Order has been ascribed both to nature and to society. There is a long tradition of claiming that the social order and the natural order are closely linked. Radical enlightenment challenged that tradition. According to Spinoza to call something orderly simply means that we can easily imagine and remember it; ascribing order thus betrays merely something about us, not about things. This challenging idea never became Enlightenment mainstream. In fact, ties between an objective natural order and our own human order (...) were widely popularized in the 18th century. Yet one strand of thinking, set out to undermine traditional views of order, turned up trumps. The British Enlightenment succeeded in undoing the time-honoured equation of order and hierarchy. (shrink)

Within the European history of ideas, at least three conceptions of metamorphosis can be distinguished. First, as celebrated in Ovid’s Metamorphoses, there is the vision of an open-ended flux of shapes in all directions, potentially with the ambiguous result of wavering identity. Secondly, at the centre of the synoptic gospels Jesus’s transfiguration is presented as a luminous elevation, rendering his true nature unambiguous. Thirdly, alchemy conceives of metamorphosis as contingent upon a meeting of polarities. The distinction is fit to disclose (...) crucial aspects of works of art, particularly of musical compositions. (shrink)

The production of artworks can be based on a fixed modus operandi, i.e., on a general manner and, alongside, specific patterns to be applied all over again. Alternatively, each artwork can be seen as (cor-)responding to an individual problem for which there is no recipe; in this case it needs to be looked at afresh. That approach characterizes the aesthetics of music composer Isabel Mundry (*1963); her art, ever unpredictable, is one of nuances.

Attempts to bestow a musical background upon spoken drama have been deemed widely superfluous; most films, by way of contrast, do employ music. This aesthetic divergence invites an account of film music in terms of lack and compensation. The standard account in such terms, viz. that music has to fill the vacuum of silence, does not explain what it is supposed to explain. Rather, music in cinema can restore in a different way the expression lost as reality is reduced to (...) mere pictures. (shrink)

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...) of art (‘Gesamtkunstwerk’) include or rather exclude chamber music? (shrink)

In the spirit of Fontenelle's "Dialogues des morts", Dorschel stages an imaginary conversation between 18th century composer Joseph Haydn and 20th century composer Anton von Webern. In the section of Hades reserved for composers, they confront their different musical poetics.

What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.

Remembrance is constitutive of music. For music emerges not as an isolated physical stimulus. Rather, it is experienced, i.e., a present musical moment is tied to its temporal antecedents. It is tempting to conceive of remembrance as repetition and as thus opposed to oblivion. Yet to memory selectivity is crucial. What is not selected, falls into oblivion. Hence as we remember we have forgotten already. The present moment evokes remembrance, and exhibits what was then in the light of what is (...) now. Remembrance changes the past it recovers. Listening to music, we may experience anamnesis to be metamorphosis. (shrink)

In design theory, moral categories have traditionally been used in favour of objectivity and soberness to oppose designers' aesthetic narcissism. This use of moral concepts is directed at the individual design object. The situation gets more complicated, however, as soon as the totality (or a large number) of objects of a certain type raises problems which could not have been predicted from features of the individual object as such. The essay attempts to clarify how ethical concepts could be relevant to (...) dealing with such complications. (shrink)

To call a piece of music sad or joyous need not imply reference to a subjective state. Speaking in this vein, we do not have to attribute sad or joyous feelings to the composer or to the performer. Nor do we predict that listeners will become sad or joyful when they will listen to a performance of that composition. Musical expression is not a mode of consciousness in those who produce it and it is not an effect of music either. (...) Rather, it is a feature of the music itself. Once we have discarded the psychological reduction of expression, the way may be clear to explore the intricate relation between expression and subjectivity. Friedrich von Hausegger’s Music as Expression (1885/87) stands out among the guides to be recommended for a journey along that path. (shrink)

Reference to past possibilities is not an additional luxury in writing history, after all facts have been established. For even facts become such only within a field of alternative options. What it means that one path was taken depends in part on answers to the question which other paths once open were not taken. Historical potential unrealized can be conceived of in a number of ways: as unfulfilled intentions, as unresolved problems, as suppressed endeavours, as waived alternatives within a context (...) of decision, or as losses incurred by gains in some other respect. Some of these conceptions are non-exclusive. None of them provides the single model to grasp past possibilities; rather, they will turn out to be more or less elucidative according to historical case. (shrink)

Is fear a ‘deficient mode’ of anxiety? This claim made by Martin Heidegger in ‘Being and Time’ (1927) depends on an analysis of intentionality. Emotions take objects: to love, to hate, to fear is to love, to hate, to fear someone or something. Yet anxiety, Heidegger maintains (‘Being and Time’ § 40), is about “nothing” (“nichts”) rather than “something” (“etwas”). Heidegger then turns lack of knowledge or understanding of what one’s anxiety is about into a revelation of “Nothing” (“Die Angst (...) offenbart das Nichts”; ‘Being and Time’ § 40) – a state meant to manifest freedom. Yet freedom is not increased but diminished if and when someone cannot judge the direction, extent and power of a threat. Concrete, determinate thought liberates; someone is less free in anxiety than in fear. (shrink)

‘Metaphysical painting’ (‘pittura metafisica’) is a paradoxical term: extrasensory sensuousness, as it were. Painting is the representation of visible surfaces; metaphysics rejects surfaces, as deceptive, in favour of the deeper essence. But Giorgio de Chirico (1888–1978) who coined the term ‘pittura metafisica’ in 1919 was a follower of the anti-essentialist Nietzsche. ‘Metaphysics’, then, is not about discovering the essence of things but about shaping their appearances, their ‘physique’. This is an intriguing concept and the corollary to a subtle artistic oeuvre.

Aestheticians in the tradition of Critical Theory have claimed that the or a purpose of musical interpretation is somehow to save or salvage or rescue ("retten") the musical work. What sense, if any, can be made of this claim? The notion of salvage or rescue presupposes the concept of danger. Threats to works of art emerge from two sources: from outside and from inside. Whilst the former problem is only touched upon, the latter is discussed in some detail, using the (...) example of Brahms' Alto Rhapsody op. 53. Kathleen Ferrier's and Clemens Krauss' interpretation of 1947 deals with rather than ignores the composer's crumbly attempt at fusing art and religion. Salvage as their attitude vis-a-vis the work is distinguished from cover-up on the one hand and exposure on the other hand. (shrink)

Does having some feeling or other ever count as an argument – and, should it? As a matter of fact, not just do persons sometimes refer to their feelings to make a point in debate. Often, they even treat them as irrefutable arguments; for they are, of course, certain of their own feelings. To make a point in debate by reference to one’s feelings, one has got to articulate them. As language is the core medium of debate (though it can (...) be supported by images etc.), feelings, then, have to be articulated in words. These words, to function in communication, must participate in what is general (though not necessarily universal). On that level of generality, other speakers of the same language can contest the feelings – not that they have occured within the first speaker’s subjectivity, but that they are reasonable reactions to circumstances. Hence if feeling is sometimes to be taken seriously as an argument, it is not irrefutable, but rather refutable; and to the extent that somebody insists that it is irrefutable, it cannot count as an argument. (shrink)

In his 'Contrat social', § 2.1, Jean-Jacques Rousseau argues that the general will alone can steer the forces of the state towards the end for which it was instituted, i.e., the common good. The argument's logical structure is more intricate than it seems at first glance. And the intricacy appears to be deliberate. Rousseau's authorial strategy is designed to evoke the reader's voice in articulating the fundamentals of politics.

It is known that sociobiology, the theory of the biological origins of the social behavior of living beings, is related to ethics. However, sociobiology does not include moral doctrines but simply describes facts. The present essay discusses two basic theses, “altruism” and “reciprocal altruism”, in order to prove that a natural science free of judgments and evaluations is contrary to a theory of ethics, such as the theory of Kant and Apel, as well as to intuitive theories of ethics. Ethics (...) is the explanatory theory of morality, and morality should be established at the theoretical level, so that doubt can be expressed and not restrained. (shrink)

The work of Richard Strauss has been disparaged as a music designed to be relished (“Genußmusik” was Adorno’s term), lacking any dimension of ‘transcendence’. The notion of ‘relish’ or ‘pleasure’ (“Genuß”), used for characterization rather than disparagement, can disclose crucial aspects of Strauss’s art, though it does not exhaust it. To oppose ‘relish’ or ‘pleasure’ (“Genuß”) to ‘transcendence’, however, either uses hidden theological premises or disregards that ‘relish’ or ‘pleasure’ (“Genuß”), bound to be pervious to its object, does transcend towards (...) it. (shrink)

Acting morally comes at a price. The fewer people act morally, the dearer moral acts will be to those who perform them. Even if it could be proven that a certain moral norm were valid, the question might still be open whether, under certain circumstances, the demand to follow it meant asking too much. The validity of a moral norm is independent from actual compliance. In that regard, moral norms differ from legal rules. A law that nobody obeys has eroded (...) and thus lost validity; a moral norm that nobody keeps, however, may still be valid. Yet the latter point does not render the question obsolete whether demanding obedience to a specific moral norm, under certain circumstances, could mean asking too much. The costs incurred might be, on the one hand, individual costs. But there may, on the other hand, also be moral costs of obeying a certain moral norm. For an individual might also have responsibilities towards others near her, e.g., her family or peers; acting in accordance with the strict moral standard, then, could do harm not just to her but also to those who rely, and must rely upon her. Yet to define moral limits to following moral rules appears to be self-defeating. (shrink)

Acting morally comes at a price. The fewer people act morally, the dearer moral acts will be to those who perform them. Even if it could be proven that a certain moral norm were valid, the question might still be open whether, under certain circumstances, the demand to follow it meant asking too much. The validity of a moral norm is independent from actual compliance. In that regard, moral norms differ from legal rules. A law that nobody obeys has eroded (...) and thus lost validity; a moral norm that nobody keeps, however, may still be valid. Yet the latter point does not render the question obsolete whether demanding obedience to a specific moral norm, under certain circumstances, could mean asking too much. The costs incurred might be, on the one hand, individual costs. But there may, on the other hand, also be moral costs of obeying a certain moral norm. For an individual might also have responsibilities towards others near her, e.g., her family or peers; acting in accordance with the strict moral standard, then, could do harm not just to her but also to those who rely, and must rely upon her. Yet to define moral limits to following moral rules appears to be self-defeating. (shrink)

Images, or icons, have been made the subject of a ‘turn’. But no new epoch under its sign is looming. The image is just one medium among others. The best we can do is to face what it may and what it may not achieve. Its main competitor is the word – though there is a field of transition between both. Words and numbers surpass the image when one needs to refer to something that cannot be seen – this holds (...) for ‘radioactivity’ just as much as for ‘responsibility’. To unambiguously show a categorial relation like causality or a logical feature like negation in an image borders on the impossible. (The aspiration to symbolize or manifest the invisible, though, has long inspired artistic images.) Pictures are accessible to the illiterate; while a language must be learned, an image seems to admit everyone. Yet that is in part an illusion. Obviously, it is not enough to see an image. To understand it, however, often a number of things must have been learnt in the first place, too. (shrink)

Do non-human animals have an interest in sociopolitical freedom? Cochrane has recently taken up this important yet largely neglected quest ion. He argues that animal freedom is not a relevant moral concern in itself, because animals have a merely instrumental but not an intrinsic interest in freedom (Cochrane 2009a, 2012). This paper will argue that even if animals have a merely instrumental interest in freedom, animal freedom should nonetheless be an important goal for our relationships with animals. Drawing on recent (...) work on the value of freedom, it will be argued that freedom is non-specifically instrumentally valuable. Accordingly, freedom is a means to other goods, but often it is not possible to identify those goods in advance or aim for them directly. Some of the reasons that make freedom non-specifically valuable for human relationships, it will be argued, also apply to relationships between humans and animals. Amongst other implications, it will be shown how this argument provides a response to those who fear that stricter animal protection policies might undermine people’s freedom: A concern for freedom actually requires stricter protection policies rather than speak against them. (shrink)

According to a prominent view, discrimination is wrong, when it is, because it makes people worse off. In this paper, I argue that this harm-based account runs into trouble because it cannot point to a harm, without making controversial metaphysical commitments, in cases of discrimination in which the discriminatory act kills the discriminatee. That is, the harm-based account suffers from a problem of death. I then show that the two main alternative accounts of the wrongness of discrimination—the mental-state-based account and (...) the objective-meaning account—do not run into this problem. (shrink)

Many people are worried about the harmful effects of climate change but nevertheless enjoy some activities that contribute to the emission of greenhouse gas (driving, flying, eating meat, etc.), the main cause of climate change. How should such people make choices between engaging in and refraining from enjoyable greenhouse-gas-emitting activities? In this chapter, we look at the answer provided by decision theory. Some scholars think that the right answer is given by interactive decision theory, or game theory; and moreover think (...) that since private climate decisions are instances of the prisoner’s dilemma, one rationally should engage in these activities provided that one enjoys them. Others think that the right answer is given by expected utility theory, the best-known version of individual decision theory under risk and uncertainty. In this chapter, we review these different answers, with a special focus on the latter answer and the debate it has generated. (shrink)

According to a view called 'nihilism', sentences containing vague expressions cannot strictly speaking be true or false, because they lack definite truth conditions. While most theorists of vagueness tend to regard nihilism as a hopeless view, a few isolated attempts have been made to defend it. This paper aims to develop such attempts in a new direction by showing how nihilism, once properly spelled out, can meet three crucial explanatory challenges that respectively concern truth, assertibility, and communication.

L'ingegneria concettuale è una branca della filosofia caratterizzata da un approccio normativo nei confronti della rappresentazione. Assunzione fondamentale è che i nostri dispositivi rappresentazionali possano essere difettosi. Si configura dunque come l'attività che consiste nell'identificare i difetti in tali dispositivi e mettere in atto strategie di miglioramento. Verranno illustrate le questioni fondamentali a cui una teoria di ingegneria concettuale deve rispondere: in cosa consiste esattamente questa attività? Come possiamo attuarla? Quali meccanismi regolano la formazione dei dispositivi rappresentazionali? Possiamo influire su (...) tali meccanismi? Verrà inoltre presentata un'obiezione all'ingegneria concettuale e varie risposte. -/- Conceptual engineering is a branch of philosophy characterised by a normative approach towards representation. The fundamental assumption of it is that our representational devices can be defective. Conceptual engineering is then the activity consisting of identifying the defects of such devices and putting in place ameliorative strategies. This paper illustrates the fundamental issues for a theory of conceptual engineering: what does this activity consist of? How can we implement it? What mechanisms regulate the formation of representational devices? Can we have an influence over those mechanisms? Moreover, it will be presented an objection to conceptual engineering and various responses to it. (shrink)

This paper delves into the use of machine learning-based systems in decision-making processes and its implications for moral responsibility as traditionally defined. It focuses on the emergence of responsibility gaps and examines proposed strategies to address them. The paper aims to provide an introductory and comprehensive overview of the ongoing debate surrounding moral responsibility in automated decision-making. By thoroughly examining these issues, we seek to contribute to a deeper understanding of the implications of AI integration in society.

If the inner consciousness of a mental state is a part of the mental state itself, then one is forced to admit an 'inner consciousness of the inner consciousness'. This counterintuitive consequence can however be avoided, if we conceive of the inner consciousness of the mental state as a 'mode of giveness' of the state itself. This paper discusses Brentano's theory of inner consciousness from the point of view of Husserl's philosophy.

Despite the impressive progress that has been made on both the empirical and conceptual fronts of boredom research, there is one facet of boredom that has received remarkably little attention. This is boredom's relationship to morality. The aim of this article is to explore the moral dimensions of boredom and to argue that boredom is a morally relevant personality trait. The presence of trait boredom hinders our capacity to flourish and in doing so hurts our prospects for a moral life. (...) -/- . (shrink)

It is often assumed that we are only blameworthy for that over which we have control. In recent years, however, several philosophers have argued that we can be blameworthy for occurrences that appear to be outside our control, such as attitudes, beliefs and omissions. This has prompted the question of why control should be a condition on blameworthiness. This paper aims at defending the control condition by developing a new conception of blameworthiness: To be blameworthy, I argue, is most fundamentally (...) to deserve to feel guilty. Being blamed by someone else is not necessarily harmful to the wrongdoer. The blame might not be expressed, or the wrongdoer might not care. But to blame oneself necessarily involves suffering. This conception of blameworthiness explains why the control condition should obtain: We are morally blameworthy for A only if A was under our control because to be blameworthy is to deserve to feel guilty, to feel guilty is to suffer, and one deserves to suffer for A only if A was under one’s control. (shrink)

El kitsch no es solo una categoría que ha definido una de las posibles gramáticas estéticas de la modernidad, sino también una dimensión antropológica que ha tenido diferentes configuraciones en el curso de los procesos históricos. El ensayo ofrece una mirada histórico-crítica sobre las transformaciones que condujeron desde el kitsch de principios del siglo XX hasta el neokitsch contemporáneo: desde la génesis del kitsch hasta su afirmación como una de las manifestaciones más tangibles de la cultura de masas. Integrándose con (...) la estética posmoderna, el kitsch se transforma en neokitsch, una estética que utiliza el kitsch como su propia sintaxis en el complejo escenario de la estética contemporánea. /// -/- Kitsch is not just a category that has defined one of the possible aesthetic grammars of modernity, but also an anthropological dimension that has had different configurations in the course of historical processes. The essay offers a historical-critical look at the transformations that led from the early twentieth century kitsch to the contemporary neokitsch: from the genesis of kitsch to its affirmation as one of the most tangible manifestations of mass culture. Integrating with postmodern aesthetics, kitsch turns into neokitsch, an aesthetic that deliberately uses kitsch as its own syntax in the complex scenario of contemporary aesthetics. (shrink)

A long-standing puzzle for moral philosophers and psychologists alike is the concept of psychopathy, a personality disorder marked by tendencies to defy moral norms despite cognitive knowledge about right and wrong. Previously, discussions of the moral deficits of psychopathy have focused on willingness to harm and cheat others as well as reasoning about rule-based transgressions. Yet recent research in moral psychology has begun to more clearly define the domains of morality, en- compassing issues of harm, fairness, loyalty, authority, and spiritual (...) purity. Clinical descriptions and theories of psychopathy suggest that deficits may exist primarily in the areas of harm and fairness, although quantitative evidence is scarce. Within a broad sample of participants, we found that scores on a measure of psychopathy predicted sharply lower scores on the harm and fairness subscales of a measure of moral concern, but showed no relationship with authority, and very small relationships with ingroup and purity. On a measure of willingness to violate moral standards for money, psychopathy scores predicted greater willingness to violate moral concerns of any type. Results are further explored via potential mediators and analyses of the two factors of psychopathy. (shrink)

This paper considers the argument according to which, because we should regard it as a priori very unlikely that we are among the most important people who will ever exist, we should increase our confidence that the human species will not persist beyond the current historical era, which seems to represent a crucial juncture in human history and perhaps even the history of life on earth. The argument is a descendant of the Carter-Leslie Doomsday Argument, but I show that it (...) does not inherit the crucial flaw in its immediate ancestor. Nonetheless, we are not forced to follow the argument where it leads if we instead significantly decrease our confidence that we can affect the long-run future of humanity. GPI Working Paper No. 1-2019. (shrink)

I argue that moral philosophers have either misunderstood the problem of moral demandingness or at least failed to recognize important dimensions of the problem that undermine many standard assumptions. It has been assumed that utilitarianism concretely directs us to maximize welfare within a generation by transferring resources to people currently living in extreme poverty. In fact, utilitarianism seems to imply that any obligation to help people who are currently badly off is trumped by obligations to undertake actions targeted at improving (...) the value of the long-term future. Reflecting on the demands of beneficence in respect of the value of the far future forces us to view key aspects of the problem of moral demandingness in a very different light. GPI Working Paper No. 1-2020. (shrink)

By examining boredom through the lens of Sartre’s account of the emotions, I argue for the significance of boredom. Boredom matters, I show, for it is both informative and regulatory of one’s behavior: it informs one of the presence of an unsatisfactory situation; and, at the same time, owing to its affective, cognitive, and volitional character, boredom motivates the pursuit of a new goal when the current goal ceases to be satisfactory, attractive, or meaningful. In the absent of boredom, one (...) would remain trapped in unfulfilling situations, thereby missing out on many rewarding experiences. In helping us to articulate the function and significance of boredom, Sartre’s account provides a much-needed counterbalance to accounts of boredom that portray it as a distinctively negative state. (shrink)

I argue that many of the priority rankings that have been proposed by effective altruists seem to be in tension with apparently reasonable assumptions about the rational pursuit of our aims in the face of uncertainty. The particular issue on which I focus arises from recognition of the overwhelming importance and inscrutability of the indirect effects of our actions, conjoined with the plausibility of a permissive decision principle governing cases of deep uncertainty, known as the maximality rule. I conclude that (...) we lack a compelling decision theory that is consistent with a long-termist perspective and does not downplay the depth of our uncertainty while supporting orthodox effective altruist conclusions about cause prioritization. GPI Working Paper No. 2-2019. (shrink)

This article analyzes the treatment of vegetative powers in Nicolaus Taurellus’s critical response to Andrea Cesalpino. Taurellus’s interest in this topic derives from larger metaphysical and theological concerns. His concern is that Cesalpino’s view that vegetative powers are due to a divine principle of activity inherent in natural particulars leads to a version of substance monism that is incompatible with the Christian doctrine of creation. Taurellus’s critique can best be understood within the context of his defense of an immaterialist account (...) of the basic constituents of reality, which is connected with an emergentist account of the origin of vegetative powers. (shrink)

De se thoughts have traditionally been seen to be exceptional in mandating a departure from orthodox theories of attitudes. Against this, skeptics about the de se have argued that the de se phenomena demand no more of our theories of attitudes than traditional Frege cases. In this camp one view is that the de se can be accounted for by MOPs in the same way that MOPs can account for how it can be rational to believe, for instance, ”Hesperus is (...) shining” while also believing ”Phosphorus is shining.” This paper formulates some minimal conditions that de se MOPs must have in order to explain the relevant de se phenomena. Some potential replies are answered. I conclude that de se MOPs are not exceptional. (shrink)