. (at the time, also home to musicians Glenn Frey of the Eagles, J. D. Souther, Jackson Browne, and Frank Zappa) and signed with Herb Cohen at the age of 21. From August to December 1971, Waits made a series of demo recordings for Cohen's Bizarre/Straight label, including many songs for which he would later become known. These early tracks were released twenty years later on The Early Years, Volume One and Volume Two.

1970s[link]

Waits signed to Asylum Records in 1972,^[10] and after numerous abortive recording sessions, his first record—the jazzy, folk-tinged Closing Time—was released in 1973. The album, which was produced and arranged by former Lovin' Spoonful member Jerry Yester, received positive reviews, but Waits did not gain widespread attention until a number of the album's tracks were covered by more prominent artists. Later in 1973, Tim Buckley released the album Sefronia, which contained a cover version of Waits' song "Martha" from Closing Time, the first-ever cover of a Tom Waits song by a known artist.^[11] This cover later appeared in the 1995 compilation Step Right Up: The Songs of Tom Waits. The album's opening track, "Ol' '55", was recorded by the Eagles in 1974 for their On the Border album.^[11]

He began touring and opening for such artists as Charlie Rich, Martha and the Vandellas, and Frank Zappa. Waits received increasing critical acclaim and gathered a loyal cult following with his subsequent albums. The Heart of Saturday Night (1974), featuring the song "(Looking for) The Heart of Saturday Night", revealed Waits's roots as a nightclub performer, with half-spoken and half-crooned ballads often accompanied by a jazz backup band.^[12] Waits described the album as:

...a comprehensive study of a number of aspects of this search for the center of Saturday night, which Jack Kerouac relentlessly chased from one end of this country to the other, and I've attempted to scoop up a few diamonds of this magic that I see.^[13]

In 1975, Waits moved to the Tropicana Motel on Santa Monica Boulevard^[14] and released the double album Nighthawks at the Diner, recorded in a studio with a small audience in order to capture the ambience of a live show. The record exemplifies this phase of his career, including the lengthy spoken interludes between songs that punctuated his live act. That year, he also contributed backing vocals to Bonnie Raitt's "Your Sweet and Shiny Eyes", from her album Home Plate.

By this time, Waits was drinking heavily, and life on the road was starting to take its toll. Waits, looking back at the period, has said,

I was sick through that whole period [...] It was starting to wear on me, all the touring. I'd been traveling quite a bit, living in hotels, eating bad food, drinking a lot — too much. There's a lifestyle that's there before you arrive and you're introduced to it. It's unavoidable.^[15]

In reaction to these hardships, Waits recorded Small Change (1976), which finds him in a much more cynical and pessimistic mood, lyrically, with many songs such as "The Piano Has Been Drinking (Not Me) (An Evening with Pete King)" and "Bad Liver and a Broken Heart (In Lowell)". With the album, Waits asserted that he "tried to resolve a few things as far as this cocktail lounge, maudlin, crying-in-your-beer image that I have. There ain't nothin' funny about a drunk [...] I was really starting to believe that there was something amusing and wonderfully American about being a drunk. I ended up telling myself to cut that shit out."^[16] The album, which also included long-time fan favorite "Tom Traubert's Blues (Four Sheets to the Wind in Copenhagen)", featured famed drummer Shelly Manne and was, like his previous albums, heavily influenced by jazz.

Small Change, which was accompanied by the double A-side single "Step Right Up"/"The Piano Has Been Drinking", was a critical and commercial success and far outsold any of Waits's previous albums. With it, Waits broke onto Billboard's Top 100 Albums chart for the first time in his career (a feat Waits would not repeat until 1999 with the release of Mule Variations).^[17] This resulted in a much higher public profile, which brought with it interviews and articles in Time, Newsweek, and Vogue. Waits put together a regular touring band, The Nocturnal Emissions, which featured Frank Vicari on tenor saxophone, Fitzgerald Jenkins on bass guitar, and Chip White on drums and vibraphone. Tom Waits and the Nocturnal Emissions toured the United States and Europe extensively from October 1976 until May 1977,^[17] including a performance of "The Piano Has Been Drinking" on cult BBC2 television music show the Old Grey Whistle Test in May 1976.^[18]

Foreign Affairs (1977) was musically in a similar vein to Small Change, but showed further artistic refinement and exploration into jazz and blues styles. Particularly noteworthy is the long cinematic spoken-word piece, "Potter's Field", set to an orchestral score. The album also features Bette Midler singing a duet with Waits on "I Never Talk to Strangers." The album Blue Valentine (1978) displayed Waits's biggest musical departure to date, with much more focus on electric guitar and keyboards than on previous albums and hardly any strings (with the exception of album-opener "Somewhere" — a cover of Leonard Bernstein's song from West Side Story — and "Kentucky Avenue") for a darker, more blues-oriented sound. The song "Blue Valentines" was also unique for Waits in that it featured a desolate arrangement of solo electric guitar played by Ray Crawford, accompanied by Waits' vocal. Around this time, Waits had a relationship with Rickie Lee Jones^{[citation needed]} (who appears on the sleeve art of the Blue Valentine album). In 1978, Waits also appeared in his first film role, in Paradise Alley as Mumbles the pianist, and contributed the original compositions "(Meet Me in) Paradise Alley" and "Annie's Back in Town" to the film's soundtrack.^[19]

Heartattack and Vine, Waits's last studio album for Asylum, was released in 1980, featuring a developing sound that included both ballads ("Jersey Girl") and rougher-edged rhythm and blues. The same year, he began a long working relationship with Francis Ford Coppola, who asked Waits to provide music for his film One from the Heart. For Coppola's film, Waits originally wanted to work with Bette Midler; she was unavailable due to prior engagements, however. Waits ended up working with singer/songwriter Crystal Gayle as his vocal foil for the album.

1980s[link]

In August 1980, Waits married Kathleen Brennan, a screenwriter, whom he had met while working on the set of the Francis Ford Coppola movie One from the Heart. Brennan is regularly credited as co-author of many songs in his later albums, and Waits often cites her as a major influence on his work. She introduced him to the music of Captain Beefheart. Despite having shared a manager with Beefheart in the 1970s, Waits says, "I became more acquainted with him when I got married."^[20] Waits would later describe his relationship with Brennan as a paradigm shift in his musical development. After leaving Asylum, the label released the first Tom Waits "Best of" album in 1981, a collection called Bounced Checks, notable for including an alternate, stripped down version of "Jersey Girl" and the otherwise unreleased "Mr. Henry", as well as an alternate master of "Whistlin' Past the Graveyard" and a live performance of "The Piano Has Been Drinking". During this period, Waits appeared in a series of minor movie roles, including a cameo role in Wolfen (1981) as an inebriated piano player, and his song "Jitterbug Boy" also appeared on the movie's soundtrack. One from the Heart received its official theatrical release in 1982, with Waits appearing in a cameo as a trumpet player as well as receiving an Oscar nomination for Original Song Score (eventually losing out to Victor Victoria, by Henry Mancini and Leslie Bricusse). This marked the first in a series of collaborations between Waits and Coppola, with Waits appearing in cameos in Coppola's movies The Outsiders (1983), Rumble Fish (1983), and The Cotton Club (1984), and a major role in Bram Stoker's Dracula. Waits also contributed two songs to the documentary Streetwise (1984), "Rat's Theme" and "Take Care of All My Children".

After leaving Asylum for Island Records, Waits released Swordfishtrombones in 1983, a record that marked a sharp turn in his musical direction. While Waits had before played either piano or guitar, he now gravitated towards less common instruments, saying, "Your hands are like dogs, going to the same places they've been. You have to be careful when playing is no longer in the mind but in the fingers, going to happy places. You have to break them of their habits or you don't explore; you only play what is confident and pleasing. I'm learning to break those habits by playing instruments I know absolutely nothing about, like a bassoon or a waterphone."^[21] Swordfishtrombones also introduced instruments such as bagpipes ("Town with No Cheer") and marimba ("Shore Leave") to Waits' repertoire, as well as pump organs, percussion (sometimes reminiscent of the music of Harry Partch), horn sections (often featuring Ralph Carney playing in the style of brass bands or soul music), experimental guitar, and obsolete instruments (many of Waits' albums have featured a damaged, unpredictable Chamberlin, and more recent albums have included the little-used Stroh violin).

His songwriting shifted as well, moving away from the traditional piano-and-strings ballad sound of his 1970s output towards a number of styles largely ignored in pop music, including primal blues, cabaret stylings, rumbas, theatrical approaches in the style of Kurt Weill, tango music, early country music and European folk music as well as the Tin Pan Alley-era songs that influenced his early output. He also recorded a spoken word piece, "Frank's Wild Years", influenced by Ken Nordine's "word jazz" records of the 1950s. Apart from Captain Beefheart and some of Dr. John's early output, there was little precedent in popular music.

Waits's new emphasis on experimenting with various styles and instrumentation continued on 1985's Rain Dogs, a sprawling, 19-song collection which received glowing reviews (the album was ranked #21 on Rolling Stone's list of the 100 greatest albums of the 1980s. In 2003, the album was ranked number 397 on Rolling Stone magazine's list of the 500 greatest albums of all time.) Contributions from guitarists Marc Ribot, Robert Quine, and Keith Richards accompanied Waits' move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba, accordion, double bass, trombone, and banjo. The album also spawned the 12" single "Downtown Train/Tango Till They're Sore/Jockey Full of Bourbon", with Jean Baptiste Mondino filming a promotional music video for "Downtown Train" (which would later become a hit for Rod Stewart), featuring a cameo from boxing legend Jake LaMotta. The album peaked at #188 on Billboard's Top 200 albums chart; however, its reputation has come to far outshine low initial sales.

Franks Wild Years, a musical play by Waits and Brennan, was staged as an Off-Broadway musical in 1986, directed by Gary Sinise,^[22] in a successful run at Chicago's famed Steppenwolf Theater. Waits himself played the lead role. Waits developed his acting career with several supporting roles and a lead role in Jim Jarmusch's Down by Law in 1986, which also featured two of Waits's songs from Rain Dogs in the soundtrack. In the same year, Waits also contributed vocals to the song "Harlem Shuffle" on The Rolling Stones' album Dirty Work.^[23]

In 1987, he released Franks Wild Years (subtitled "Un Operachi Romantico in Two Acts"), which included studio versions from Waits' play of the same name. Rolling Stone summed up the album's myriad styles this way: "Everything from sleazy strip-show blues to cheesy waltzes to supercilious lounge lizardry is given spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, snaky double bass, carnival organ and jaunty accordion."^[24] Waits also continued to further his acting career with a supporting role as Rudy the Kraut in Ironweed (an adaptation of William Kennedy's Pulitzer Prize-winning novel) alongside Jack Nicholson and Meryl Streep, in which Waits performed the song "Big Rock Candy Mountain", as well as a part in Robert Frank's Candy Mountain, in which Waits also performed "Once More Before I Go." In 1988, Waits performed in Big Time, a surreal concert movie and soundtrack which he cowrote with his wife.

In 1989, Waits appeared in his final theatrical stage role to date, appearing as Curly in Thomas Babe's Demon Wine, alongside Bill Pullman, Philip Baker Hall, Carol Kane, and Bud Cort. The play opened at the Los Angeles Theater Center in February 1989 to mixed reviews, although Waits' performance was singled out by a number of critics, including John C. Mahoney, who described it as "mesmerizing."^[25] Waits finished the decade with appearances in three movies: as the voice of a radio DJ in Jim Jarmusch's Mystery Train; as Kenny the Hitman in Robert Dornhelm's Cold Feet; and the lead role of Punch & Judy man Silva in Bearskin: An Urban Fairytale. His only musical output of the year consisted of contributing his cover of Phil Phillips' "Sea of Love" to the soundtrack of the Al Pacino movie of the same name^[26] and contributing vocals to The Replacements song "Date to Church", which appeared as a B-side to their single "I'll Be You".

1990s[link]

The Black Rider: The Casting of the Magic Bullets—a theatrical collaboration of Waits, director Robert Wilson, and writer William S. Burroughs—premiered at Hamburg's Thalia Theatre on March 31, 1990. The project was based on a German folktale called Der Freischütz, with Wilson responsible for the design and direction, Burroughs for writing the book, and Waits for music and lyrics, which were heavily influenced by the works of Bertolt Brecht and Kurt Weill.^[27] In the same year, Waits contributed a cover of Cole Porter's "It's All Right with Me" to Red Hot + Blue, the first in the series of compilation albums from the Red Hot Organization — one of the first major AIDS benefits in the music business—which sold over a million copies worldwide. Jim Jarmusch directed a promotional music video for the song.^[28] Waits also collaborated with photographer Sylvia Plachy in the same year; her book Sylvia Plachy's Unguided Tour includes a short Waits record to accompany the photographs and text.

The following year, Waits was extremely busy working on movie soundtracks, acting, and contributing to a number of music projects by other artists. First, Waits appeared on the Primus album Sailing the Seas of Cheese as the voice of "Tommy the Cat", which exposed him to a new audience in alternative rock. This was the first of several collaborations between Waits and the group; Frontman Les Claypool would appear on several subsequent Waits releases. The same year saw Waits provide spoken word contributions to Devout Catalyst, an album by one of Waits' greatest influences, Ken Nordine, on the songs "A Thousand Bing Bangs" and "The Movie." Waits also contributed vocals to a duet with singer Bob Forrest on the song "Adios Lounge" on the Thelonious Monster album Beautiful Mess. He also contributed vocals to two songs ("Little Man" and "I'm Not Your Fool Anymore") on jazz tenor saxophonist Teddy Edwards' album Mississippi Lad. Edwards was extremely complimentary of Waits' contributions, saying:

Tom Waits is the one who got me my contract [sic] with PolyGram. He's wonderful, he's America's best lyricist since Johnny Mercer. He came down to the studio on the Mississippi Lad album, that's the first one I did for PolyGram, and he sang two of my songs, wouldn't accept any money, just trying to give me the best boost that he could.^[29]

The only collection of exclusively Waits-performed material of 1991 appeared when Waits composed and conducted the almost exclusively instrumental music for Jim Jarmusch's 1991 film Night on Earth, which was released as an album the following year. In July 1991, Screamin' Jay Hawkins released the album Black Music for White People, which features covers of two Waits compositions: "Heartattack & Vine" (which later that year was used in a European Levi's advertisement without Waits' permission, resulting in a lawsuit) and "Ice Cream Man". Waits continued to appear in movie acting roles, the most significant of which was his uncredited cameo as a disabled veteran in Terry Gilliam's The Fisher King. He also appeared alongside Kevin Bacon, John Malkovich, and Jamie Lee Curtis in Steve Rash's Queens Logic, and opposite Tom Berenger and Kathy Bates in Hector Babenco's film At Play in the Fields of the Lord, adapted from Peter Matthiessen's 1965 novel.

Bone Machine, Waits's first studio album in five years, was released in 1992. The stark record featured a great deal of percussion and guitar (with little piano or sax), marking another change in Waits' sound. Critic Steve Huey calls it "perhaps Tom Waits's most cohesive album... a morbid, sinister nightmare, one that applied the quirks of his experimental '80s classics to stunningly evocative—and often harrowing—effect... Waits' most affecting and powerful recording, even if it isn't his most accessible."^[30] Bone Machine was awarded a Grammy in the Best Alternative Album category. On December 19, 1992 Alice, Waits's second theatrical project with Robert Wilson, premiered at the Thalia Theatre in Hamburg. Paul Schmidt adapted the text from the works of Lewis Carroll (Alice's Adventures in Wonderland and Through the Looking-Glass, in particular), with songs by Waits and Kathleen Brennan presented as intersections with the text rather than as expansions of the story, as would be the case in conventional musical theater. These songs would be recorded by Waits as a studio album 10 years later on Alice.^[31] 1992 also saw Waits featuring in Francis Ford Coppola's film Bram Stoker's Dracula, as the possessed lunatic Renfield.

In 1993, he released The Black Rider, which contained studio versions of the songs that Waits had written for the musical of the same name three years previously, with the exceptions of "Chase the Clouds Away" and "In the Morning", which appeared in the theatrical production but not on the studio album. William S. Burroughs also guests on vocals on "'Tain't No Sin". In the same year, Waits lent his vocals to Gavin Bryars' 75-minute reworking of his 1971 classical music piece Jesus' Blood Never Failed Me Yet; appeared in Robert Altman's film version of Raymond Carver's stories Short Cuts and Jim Jarmusch's Coffee and Cigarettes: Somewhere in California, a short black-and-white movie with Iggy Pop; and his third child, Sullivan, was born. In 1997, Waits and Brennan wrote and performed the music for Bunny the animated short film by 20th Century Fox's Blue Sky Studios, which was awarded Best Animated Short Film by the Academy of Motion Picture Arts and Sciences.

In 1995, Holly Cole released Temptation, a tribute album consisting entirely of Waits covers.

Another Waits cover was released in 1996, as Meat Loaf covered Martha for his concept album Welcome to the Neighborhood.

In 1998, after Island Records released the compilation Beautiful Maladies: The Island Years, Waits left the label for Epitaph, whose president, Andy Kaulkin, said the label was "...blown away that Tom would even consider us. We are huge fans."^[32] Waits himself was full of praise for the label, saying "Epitaph is rare for being owned and operated by musicians. They have good taste and a load of enthusiasm, plus they're nice people. And they gave me a brand-new Cadillac, of course."^[32]

Waits's first album on his new label, Mule Variations, was issued in 1999. Billboard described the album as musically melding "backwoods blues, skewed gospel, and unruly art stomp into a sublime piece of junkyard sound sculpture."^[33] The album was Waits' first release to feature a turntablist. The album won a Grammy in 2000; as an indicator of how difficult it is to classify Waits's music, he was nominated simultaneously for Best Contemporary Folk Album (which he won) and Best Male Rock Vocal Performance (for the song "Hold On"), both different from the genre for which he won his previous Grammy. The album was also his highest-charting album in the U.S. to date, reaching #30.

The same year, Waits made a foray into producing music for other artists, teaming up with his old friend Chuck E. Weiss to coproduce (with his wife, Kathleen Brennan) Extremely Cool, as well as appearing on the record as a guest vocalist and guitarist. He also contributed a cover of Skip Spence's "Books of Moses" to More Oar: A Tribute to the Skip Spence Album, a collection of covers of the singer's songs on Birdman Records.^[26] The same year, Waits appeared in the comedy Mystery Men.

2000s[link]

John Hammond's Wicked Grin, a collection of Waits cover songs, was released in 2001. Waits appears on most songs, playing guitar, piano, and/or offering backing vocals. The album also includes the traditional hymn "I Know I've Been Changed", performed as a duet by Hammond and Waits.

Tori Amos included a cover of the song "Time", from Rain Dogs on her 2001 album Strange Little Girls.

Tom Waits in Prague in 2008

In 2002, Waits simultaneously released two albums, Alice and Blood Money. Both collections had been written almost 10 years previously and were based on theatrical collaborations with Robert Wilson; the former a musical play about Lewis Carroll, and the latter an interpretation of Georg Büchner's play fragment Woyzeck. Both albums revisit the tango, Tin Pan Alley, and spoken-word influences of Swordfishtrombones, while the lyrics are both profoundly cynical and melancholic, exemplified by "Misery is the River of the World" and "Everything Goes to Hell." "Diamond in Your Mind", which Waits wrote for Wilson's Woyzeck, did not appear on Blood Money; however, it did emerge on Solomon Burke's album Don't Give Up on Me of the same year. While Waits has played the song live a number of times,^[34][35] an official version would not be released until 2007. The same year, Waits contributed a version of "The Return of Jackie and Judy"^[26] by The Ramones to the compilation album We're a Happy Family: A Tribute to Ramones, which was released in 2003 on Columbia Records. That same year, Waits was also a judge for the 2nd annual Independent Music Awards to support independent artists' careers.^[36] Waits was also a judge for the 10th annual Independent Music Awards.^[36]

Waits released Real Gone, his first nontheatrical studio album since Mule Variations, in 2004. It is Waits's only album to date to feature absolutely no piano on any of its tracks. Waits beatboxes on the opening track, "Top of the Hill", and most of the album's songs begin with Waits's "vocal percussion" improvisations. It is also more rock-oriented, with less blues influence than he has previously demonstrated. The same year, Waits contributed backing vocals to the track "Go Tell It on the Mountain" on the Grammy Award (Best Traditional Gospel Album)-winning album of the same name by The Blind Boys of Alabama. He also contributed a version of Daniel Johnston's "King Kong"^[26] to the tribute album The Late Great Daniel Johnston: Discovered Covered, released on Gammon Records.

At this time, Waits made a return to acting after a five-year break, marked at first by the re-release of his 1993 Jim Jarmusch-directed short Coffee and Cigarettes: Somewhere in California, costarring Iggy Pop, compiled in Coffee and Cigarettes. In 2005, Waits appeared in the Tony Scott film Domino as a soothsayer. In the same year, Waits appeared as himself in Roberto Benigni's romantic comedy La Tigre e la Neve, set in occupied Baghdad during the Iraq War. In the movie, Waits appears in a dream scene as himself, singing the ballad "You Can Never Hold Back Spring"^[26] and accompanying himself at the piano.

A 54-song three-disc box set of rarities, unreleased tracks, and brand-new compositions called Orphans: Brawlers, Bawlers & Bastards was released in November 2006. The three discs are subdivided relating to their content: "Brawlers" features Waits's more upbeat rock and blues songs; "Bawlers", his ballads and love songs; and "Bastards", songs that fit in neither category, including a number of spoken-word tracks. A video for the song "Lie to Me" was produced as a promotion for the collection. Orphans also continues Waits's newfound interest in politics with "Road to Peace", a song about the Israeli–Palestinian conflict. The album is also notable for containing a number of covers of songs by other artists, including The Ramones ("The Return of Jackie and Judy" and "Danny Says"), Daniel Johnston ("King Kong"), Kurt Weill and Bertolt Brecht ("What Keeps Mankind Alive"), and Leadbelly ("Ain't Goin' Down to the Well" and "Goodnight Irene"), as well as renditions of works by poets and authors admired by Waits, such as Charles Bukowski and Jack Kerouac and a previously released duet with Mark Linkous of Sparklehorse entitled "Dog Door". Waits' albums Orphans: Brawlers, Bawlers & Bastards and Alice are both included in metacritic.com's list of the "Top 200: Best-Reviewed Albums"^[37] since 2000 at #10 and #20, respectively (as of November 2009). The same years, Waits appeared on Sparklehorse's album Dreamt for Light Years in the Belly of a Mountain, playing piano on the track "Morning Hollow."

Five different versions of Waits's song "Way Down in the Hole" have been used as the opening theme songs for the HBO television show The Wire. Waits's own version, from Frank's Wild Years, was used for season two. The other versions used for the series were performed by, in season order, The Blind Boys of Alabama, The Neville Brothers, "DoMaJe" and Steve Earle.

Waits made a number of high-profile television and concert appearances between 2006 and 2010. In November 2006, Waits appeared on The Daily Show and performed "The Day After Tomorrow." This was significant for his having been only the third performing guest on the show, the first being Tenacious D and the second The White Stripes. On May 4, 2007, Waits performed "Lucinda" and "Ain't Goin' Down to the Well" from Orphans on the last show of a week Late Night with Conan O'Brien spent in San Francisco. There was a short interview after the last performance. Waits also played in the Bridge School Benefit on October 27–28, 2007 with Kronos Quartet.

On July 10, 2007, Waits released the download-only digital single "Diamond In Your Mind". The version of the song was recorded with Kronos Quartet, with Greg Cohen, Philip Glass, and The Dalai Lama at the benefit concert "Healing The Divide: A Concert for Peace and Reconciliation" at Avery Fisher Hall, recorded on September 21, 2003.

Waits's song "Trampled Rose" (from Real Gone) appeared on the critically acclaimed album Raising Sand, a collaboration between Robert Plant and Alison Krauss. Waits also provided guest vocals on the song "Pray" by fellow ANTI- artists The Book of Knots on their album Traineater.^[38]

He played the role of Kneller in the film Wristcutters: A Love Story, which opened in November 2007.

On January 22, 2008, Waits made a rare live appearance in Los Angeles, performing at a benefit for Bet Tzedek Legal Services—The House of Justice, a nonprofit poverty law center.^[39]

On May 7, 2008, Waits announced the Glitter and Doom Tour starting in June 2008, touring cities in the southern United States and subsequently announced a series of dates in the UK, Ireland and mainland Europe.^[40] Waits was awarded the key to the city of El Paso, Texas during a concert on June 20, 2008.^[41] In his generally positive review of the opening show of the tour, The Wall Street Journal critic Jim Fusilli described Waits' music thus:

The 58-year-old Mr. Waits ... has composed a body of work that's at least comparable to any songwriter's in pop today. A keen, sensitive and sympathetic chronicler of the adrift and downtrodden, Mr. Waits creates three-dimensional characters who, even in their confusion and despair, are capable of insight and startling points of view. Their stories are accompanied by music that's unlike any other in pop history.^[42]

On May 20, 2008 Scarlett Johansson's debut album, entitled Anywhere I Lay My Head, featured covers of ten Tom Waits songs. Waits made an appearance on the album The Spirit of Apollo by alternative hip hop project N.A.S.A., on the track "Spacious Thoughts."

Waits wrote the following introduction for the Tompkins Square compilation People Take Warning – Murder Ballads & Disaster Songs, 1913–1938:

In the late 1920's and early 1930's, the Depression gripped the Nation. It was a time when songs were tools for living. A whole community would turn out to mourn the loss of a member and to sow their songs like seeds. This collection is a wild garden grown from those seeds.

In late 2009, Terry Gilliam's film The Imaginarium of Doctor Parnassus was released, with Waits in the role of Mr. Nick.^[43][44] Production began in December 2007 in London.^[45] Star Heath Ledger's death in January 2008 cast doubt on the film's future, but the production was salvaged with the addition of new actors playing his character in scenes he did not complete.^[46]