Do epistemic and aesthetic values ever conflict? The answer might appear to be no, given that background knowledge generally enhances aesthetic experience, and aesthetic experience in turn generates new knowledge. As Keats writes, ‘Beauty is truth, truth beauty’ (Keats, 1996). Contra this line of thought, I argue that epistemic and aesthetic values can conflict when we over-rely on aesthetically enhancing background beliefs. The true and the beautiful can pull in different directions, forcing us to choose between flavours of normativity.

C. Thi Nguyen claims that although we can make aesthetic judgements based on testimony or inference, we resist doing so owing to a contingent norm of our social practice. For Nguyen, aesthetic engagement involves a ‘motivational inversion’ similar to games in which we adopt inefficient means of winning so that we can enjoy the process of playing. Similarly, he says, adopting the norm enables us to engage in the autonomous activity of appreciation. I argue that Nguyen is right that the (...) purpose of our practice is appreciation, but wrong to think any motivational inversion is required in pursuing it. (shrink)

In this article, I argue that the current literature on political hope overlooks its non-instrumental value. By proposing a Kant-inspired account of treating reasonable hopes as fundamental hopes, I argue that it is rational for people to hold certain political hopes not only because such hopes promote particular ends but also because they are constitutive of a person’s practical identity as a responsible political agent with limited power to make changes. This view reveals that victims of injustice face an affective (...) injustice because the unjust social system forces them to face a double bind in upholding their fundamental political hopes. (shrink)

The perennial challenge for any Kant scholar is to offer close reading of a dense and often exceedingly abstract text that is faithful both to its driving philo.

In philosophy of aesthetics, scholars commonly express a commitment to the premise that there is a distinctive type of judgment that can be meaningfully labeled “aesthetic”, and that these judgments are distinctively different from other types of judgments. We argue that, within an Aristotelian framework, there is no clear avenue for meaningfully differentiating “aesthetic” judgment from other types of judgment, and, as such, we aim to question the assumption that aesthetic judgment does in fact constitute a distinctive kind of judgment (...) that is in need of, or can be subject to, distinctive theorizing. We advance our argument primarily through demonstrating that leading contemporary accounts of aesthetic judgment do not successfully distinguish a type of judgment in that they do not tell us how making an aesthetic judgment differs substantially from judging that 2 + 3 = 5, that football is entertaining, or that today is Tuesday. (shrink)

This article aims to answer the aesthetic-value question.

In this article I offer an interpretation of the fundamental problem of phenomenology in terms of a philosophy of revelation proposing in this way the renewal of the last important development of Western philosophy both in terms of its metaphysical aspiration and scientific relevance. After the general introduction, I outline the philosophical problem of revelation. I show how this philosophy influenced early phenomenology. I explain the underlying subject matter in the history of phenomenology, i.e. the notion of disclosure. I also (...) outline what I term “apocalyptic phenomenology” in order to focus on the understanding of revelation. In this part I offer details of the notion of newness and the appropriate method applied here. Finally, I summarize the scientific relevance of my approach in the context of logic, methodology, disciplinarity with a special emphasis on the study of religion. (shrink)

In this paper, I attempt to address a fundamental challenge for machine intelligence: to understand whether and how a machine’s internal states and external outputs can exhibit original non-derivative intentionality. This question has three aspects. First, what does it take for a machine to exhibit original de dicto intentionality? Second, what does it take to exhibit original de re intentionality? Third, what is required for the machine to defer to the external objective world by respecting the word-to-world direction of fit? (...) I attempt to answer the first challenge by providing a constitutive counts-as understanding of de dicto intentionality. This analysis involves repurposing Kant’s vision of a self-legislating agent as a specification of a machine that reprograms itself. I attempt to answer the second and third challenges by extending Kant’s synchronic model of de dicto intentionality with Brandom’s interpretation of Hegel’s diachronic model of de re intentionality, using Hegel’s notion of recollection to provide an understanding of what is involved in achieving deference to the external world. (shrink)

This paper investigates the phenomenological status of musical affordances through a Gadamerian focus on human communication. With an extra emphasis on Reybrouck’s much-cited affordance-driven theory, I locate fundamental premises in the affordance concept. By initiating a dialogue with Gadamer’s perspective, I suggest a slight yet important shift of perspective that allows us to see an autonomous, transformative, and intrinsically active ‘ideality’ potentially emerging in music. In the final section, I try to demonstrate how Gadamer’s perspective is supported by recent empirical (...) studies on communicative musicality and child development, and allows us to see how protoversions of the transformative ‘ideality’ are already present at the beginning of human life. (shrink)

According to the mainstream position in the bioethical definition of death debate, death is to be equated with the cessation of an organism. Given such a perspective, some bioethicists uphold the position that brain-dead patients are dead, while others claim that they are alive. Regardless of the specific opinion on the status of brain-dead patients, the mere bioethical concept of death, according to many bioethicists, has the merit of being unanimous and univocal, as well as grounded in biology. In the (...) present article, we challenge such a thesis. We provide evidence that theoretical biology operates with a plurality of equally valid organismic concepts, which imply different conclusions regarding the organismal status of a brain-dead patient. Moreover, the theoretical biology concepts of an organism are very distant from the view on an organism that appears by way of bioethicists theorizing on death. We conclude that if death is to be understood as the cessation of an organism, there is no single correct answer to the question of whether a brain-dead patient is alive or dead. (shrink)

In his reconstruction of Kant’s critical philosophy as a whole, Deleuze argues that the cognitive and practical faculties are genetically grounded in the affective, enlivening dynamics of the reflecting power of judgment. In this paper I propose to take Kant’s account of self-organisation as model for understanding this genesis of the faculties in terms of a circular causality that is purposively animated from within by a self-productive and self-maintaining tendency. The key argument I develop is that this generative tendency may (...) be understood as a conatus that is inherent to the power of judgment and comes to the fore in the subject’s feeling of life. (shrink)

Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...) is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti-experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren’t clearly insoluble. (shrink)

The main aim of this paper is to examine the practice of describing intellectual pursuits in aesthetic terms, and to investigate whether this practice can be accounted for in the framework of a standard conception of aesthetic experience. Following a discussion of some historical approaches, the paper proposes a way of conceiving of aesthetic experience as both epistemically motivating and epistemically inventive. It is argued that the aesthetics of intellectual pursuits should be considered as central rather than marginal to our (...) philosophical accounts of aesthetic experience, and that our views about the relation between the aesthetic and cognitive domains should be reconfigured accordingly. (shrink)

Arthur Danto argued from the premiss that artworks are essentially cognitive to the conclusion that they are incidentally aesthetic. I wonder why Danto, and the very many of us he persuaded, came to believe that the cognitive and the aesthetic oppose one another. I argue, contrary to Danto’s historical claims, that the cognitive and the aesthetic did not come into opposition until the late nineteenth or early twentieth century, and that they were brought into opposition for reasons of art-critical expediency (...) rather than philosophical necessity. I conclude that a robustly cognitive notion of the aesthetic remains an option for us. (shrink)

Nature aesthetics is concerned with four core questions: What is a natural environment? What is relevant, psychologically speaking, to the aesthetic appreciation of natural environments? How ought we to aesthetically appreciate natural environments? What is the relationship between nature aesthetics and environmental ethics? In this essay, I first address in Section 2 whether theorizing about nature aesthetics is possible by challenging the non‐aesthetics view, according to which aesthetic appreciation of nature is not possible, and the relativity view, according to which (...) aesthetic appreciation of nature is possible, but it is an anything goes affair. In Section 3, I outline the core arguments for scientific cognitivism and provide objections to those arguments, making room for alternative views. In Section 4, I outline the distinction between cognitivism and non‐cognitivism and discuss the benefits of the engagement view. In Section 5, I outline the sympathetic imagination view of nature aesthetics. In Section 6, I discuss the emotions view. In Section 7, after summarizing the lessons learned from these debates, I argue for a new view— Enacting Nature's Value— which proposes that we need to rethink nature aesthetics in terms of an enactivist account of aesthetic agency according to which the aesthetic appreciation of nature is a skilled action. In Section 8, I close by considering four future directions for nature aesthetics in the second generation of inquiry. (shrink)

This paper explores a distinctive form of social interaction—interpersonal inquiry—in which two or more people attempt to understand one another by engaging in conversation. Like many modes of inquiry into human beings, interpersonal inquiry partly shapes its own objects. How we conduct it thus affects who we become. I present an ethical ideal of conversation to which, I argue, at least some of our interpersonal inquiry ought to aspire. I then consider how this ideal might influence philosophical conceptions of the (...) self. (shrink)

The rise of the mechanistic worldview in the seventeenth century had a major impact on views of biological generation. Many seventeenth century naturalists rejected the old animist thesis. However, the alternative view of gradual mechanistic formation in embryology didn’t convince either. How to articulate the peculiarity of life? Researchers in the seventeenth century proposed both “animist” and mechanistic theories of life. In the eighteenth century again a controversy in biology arose regarding the explanation of generation. Some adhered to the view (...) that life is a physical property of matter (e.g. Buffon), others saw living entities as the result of the development of pre-existing germs (e.g. Bonnet). Naturalists, lacked a convincing account that could guide their research. In interaction with leading naturalists of his time Immanuel Kant articulated an approach to explaining generation. Kant’s account, delineated in his Kritik der Urteilskraft (Critique of the power of judgment) (1790), is a combination of Newtonian non-reductionist mechanism in explanation, and a concept of natural end comparable to Stahl’s formal conception of organic bodies. It consists of two claims: a) in biology only mechanical explanation is explanatory, and b) living entities contain some original organisation, which is mechanically unexplainable. In the nineteenth century this approach influenced naturalists as Müller, Virchow, and Von Baer, in their physiological research. Dissatisfied with a sheer mechanistic or, on the other hand, a sheer teleological approach, they appreciated the Kantian account of mechanical explanation of natural ends. In Germany, in the second halve of the nineteenth century, Ernst Haeckel reopened the debate about abiogenesis, which still continuous. (shrink)

Journal of Philosophy of Education, Volume 56, Issue 2, Page 281-289, April 2022.

It is common to distinguish between disagreement in the state sense (being in disagreement) and disagreement in the activity sense (having a disagreement). This paper deals with the question of what it is for two people to have a disagreement. First, I present and reject the thesis according to which having a disagreement is a matter of expressing conflicting attitudes. I argue that this is not sufficient for having a disagreement: two people can express conflicting attitudes without having a disagreement. (...) Second, I present and reject the thesis according to which having a disagreement involves not only the expression of conflicting attitudes, but also the persuasive attempt to bring the other around to one’s view. I argue that this is not necessary for having a disagreement: two people can have a disagreement without trying to change each other’s minds. Finally, I put forward an alternative account that goes beyond the mere expression of conflicting attitudes, but that does not go as far as to posit the attempt to change someone’s mind. Having a disagreement, I submit, is a matter of expressing conflicting attitudes and demanding agreement, that is, advancing the normative claim that the other should share one’s attitude. (shrink)

In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...) there are passages in Cavendish’s work that might seem to count against my reading—specifically, passages on disagreement in aesthetic judgement, on the power of beauty to elicit the passions, and on our inability to specify the nature of beauty—I show that, when situated against the background of Cavendish’s broader metaphysical and epistemological views, those passages in fact support the realist interpretation. (shrink)

I offer a new reconstruction of Hegel’s criticism of Kant’s idealism. Kant held that we impose categorial form on experience, while sensation provides its matter. Hegel argues that the matter we receive cannot guide our imposition of form on it. Contra recent interpretations, Hegel’s argument does not depend on a conceptualist account of perception or a view of the categories as empirically conditioned. His objection is that given Kant’s dualistic metaphysics, the categories cannot have material conditions for correct application. This (...) leads to subjectivism in the content of experience: the subject is given an implausibly strong role in determining what is the case. Hegel’s own absolute idealism solves this problem. (shrink)

The Walking Dead is a popular TV series depicting a catastrophic and violent world. After a pandemic that turns humans into zombies, we witness the collapse of civilization with all its institutions, the depletion of the resources, and the struggle to build a new world in the middle of the wars between surviving groups. It illustrates a world of literal and metaphorical homo homini lupus. Some people choose sheer survival, and others try to build a moral, civil world. In this (...) article, I propose a reading of this series from a Kantian perspective by employing his interrelated ideas on history, ethics, and politics. I claim that The Walking Dead represents the state of nature and the violence it contains, and illustrates the course of history toward a civil society as defined by Kant. (shrink)

Transcendental philosophy was not born like Athena out of Zeus’s head, mature and in full armour from the very beginning. That is why in both prefaces to the Critique of Pure Reason (1781 and 1787) Kant introduces the concept of transcendental philosophy as an “idea.” The idea understood architectonically develops slowly and only gradually acquires a definite form. As witnessed by the works of Kant himself and of his predecessors and followers, the idea of transcendental philosophy has undergone a series (...) of changes and adjustments compared to the initial plan. In this context, my goal is not simply exegesis and historical investigation of transcendental philosophy, but also to look at it from a systematic and methodological perspective. I examine the concept of transcendental philosophy from the viewpoint of programmatic metaphilosophy. The first part discusses programmatics as a distinct subsection of metaphilosophy. I argue that Kant’s architectonic methodology and the methodology of Lakatos can be used to understand the inception, development and degradation of philosophical systems. In the second part I look at the project of transcendental philosophy and the stages of its development from the standpoint of architectonics. The third part shows that Lakatos’s methodology can provide a detailed insight into the elements of transcendental philosophy, a clear idea of its logic and identify the component parts that can be improved and developed. In spite of the different levels of detailing and epistemological prerequisites, the methodologies of Kant and Lakatos can be combined to achieve a metaphilosophically informed and progressive understanding of philosophical projects. (shrink)

Do aesthetic reasons have normative authority over us? Could there be anything like an aesthetic ‘ought’ or an aesthetic obligation? I argue that there are no aesthetic obligations. We have reasons to act certain ways regarding various aesthetic objects – most notably, reasons to attend to and appreciate those objects. But, I argue, these reasons never amount to duties. This is because aesthetic reasons are merely evaluative, not deontic. They can only entice us or invite us – they can never (...) compel us. Beauty gives us goods without shoulds. (shrink)

What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning the nature (...) of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)

In his 2009 monograph, Darwinian Populations and Natural Selection, Peter Godfrey-Smith accuses biologists of demonstrating ‘Darwinian Paranoia’ when they engage in what he dubs ‘agential thinking’. But as Daniel Dennett points out, he offers neither an illuminating set of examples nor an extended argument for this assertion, deeming it to be a brilliant propaganda stroke against what is actually a useful way of thinking. Compared to the dangers of teleological thinking in biology, the dangers of agential thinking have unfortunately rarely (...) been discussed. Drawing on recent work by Samir Okasha, I attempt to remedy this omission, through analyzing the nature of agential thinking, and providing a philosophical treatment of the unexamined dangers in this peculiar, yet tempting way of thinking. (shrink)

I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...) ugliness sits opposed to beauty across a neutral midpoint (the argument from proposed intensions). And third, ugliness and disgustingness function in the same way in both giving rise to representations of contamination (the argument from the law of contagion). In making these arguments, I show why prominent objections to the thesis do not succeed, cast light on some of the artistic functions of ugliness, and, in addition, demonstrate why a dispositional account of disgustingness is correct, and present a novel problem for warrant-based accounts of disgustingness (the ‘too many reasons’ problem). (shrink)

According to Alix Cohen, Kant defines emotions as ‘feelings’. Although I find her account of Kantian feelings compelling, I provide three reasons to doubt that it is an account of emotions: (1) it is unclear why Cohen identifies emotions with Kantian feelings; (2) some Kantian feelings are not emotions; (3) some Kantian desires may be emotions. I propose, however, that with some qualifications Cohen’s account may be upheld, provided its extra-textual assumptions about emotions are explicated. Against her claim that Kantian (...) feelings have a derived intentionality, I argue that the text is compatible with their being intrinsically intentional. (shrink)

In this paper, I examine the role of attention in Kant’s aesthetic theory in the Critique of the Power of Judgment. While broadly Kantian aestheticians have defended the claim that there is a distinct way that we attend to objects in aesthetic experience, Kant himself is not usually acknowledged as offering an account of aesthetic attention. On the basis of Kant’s more general account of attention in other texts and his remarks on attention in the Critique of the Power of (...) Judgment, I reconstruct Kant’s account of aesthetic attention. On this account, aesthetic attention is simultaneously directed at the form of an object and at the judging subject’s own mental states as she attends to the object. In the experience of beauty, we specifically attend to the harmonious relation between the faculties of imagination and understanding. (shrink)

The aesthetic category of the sublime has been theorized (especially in the Kantian tradition) as integrally intertwined with the moral. Paradigmatic experiences of the sublime, such as gazing up at the starry night sky, or out at a storm-whipped sea, lead in a moral or religious direction depending on the cognitive stock brought to the experience, since they typically involve a feeling of awe and reflection on the peculiar situation of the human being in nature. The monumental is a similar (...) aesthetic category, integrally intertwined with the political, but, by contrast, has garnered almost no attention from aestheticians. My main goal in this paper is to sketch a theory of ‘the monumental’ as an aesthetic category—one that is a species of the sublime but differs qualitatively from the natural/environmental sublime in significant ways, and thus merits a distinctive label. In doing so, I aim to shed light on the nature and power of monuments specifically, and to begin to address a lacuna in our understanding of a long-standing and culturally important form of public art. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

By the start of the twenty-first century, the notion of ‘the sublime’ had come to seem incoherent. In the last ten years or so considerable light has been shed by empirical psychologists on a related notion of ‘awe’, and a fruitful dialogue between aestheticians and empirical psychologists has ensued. It is the aim of this paper to synthesize these advances and to offer what I call a ‘two-tiered’ theory of the sublime that shows it to be a coherent aesthetic category. (...) On this theory, sublime experiences begin in an ‘awe response’ (the ‘thin sublime’) and might, with the additional element of temporally-extended reflection, turn into a ‘thick sublime’ response. Building on accounts of the sublime as a species of ‘aesthetic awe’ (Clewis, 2019a and 2019b; Arcangeli, et al., 2020) I aim to show that this two-tiered theory helps to explain why sublime experiences seem to have a basic, primordial core, but also seem to be historically and culturally quite variable (as Nicolson, 1963 [1959]; Battersby, 2007; and McMahon, 2017 have stressed). On this model, the cultural and historical variability comes in largely at the point of the temporally-extended reflection characteristic of the thick sublime, due to the cognitive stock that the subject brings to the encounter. Thus, sublime experiences really lend themselves to being interpreted quite variously by the subject (as well as by the theorist) of these experiences, as, for example, affording insight into the Divine, our moral vocation, or our metaphysical unity with the entire universe, among other lofty thoughts. (shrink)

The aim of this paper is to resolve some of the inconsistencies within Kant’s theory of aesthetic ideas that have been left unaddressed by previous interpretations. Specifically, Kant’s text appears to be imbued with the following two tensions. First, there appears to be a conflict between his commitment to the view that mere sensations cannot function as vehicles for the communication of aesthetic ideas and his claim that musical tones, on account of being mere sensations, can express aesthetic ideas. Second, (...) his description of musical form as consisting of a play of aesthetic ideas that leave behind no thoughts appears to be incongruous with his formulation of aesthetic ideas as free imaginative representations that contain a wealth of thoughts and meanings. If what it means to express aesthetic ideas is precisely to stimulate much thinking, then how can an object exist that expresses aesthetic ideas, but without leaving any thoughts behind? I attempt to resolve these two perceived tensions by proposing a distinction between reflective and non-reflective aesthetic ideas communicated by form and mere sensations respectively. (shrink)

Being for Beauty has two ambitions. It makes a case that the network theory of aesthetic value has enough going for it to be taken seriously in philosophical aesthetics, and in work on practical values and reasons more generally. In addition, by illustrating how much room we have to maneuver outside the bounds of aesthetic hedonism, the book invites work on alternative approaches. James Shelley, Julia Driver, and Samantha Matherne take up the invitation with such aplomb that one might declare (...) success on the second ambition and merely comment on how their proposals might be further developed. Nevertheless, since its explanatory power is precisely what gives us room to maneuver, what follows also sticks up for the network theory. (shrink)

Alix Cohen argues that the function of feeling in Kantian psychology is to appraise and orient activity. Thus she sees feeling and agency as importantly connected by Kant’s lights. I endorse this broader claim, but argue that feeling, on her account, cannot do the work of orientation that she assigns to it.

Are there aesthetic obligations, and what would account for their binding force if so? I first develop a general, domain‐neutral notion of obligation, then critically discuss six arguments offered for and against the existence of aesthetic obligations. The most serious challenge is that all aesthetic obligations are ultimately grounded in moral norms, and I survey the prospects for this challenge alongside three non‐moral views about the source of aesthetic obligations: individual practical identity, social practices, and aesthetic value primitivism. I conclude (...) by raising questions for further work in this area. (shrink)

Aesthetics, both in its theoretical and empirical forms, has seen a renewed interest in the sublime, an aesthetic category dear to traditional philosophers, but quite neglected by contemporary philosophy. Our aim is to offer a novel perspective on the experience of the sublime. More precisely, our hypothesis is that the latter arises from ‘a radical limit-experience’, which is a metacognitve awareness of the limits of our cognitive capacities as we are confronted with something indefinitely greater or more powerful than us. (...) This hypothesis better explains the negative feelings involved in the experience of the sublime and accounts for its demarcation from other experiences (for example, terrible beauty). Experiences of the sublime have an overall positive valence, though. We will explore different ways in which a subject can try to overcome the negative evaluation involved in radical limit-experiences, and suggest that only one of them is appropriate to experiences of the sublime. (shrink)

Political theorists have traditionally grappled with laughter by posing a simple, normative question: ‘What role, if any, should laughter play in the polis?’ However, the outsized presence of laughter in contemporary politics has rendered this question increasingly obsolete. What good does determining laughter’s role in the polis do when the polis itself is to a large extent shaped by laughter? The present essay argues that Kant’s aesthetic investigations of laughter in the Critique of Judgment and Anthropology from a Pragmatic Point (...) of View offer a much needed alternative to the normative discourse. Kant theorizes laughter as an intensely dialectical experience — at once an aesthetic judgment and an affect. Laughter in Kant enacts dissensus: it disrupts and transforms sensus communis, or the ways subjects see and hear the world in common that organize and structure a political community. The essay illustrates the advantages of a Kantian conception of the politics of laughter over the normative discourse by examining Dave Chappelle’s controversial 2019 stand-up comedy special Sticks & Stones. It concludes that the dissensus enacted by laughter, while not necessarily democratic, provides a privileged opening for democratic politics. (shrink)

In Mary Shelley’s Frankenstein the brilliant scientist Viktor Frankenstein constructs and animates a gigantic and superhumanly powerful man. But upon animation, Frankenstein discovers he neglected beauty, and beholding his hideous creation flees in horror without even naming the man. Abandoned and alone the monster leaves society, yet secretly observing humanity learns language and philosophy and eventually discovers humanity’s self-understanding and his own self-understanding to be grounded in beauty rather than reason.

What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have are explained by norms internal (...) to a practice. Practice-internal norms, however, cannot settle the distinct question of which practices we have reason to opt into. When it comes to the source of aesthetic normativity—in virtue of what aesthetic value is genuinely reason-giving—I argue that existing accounts, which appeal to pleasure or achievement, are inadequate. The only practice-external aesthetic requirement is a generic one to opt into at least some aesthetic practices. (shrink)

Social philosophers often invoke the concept of false consciousness in their analyses, referring to a set of evidence-resistant, ignorant attitudes held by otherwise sound epistemic agents, systematically occurring in virtue of, and motivating them to perpetuate, structural oppression. But there is a worry that appealing to the notion in questions of responsibility for the harm suffered by members of oppressed groups is victim-blaming. Individuals under false consciousness allegedly systematically fail the relevant rationality and epistemic conditions due to structural distortions of (...) reasoning or knowledge practices, undermining their status as responsible moral agents. But attending to the constitutive mechanisms and heterogeneity of false consciousness allows us to see how having it does not eo ipso render someone an inappropriate target of blame. I focus here on the 1889 anti-suffragist manifesto “An Appeal Against Female Suffrage,” arguing that its signatories, despite false consciousness, satisfy both conditions for ordinary blameworthiness. I consider three prominent signatories, observing that the irrationality characterisation is unsustainable beyond group-level diagnoses, and that their capacity to respond appropriately to reasons was not compromised. Following recent work on epistemic injustice, I also argue that culpable mechanisms constituted their false consciousness, rendering them blameworthy for the Appeal. (shrink)

Aside from bioethics, the main theme of Ronald Green's lifework has been an exploration of the relation between religion and morality, with special emphasis on the philosophies of Immanuel Kant and Søren Kierkegaard. This essay summarizes and assesses his work on this theme by examining, in turn, four of his relevant books. Religious Reason (1978) introduced a new method of comparative religion based on Kant's model of a rational religion. Religion and Moral Reason (1988) expanded on this project, clarifying that (...) religious traditions cannot be reduced to their moral grounding. Kierkegaard and Kant: The Hidden Debt (1992) offered bold new evidence that Kant, not Hegel, was the philosopher whose ideas primarily shaped Kierkegaard's overtly religious philosophy ; both philosophers focused on the problem of how to understand the relation between moral reasoning and historical religion. And Kant and Kierkegaard on Time and Eternity (2011) republished ten essays that explore various aspects of this theme in greater depth. I argue that throughout these works Green defends a " paradox of inwardness " : principles or ideals that are by their nature essentially inward end up requiring outward manifestation in order to be confirmed or fully justified as real. (shrink)

The article is devoted to historico-philosophical investigation of the grounds of universalism of special type. This universalism, inherent in transcendental thinking, was radicalized in quasi-transcendental discourse of Jacques Derrida. It is established that explicit critique of universalism in deconstructive philosophy is aimed at “logo-centric” paradigm of universality which is questioned by (quasi)transcendental philosophy. Constitutive function of difference and otherness in establishment of transcendental and especially quasi-transcendental universality was brought to light. It was shown that in (quasi)transcendental discourse singularity is involved (...) into the sphere of universal, whereas “dogmatic” universalism brought singularity and/or particularity outside, thus questioning its own claims. Tracing transcendentalist tendency to balance status and significance of universal and particular (singular), the author concludes that relation between them makes possible constituting hyper-universality of special type. Universal implications of the Derrida’s notion “quasi-transcendental” are defined. It was determined that one of the main factors constituting universalism of quasi-transcendental type is the deconstruction of binary thinking, accomplished first of all with the help of principles: differance, insolvability (aporia) and trace. Among them insolvability implies universality revealing the overlap and mutual conditioning of alternative (at a glance) elements. Instead, the trace conditions superiority of logo-centric alternatives “primary-secondary” and “presence-absence”. (shrink)

This paper considers the nature of academic judgement. It also suggests that academic judgement is not the special preserve of academics as such and is something with which students can be imbued. It is further suggested that academic judgement is best considered in the context of critical learning which is contrasted with demonstrative learning. The paper then proceeds with an analysis of judgement by considering the ideas of Peter Geach on this particular subject. It then moves to considering judgement in (...) the context of a practice, as set out by Alasdair MacIntyre. Whilst providing insight into the nature of practical judgement, this approach is found wanting nonetheless and attention is next turned to considering judgement within the space of reasons – that is, the approach of John McDowell. The paper then suggests that the idea of the space of reasons can be given greater substance through consideration of two further kinds of judgement – epistemic and reflective. (shrink)

It is widely held within contemporary metaethics that there is a lack of linguistic support for evaluative expressivism. On the contrary, it seems that the predictions that expressivists make about evaluative discourse are not borne out. An instance of this is the so-called problem of missing Moorean infelicity. Expressivists maintain that evaluative statements express non-cognitive states of mind in a similar manner to how ordinary descriptive language expresses beliefs. Conjoining an ordinary assertion that p with the denial of being in (...) the corresponding belief state famously gives rise to Moorean infelicity:?? It’s raining but I don’t believe that it’s raining. If expressivists are right, then conjoining evaluative statements with the denial of being in the relevant non-cognitive state of mind should give rise to similar infelicity. However, as several theorists have pointed out, this does not seem to be the case. Statements like the following are not infelicitous: Murder is wrong but I don’t disapprove of it. In this paper, I argue that evaluative statements express the kind of states that are attributed by ‘find’-constructions in English and that these states are non-cognitive in nature. This addresses the problem of missing Moorean infelicity and, more generally, goes to show that there are linguistic facts which support expressivism about evaluative discourse. (shrink)

According to contemporary ‘process ontology’, organisms are best conceptualised as spatio-temporally extended entities whose mereological composition is fundamentally contingent and whose essence consists in changeability. In contrast to the Aristotelian precepts of classical ‘substance ontology’, from the four-dimensional perspective of this framework, the identity of an organism is grounded not in certain collections of privileged properties, or features which it could not fail to possess, but in the succession of diachronic relations by which it persists, or ‘perdures’ as one entity (...) over time. In this paper, I offer a novel defence of substance ontology by arguing that the coherency and plausibility of the radical reconceptualisation of organisms proffered by process ontology ultimately depends upon its making use of the ‘substantial’ principles it purports to replace. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)