Knowledge is one of the most important factors determining the development of global economy and overcoming the present existing inequalities. Humankind needs a fair distribution of the potential of knowledge because its big social problems and difficulties today are due to the existence of deep‐going differences in its possession and use. This paper is an attempt to analyze and present certain philosophical arguments and conceptions justifying cooperative decision‐making in the searching for fair distribution of the benefits of knowledge in the (...) globalized world. Made individually or collectively, these decisions do not worsen the status of anyone ‐ rather they can lead to the use of benefits of knowledge in the interest of all people. A fair distribution of resources and achievements of a knowledge‐based economy is of key importance for the future of humankind. There exist three significant roads to justification of cooperative decisionmaking in a global aspect. The main problem here is that of how to ensure equal access of all members of the global society to benefits of knowledge.In this paper are considered communitarianism, J. Habermas` theory of communicative action and public choice theories. The right to participate in activities of the knowledge society and to share in its wealth is related to the use of social and economic benefits. A distributive justice, including such right, could be based on communitarian political and moral values and principles. Any violation of such principles means existence of social injustice, with lasting consequences, including loss of access to natural goods, such as food and water. (shrink)

In his notes and lectures on anthropology, Kant explicitly refers to Alexander Gerard's 1774 Essay on Genius, and his own position that genius is necessary for art but not for science is clearly a response to Gerard. Kant does not explicitly mention Gerard's 1759 Essay on Taste, but it was probably an influence on his own conception of free play, and in any case a comparison of the two theories of aesthetic response is instructive. Gerard's development of a version of (...) the theory of free play without Kant's assumptions that aesthetic judgments must be independent of concepts and yet always intersubjectively valid allows him to accommodate a variety of facts about aesthetic experience in general and our experience of the fine arts in particular more readily and more fully than Kant can, especially those concerning the affective dimension of our experience of art. (shrink)

Resumen en español. En esta tesis indagamos en el pensamiento de tres autores contrarrevolucionarios europeos de la primera mitad del siglo XIX (1789-1848): Edmund Burke (1729-1797), Joseph de Maistre (1753-1821) y Juan Donoso Cortés (1809-1853). A partir de un estudio de sus obras principales, destacamos las limitaciones de las caracterizaciones contemporáneas sobre el pensamiento conservador y proponemos una clasificación alternativa ajustada a los orígenes políticos de dicha corriente: la distinción entre un conservadorismo como sustantivo y un conservadorismo como adjetivo. Delineada (...) esta distinción, que funciona como hipótesis de trabajo, demostramos su capacidad heurística para conceptualizar el conservadorismo de los autores escogidos. Concluimos destacando las ventajas del punto de vista propuesto para definir a esta corriente de la teoría política y su capacidad de extenderse a otros autores, períodos y corrientes. (shrink)

This paper uses virtue ethics to discuss the COVID-19 outbreak, Hollywood science-fiction/pandemic films, and the environmental crisis. We outline the ideas of hubris and nemesis and argue that responding to the COVID-19 pandemic requires that we develop virtues. We will explore these ethical issues through an eco-reading (Hiltner 2018) of two popular films cinematic representation of pandemics, The Andromeda Strain (1971) and Contagion (2011). Fictional narratives are particularly adept at celebrating the moral and intellectual virtues of individuals (as is standard (...) in Hollywood cinema) and dramatizing the tensions inherent in human scientific and technological civilisation. Using examples from our texts and with reference to COVID-19, we begin with a discussion of virtues and vices, both individual and collective, we then explore the concept of flourishing and apply this framework to collective action problems such as climate change and COVID-19. Thus, science fiction can provoke new forms of environmental philosophising and ethical engagement, while addressing the most important challenges facing humanity at present. (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of art and everyday (...) aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that experience (...) in creating art is irrelevant to one’s ability to judge that art form, as well as to some dance critics who see dance training as possibly even detrimental to one’s aesthetic judgment, I suggest that having practiced dancing makes one a better observer of certain aesthetic qualities of dance. Dance training, I argue, can facilitate a kinesthetic experience upon watching dance without which some aesthetic aspects of a dance performance—such as grace, power, and precision, as perceived kinesthetically—may go unnoticed. (shrink)

This essay begins with some observations on the main features and availability of the aesthetic experience of the night sky to us. In the second part, the aesthetics of the starry sky is interpreted in terms of time experience, complementing the usual approach in terms of immense space. These remarks on this broad and abundant subject can partly be linked to the intellectual historical interpretation of the birth of modern aesthetics, and partly to the vital discourse of environmental aesthetics, which (...) proves that these two approaches can work together and bring to the fore the aesthetic relevance and fruitfulness of this subject. (shrink)

Wollstonecraft's early works express a coherent view of moral psychology, moral education and moral philosophy which guides the construction of her early fiction and educational works. It includes a valuable account of the relation between reason and feeling in moral development. Failure to recognize the complexity and coherence of the view and unhistorical readings have led to mistaken criticisms of Wollstonecraft's position. Part I answers these criticisms; Part II describes and textually supports her view.

Argument of this text is that: to develop aesthetics of sport, we should not begin with aesthetics as philosophy of art but with aesthetics of everyday life; to start with aesthetics of sport, we should not begin with beautiful of ‘pure aesthetics’ but with the dramatic; to analyze the dramatic in sport, we should not open the analysis with analogy between theater and sport, but with sport as a sort of performance; to get at the meaning of sport as a (...) drama, we have to discuss different meanings ‘drama’ has in theory and everyday communication; to map the dramatic in sport as performance, we have to discuss some features of sport which determine its dramatics first, and its potential as spectacle later. To proceed with the argument, we have to take into account contemporary state of aesthetics, recent development of aesthetics of everyday life, and theory of performance, together with Bernard Suits’ definition of game, Gadamer’s idea of play, and Lévy-Strauss’ account on conjunctive and disjunctive ritual. (shrink)

In this paper the author explores certain fulfilling personal experiences that he describes as the presencing of space, i.e. the way in which an individual’s spatial involvement may put him or her in contact with reality as a whole. These experiences are investigated from a phenomenological perspective, and the differences between them and other similar experiences, such as that of the sublime or topophilia, are highlighted. A neologism is introduced: topoaletheia to name a distinctive type of spatial experience. This concept (...) may enrich the discussion about our involvement with space in our built environments. (shrink)

Works of human rights literature help to ground the formal rights system in an informal rights ethos. Writers have developed four major modes of human rights literature as follows: protest, testimony, lament, and laughter. Through interpretations of poetry in Carolyn Forché’s anthology, Against Forgetting, and novels from Rwanda, the US, and Bosnia, I focus on the mode of lament, the literature of mourning. Lament is a social and ritualized form, the purposes of which are congruent with the aims of transitional (...) justice institutions. Both laments and truth commissions employ grieving narratives to help survivors of human rights trauma bequeath to the ghosts of the past the justice of a monument while renewing the survivors’ capacity for rebuilding civil society in the future. Human rights scholars need a broader, extrajuridical meaning for “transitional justice” if we hope to capture its power. (shrink)

Examining the images of war displayed on front pages of the New York Times, David Shields makes the case that they ultimately glamorize military conflict. He anchors his case with an excerpt on the delight of the sublime from Edmund Burke’s aesthetic theory in A Philosophical Enquiry. By contrast, this essay considers violence and warfare using not the Burkean sublime, but instead the beautiful in Burke’s aesthetics, and argues that forming identities on the beautiful in the Burkean sense can ultimately (...) shut down dialogue and feed the lust for violence and revenge. (shrink)

In refutation of hedonism, Nozick offered a hypothetical thought experiment, known as the Experience Machine. This paper maintains that end-of-life-suffering of the kind that is resistant to state-of-the-art palliation provides a conceptually equal experiment which validates Nozick’s observations and conclusions. The observation that very many terminal patients who suffer terribly do no wish for euthanasia or terminal sedation is incompatible with motivational hedonism. Although irreversible vegetative state and death are equivalently pain-free, very many people loath the former even at the (...) price of the latter. This attitude cannot be accounted for by hedonism. Following these observations, the goals of palliative care are sketched along four circles. The first is mere removal or mitigation of noxious symptoms and suffering. The second targets sufferings that stymie patients’ life-plans and do not allow them to be happy, the third targets sufferings that interfere with their pursuance of other goods (palliation as a primary good). The fourth is the control of sufferings that do not allow the person to benefit from any human good whatsoever (“total pain” or critical suffering). Only in the fourth circle are people hedonists. (shrink)