Very often, different people, with different constitutions and comic sensibilities, will make divergent, conflicting judgments about the comic properties of a given person, object, or event, on account of those differences in their constitutions and comic sensibilities. And in many such cases, while we are inclined to say that their comic judgments are in conflict, we are not inclined to say that anybody is in error. The comic looks like a poster domain for the phenomenon of faultless disagreement. I argue (...) that the kind of theory that does the best job of accounting for the appearance of faultless disagreement is a de se version of a response-dependence account, according to which thinking that x is funny is self-attributing a property of the type, being disposed to have R to x in C. (shrink)

This collection brings together a selection of my recently published or forthcoming articles. What unites them is their common concern with one of the central ambitions of philosophy, namely to get clearer about our first-personal perspective onto the world and our minds. Three aspects of that perspective are of particular importance: consciousness, intentionality, and rationality. The collected essays address metaphysical and epistemological questions both concerning the nature of each of these aspects and concerning the various connections among them. More generally, (...) given that intentionality and ratio- nality are both normative phenomena, the main theme of the articles is the relationship between consciousness and normativity and the centrality of this relationship to our first-personal perspective. -/- This focus culminates in the defense of two specific views, experiential rationalism and experiential intentionalism. The first is, very roughly, the view that how our mental episodes are given in consciousness reflects their rational role in our mental lives: it is part of what our mental episodes subjectively are like that we phenomenally experience them as providing and/or responding to certain kinds of reasons. The central claim of the second view, on the other hand, is that the intentionality of our mental episodes is essentially linked to consciousness and involves a token-reflexive element: they intentionally present not only the world, but also themselves as being a certain way. -/- Some of the essays also deal with the contrast between our first- and our third-personal perspectives and the — to some extent related — division of labour between philosophy and the empirical sciences. Both perspectives have their limitations and sometimes conflict with each other, raising the question of what the consequences are for accounts of our first-personal knowledge and its internal or external objects. (shrink)

This essay examines the manner in which Hume challenges the cognitivist and realist intuitions informing our ordinary experience of value by identifying values with mind-dependent feelings and by separating facts from values. However, through a process of interpretive rehearsal of Hume’s arguments in the first two parts of the paper we find that they come under increasing internal strain, which points, contrary to his initial argument about the irreducibly phenomenal aspects of value experience, to the motivational role of reason and (...) to the identification of values, not with mind-dependent feelings, but with dispositional properties of objects. The third and final part of the paper will offer a systematic reconstruction of his arguments with a view to suggesting one possible – descriptivist – alternative to Hume’s initial challenges, which can serve to satisfy the emerging cognitivist and realist needs of his arguments. (shrink)

ABSTRACTCan a Naturalist Definition of art replace the historical and institutional positions argued for by philosophical aesthetics? This article considers Denis Dutton’s work in evolutionary psychology and his cluster Naturalist Definition of art. I begin with an analysis of the validity of what Dutton takes to be the most important criterion: Imaginative Experience. I propose a criticism of Dutton’s set of criteria coupled with a re-evaluation of what may be implied when referring to a naturalist basis for the arts. Specifically, (...) I argue that philosophical aesthetics, which has been criticized by Dutton as a form of cultural relativism, is instead able to address features of our interaction with the arts that have adaptive and evolutionary value. (shrink)

This thesis argues that the nature of disability is, currently, fundamentally misunderstood. Current approaches to disability are nounal and seek to determine the locus of disability with the intention of better understanding the phenomenon of disability. In contrast, this thesis offers an adverbial perspective on disability and shows how disability is experienced as an increased and personally irremediable impediment to daily-living tasks or broader goals. This thesis holds that impediment is not a function of either biological individuality or the Social, (...) but of a specific relation between the individual and their environment. The following delineates the Picture Theory of Disability — a mechanism for the evaluation of the experience of disability and a heuristic device for the proper interpretation of disability. The theory is born of Humean sentimentalism and elements of Wittgenstein’s Picture Theory of Language, and shows when, where, and how disability is experienced. (shrink)

I examine skeptical arguments about the constitutive nature of agency, with special attention to those of Elijah Millgram. I suggest that these arguments lead us not to the conclusion that agency has no such nature, but that it is an essentially contested kind in the same way that art is. I argue that this undermines traditional forms of constitutivism in metaethics but opens the door to a different way of pursuing the same program. Finally, I take issue with Millgram’s solution (...) to the problem of “logical aliens” and suggest an alternative based my analogy with art. (shrink)

The dissertation traces the development of what I call “the problem of partiality” through the work of certain key figures in the British Moralist tradition: John Locke, Catharine Trotter Cockburn, Anthony Ashley Cooper (the Third Earl of Shaftesbury), Francis Hutcheson, John Gay, David Hume, Joseph Butler, and Adam Smith. On the one hand, we are committed to impartiality as a constitutive norm of moral judgment and conduct. On the other hand, we are committed to the idea that it is permissible, (...) or even obligatory, to expend disproportionate resources promoting the good of our loved ones over the good of strangers. However, these two commitments conflict with one another. This problem challenges us to provide an account of the scope and limits of reasonable partiality that does justice to both commitments. I argue that confronting this tension is a central project of early modern ethics. I offer a rereading of the British Moralist tradition, centered on debates about partiality, and thereby shift discussion of the tradition away from concerns about meta-ethics and moral epistemology, to issues of practical ethics. The topic of partiality remains central in contemporary ethics, as is evident in ongoing debates about the place of empathy in moral judgment, and the role of love in shaping our moral commitments. Though the aim of the dissertation is not to settle questions about the scope and limits of reasonable partiality, the focus here remains fixed on how the concept of partiality was problematized in our ethical thought, and how it informs our discussions in normative ethics and moral psychology. Alongside building a bridge between early modern scholarship and recent work in ethics, the dissertation casts light on two understudied figures in the British Moralist tradition – Cockburn and Gay – who contributed greatly to debates about partiality. By examining their contributions, I reconsider their place in the history of modern ethics and therefore provide a more contextualized account of philosophical thought in the period. (shrink)

In 2008, the Curriculum Council of Western Australia launched a formal curriculum of philosophy and ethics education for upper secondary students. This thesis is a writing project that provides a new teaching text in support of this course. The thesis is composed of two components, a creative project and an essay. The creative project is a work of non-fiction entitled, Philosophy for Teenagers: Finding New Relevance in Old Concepts, and has been researched and designed employing the Western Australian Certificate of (...) Education (WACE) Philosophy and Ethics course model. Philosophy for Teenagers aims to provide an innovative introduction to concepts such as the philosophical community of inquiry, formal reasoning and critical thinking, epistemology, free-will and determinism, ethics, political philosophy, aesthetics, society and culture, and conceptions of death. The introductory concepts addressed in the textbook are explored in philosophy classrooms within Australia and abroad, making it suitable for any high school student of philosophy, regardless of their geography. The essay provides some historical background on secondary philosophy education in Western Australia and presents the insights and ideas of five philosophy educators who were involved in the conception, development and launch of the WACE Philosophy and Ethics course. The experiences, opinions and ideals of these people have, in turn, informed the development of the textbook, and their contributions have helped to shape the text. The essay also provides the rationale and research methodology upon which the textbook has been constructed. It includes a discussion of current and classic adolescent literature, the role of science fiction, primary and contemporary philosophy texts, humanities textbooks, and educational resources recommended for the WACE Philosophy and Ethics course. The essay also includes a report on the results of two focus group studies held with Year Eleven students. This action research was implemented for the purpose of collecting direct feedback from Philosophy and Ethics classes. (shrink)

The claim that the having of aesthetic properties supervenes on the having of non-aesthetic properties has been widely discussed and, in various ways, defended. In this paper, I will show that even if it is sometimes true that a supervenience relation holds between aesthetic properties and the 'subvenient' non-aesthetic ones, it is not the interesting relation in the neighbourhood. As we shall see, a richer, asymmetric and irreflexive relation is required, and I shall defend the claim that the more-and-more-popular relation (...) of grounding does a much better job than supervenience. (shrink)

In a series of early essays, beginning with "Must We Mean What We Say?", Stanley Cavell offers a sustained response to the argument that ordinary language philosophy is nothing more than amateur linguistics, carried out from the armchair -- so that philosophers' claims about "what we say", and what we mean when we say it, are necessarily in need of proper empirical support. The present paper provides a close reading of Cavell and a defense of his argument that, since a (...) philosopher's descriptions of our use of words are supposed to be an expression of *self*-knowledge, they do not require, and indeed cannot possibly find, any empirical justification. This does not guarantee that these descriptions are immune to error, nor does it mean they describe a different range of facts from the ones that are the subject-matter of linguistics and lexicography. Nor, finally, does it follow from this argument that observation of the facts of ordinary usage, as revealed e.g. in linguistic corpora, is of no use to the philosopher of ordinary language. I close with a brief discussion of what the shared nature of linguistic communication shows about how to understand the "we" in "what we say". (shrink)

The majority of philosophers of religion, at least since Plantinga’s reply to Mackie’s logical problem of evil, agree that it is logically possible for an omnibenevolent, omniscient, and omnipotent God to exist who permits some of the evils we see in the actual world. This is conceivable essentially because of the possible world known as heaven. That is, heaven is an imaginable world in a similar way that logically possible scenarios in any fiction are imaginable. However, like some of the (...) imaginable stories in fiction where we are asked to envision an immoral act as a moral one, we resist. I will employ the works of Tamar Gendler on imaginative resistance and Keith Buhler’s Virtue Ethics approach to moral imaginative resistance and apply them to the conception of heaven and the problem of evil. While we can imagine God as an omnibenevolent parent permitting evil to allow for morally significant freedom and the rewards in heaven or punishments in hell (both possible worlds), we should not. This paper is not intended to be a refutation of particular theodicies; rather it provides a very general groundwork connecting issues of horrendous suffering and imaginative resistance to heaven as a possible world. (shrink)

What account of evaluative expressions, such as ‘is beautiful’, ‘is generous’ or ‘is good’, should a Fregean adopt? Given Frege’s claim that predicates can have both a sense and a reference in addition to their extension, an interesting range of only partially explored theoretical possibilities opens to Frege and his followers. My intention here is to briefly present these putative possibilities and explore one of them, namely David Wiggins’ claim that evaluative predicates refer to non-natural concepts and have a sense (...) which is sentiment-involving. In order to defend this claim against objections which aim at showing that evaluative concepts do not really exist, I shall suggest that our awareness of evaluative concepts involves affective (or emotive) states. (shrink)

One thing to expect from a theory of absolute music is that it explains what makes it so significant to us. Kant rightly observes that the essence of absolute music is our affective response to it. Yet none of the standard 18 th century theories, arousal theory and aesthetic rationalism, can explain both the universality of a judgment of taste and its subjective emotional content. The paper argues that Kant’s own aesthetic theory of aesthetic ideas is on the right path (...) for explaining the emotive significance of music, but that Kant does not further pursue this route because his interest in a “theory of music” is only peripheral to his systematic interest as a transcendental philosopher. For both philosophical and historical reasons, Kant does not have a “theory of music.” Nevertheless, if we free Kant’s conception of aesthetic idea and its restriction to Geist from the background of its 18th century humanism, then Kant’s aesthetics of free play becomes a good theory to account for the broad variety of emotions in absolute music as a fine art proper. (shrink)

Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!

I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective principles of (...) taste. If art criticism is an enterprise of providing evaluations of artworks supported by reasons, then it is hard to see what the Kantian art critic can do for us. If I cannot defer to the critic’s judgment that she loved Blade Runner and there are no feasible general principles linking the depiction of futuristic cityscapes, or the accompaniment of a haunting minimalist soundtrack to the goodness of a film, then it does not seem to matter whether the critic communicates to me her evaluation of Blade Runner or supports her evaluation with descriptions of Blade Runner scenes. Nevertheless, the assumption that these Kantian tenets preclude the possibility of art criticism is mistaken and it is my aim to show how this can be. The project has two phases. In the first phase I develop a new interpretation of Kant’s theory of artistic beauty. In the second phase I make use of this interpretation to put forward a Kantian account of art criticism. Central to my interpretation is the notion that judgments of perfection, e.g., Blade Runner is an excellent neo-noir science fiction film, inform our aesthetic evaluations and receive support from descriptions of non-aesthetic properties of the film. It is precisely this underappreciated role of judgments of perception that I exploit in making room for Kantian art criticism. (shrink)

Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in a position (...) to make an aesthetic judgement by testimony alone. Finally, Levinson's views on the ontology of aesthetic properties are considered and found wanting. /// [Jerrold Levinson] Being an aesthetic realist is hard work. Derek Matravers has raised a number of concerns for the brand of aesthetic realism that I have defended in the past, and that I continue to defend, albeit with modification. Much turns on the nature of aesthetic properties, and on the reasons for acknowledging their existence. I here try to provide further illumination on both scores, suggesting in particular that many aesthetic properties can be viewed as manifest higher-order ways of appearing. Toward the end of my discussion the question of whether or not aesthetic properties are response-dependent is addressed, and I offer the tentative conclusion that some are, and some are not. (shrink)

During the history of philosophy, morals and beauty, and finding a diagnostic criterion for them, was a very important problem for philosophers. Most of the philosophers maintained that such criterion rooted in reason, but Hume presented a noble idea and said that moral sense based on feeling and sentiment. Everything which through its utility or beauty, leads to pleaser is virtuous. Sometimes directly and sometimes through the beauty and appearing beautiful, the utility leads to pleaser. Also, according to Hume, beauty (...) is a subjective thing measured by the criterion of the pleaser. Thus, pleaser and pain are the criteria of taste and sentiment to the diagnosis of virtue and vice, as well as, the beauty and value of art. In this paper, after comparing and monitoring morals and beauty from four aspects, through brief surveying of certain commentators of Hume, we attempt to explain the relationship between beauty, utility, and pleaser. Finally, we assert that the beauty is very important components in Hume’s explain of Morals, but at the same time aesthetics has no superiority to morals; and thus, we defend the originality of morals to aesthetics. (shrink)

When it comes to the metaethical task of explaining and making sense of what it is that we are doing while doing ethics, the subject of moral objectivity occupies an important and special place within that task. Thus, it is often agreed that being able to explain and justify the objective features of common moral practice is one of if not the most important task for any metaethical theory to undertake. In this dissertation, I tackle the issue of ethical objectivity (...) on behalf of metaethical constructivism. To be more precise, my aim is to make plausible, strengthen, and defend the constructivist original contribution to contemporary metaethics by developing a novel constructivist account on the objectivity of ethics. While the account that I develop herein presents a novel and independent approach to the subject of moral objectivity on behalf of constructivism, it also places itself between the two other positions within the constructivist camp that openly strive to secure ethical objectivity – namely Kantianism on the one hand, and the more recently developed Humean objectivist view on the other. It is for the latter reason that I call my own view the hybrid view. (shrink)

The foundation of ethical judgements being assigned to preference is the foremost reason whereby the boundary between Ethics and Aesthetics remains so indistinct. Taste pressures reason during the latter’s passing aesthetic, but also ethical, judgements. Four are the features of taste: The sense of balance and proportion; The sense of fullness; The sense of purpose; The sense of repetition. Due to the lurking influence of aesthetic subvenients, ethical judgements are affected by an ‘aesthetic twist’. Ethical judgements passed in respect of (...) the conduct of others bear aesthetic nature and, more often than not, amount to a mere statement about the judging agent’s taste. Pure aesthetic judgements are such as to evoke no ethical subvenients proper. Owing to reason’s aesthetic infatuation, no pure ethical judgements may be conceived of at the current stage of human evolution. (shrink)

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human (...) responses, and that cognizers are thereby capable of grasping rules for the correct application of aesthetic concepts without relying on evaluation or enculturation. However, in this article I use Wittgenstein’s rule-following considerations to argue that psychological theories grounded upon this so-called objective model of rule-following fail to adequately account for concept acquisition and mastery. I argue that this is because linguistic enculturation, and the perceptual learning that’s often involved, influences and enables the mastery of aesthetic concepts. I argue that part of what’s involved in speaking aesthetically is to belong to a cultural practice of making sense of things aesthetically, and that it’s within a socio-linguistic community, and that community’s practices, that such aesthetic sense can be made intelligible. (shrink)

Christian Wolff’s view regarding sensory perception – which is formed on a Leibnizian framework – forms the base of his aesthetics. He explains the concept of perfection and pleasure according to the clear but disordered essence of sensory perception that is present in this framework and through this very path guides towards the definition of beauty. Thus, according to him, perfection is the consistency or accordance of diversity or the abundance of things or their parts; pleasure is the result of (...) the intuition of the perfection present in things; and beauty is the perfection of a thing from the aspect of it being suitable in creating pleasure in us. Therefore, in this article we intend to explore the essence of sensory perception according to him and the relation between it, perfection and pleasure with beauty in his aesthetics so that it becomes clear how aesthetics emerges from the heart of epistemological discussions in general and from the depths of sensory perception in particular. Finally, while keeping in mind the important fact that he did not directly claim to have an independent theory in the field of aesthetics, we will critique and give our views in regards to the requisites connected to his aesthetics so that the limits of his extreme rationalist views in dealing with issues such as the extent that beauty covers, the levels of beauty and the difference of views in relation to taste and liking become clear. (shrink)

Although the “Transcendental Aesthetic” is the briefest part of the first Critique, it has garnered a lion's share of discussion. This fact reflects the important implications that Kant drew from his arguments there. He used the arguments concerning space and time to display examples of synthetic a priori cognition, to secure his division between intuitions and concepts, and to support transcendental idealism. Earlier, in the years around 1770, Kant's investigations into space and time had facilitated his turn toward “critical” philosophy. (...) Prior to that time, Kant's main interests in space and time pertained to physics and metaphysics. As he entered the critical period, he delved into the cognitive basis of our experience of space (and time), and drew his conclusions about their ideality. Kant's doctrines of space and time provoked extensive response in his own time and throughout the nineteenth century. These responses variously concerned the metaphysics, physics, epistemology, psychology, and geometry of space. Throughout the nineteenth century, philosophers, physiologists, and psychologists sought to extend or to refute Kant's theories of space. By the last decades of the nineteenth century, many had rightly concluded that the existence of non-Euclidean geometry as a candidate description of physical space refuted Kant's full doctrine of space - though some have hoped that his position might be saved by restricting it to “visual space.”. (shrink)

This is the first of a series of papers in which I present a defense of moderate objectivism about the evaluation of performances of musical works in the Western classical tradition.

Some have argued that the possibility of faultless disagreement gives relativist semantic theories an important explanatory advantage over their absolutist and contextualist rivals. Here I combat this argument, focusing on the specific case of aesthetic discourse. My argument has two stages. First, I argue that while relativists may be able to account for the possibility of faultless aesthetic disagreement, they nevertheless face difficulty in accounting for the intuitive limits of faultless disagreement. Second, I develop a new non-relativist theory which can (...) account for the full range of data regarding faultless disagreement. This view—‘Humean Absolutism’—integrates two of Hume’s central principles from Of the Standard of Taste into a truth-conditional framework, resulting in a non-bivalent theory of aesthetic truth. I argue that Humean Absolutism can underwrite the possibility of faultless disagreement whilst retaining reasonable limits around the phenomenon. I close by relating this positive account of faultless disagreement to broader issues concerning the cognitive role of truth-value gaps. -/- *NB - this is an unpublished paper and is no longer in progress.*. (shrink)

Discordamos sobre todo o tipo de coisas: o que existe, como as coisas funcionam, o que fazer, de que gostamos, etc. Entre os vários tipos de desacordo discutidos em debates filosóficos contemporâneos encontram-se os desacordos irrepreensíveis, os desacordos meramente verbais, e os desacordos entre pares. Os diferentes tipos de desacordo dão lugar a diversos problemas filosóficos. Há filósofos defendem que se o desacordo sobre uma questão é irrepreensível, então talvez não haja verdades objectivas sobre essa questão, e que se um (...) desacordo é meramente verbal, então não existe nenhum problema real em discussão. Algumas consequências destes tipos de desacordo concernem a objectividade dos problemas em causa. Outras consequèncias concernem a racionalidade das nossas crenças, como quando aprendemos que um par epistémico não concorda connosco. Este artigo resume a discussão filosófica contemporânea sobre o desacordo meramente verbal, o desacordo irrepreensível, e o desacordo entre pares. (shrink)

Many aestheticians and ethicists are interested in the similarities and connections between aesthetics and ethics (Nussbaum 1990; Foot 2002; Gaut 2007). One way in which some have suggested the two domains are different is that in ethics there exist obligations while in aesthetics there do not (Hampshire 1954). However, Marcia Muelder Eaton has argued that there is good reason to think that aesthetic obligations do exist (Eaton 2008). We will explore the nature of these obligations by asking whether acts of (...) aesthetic supererogation (acts that go beyond the call of our aesthetic obligations) are possible. In this paper, we defend the thesis that there is good reason to think such acts exist. (shrink)

Nuestro lenguaje no solo describe el mundo que nos rodea: muchas expresiones que usamos habitualmente (desde predicados de gusto a expresiones como “interesante” o “divertido”) tienen por función valorar los objetos que constituyen nuestro entorno. Las oraciones que las contienen son sensibles a la evaluación: su valor de verdad depende del estándar evaluativo saliente en contexto y su emisión puede dar lugar a desacuerdos duros. El presente trabajo examina la ex- tensión de esta categoría a oraciones con predicados y verbos (...) normativos (éticos, epistémicos, procedimen- tales y deontológicos). Se presta especial atención a la posibilidad de estas oraciones de generar desacuerdos duros, en el marco de una teoría que comprende a las aserciones como adquisición de compromisos discur- sivos y prácticos. (shrink)

This is the original, longer draft for my entry on Hume in the 'The Routledge Hand- book of Philosophy of Imagination', edited by Amy Kind and published by Routledge in 2016 (see the separate entry). — Please always cite the Routledge version, unless there are passages concerned that did not make it into the Handbook for reasons of length. — -/- This chapter overviews Hume’s thoughts on the nature and the role of imagining, with an almost exclusive focus on the (...) first book of his Treatise of Human Nature. Over the course of this text, Hume draws and discusses three important distinctions among our conscious mental episodes (or what he calls ‘perceptions’): (i) between impressions (including perceptual experiences) and ideas (including recollections, imaginings and occurrent beliefs); (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement (i.e. occurrent beliefs) and ideas of the fancy (i.e. imaginings). I discuss each distinction in turn, also in connection to contemporary views on imagining. In addition, I briefly consider Hume’s views on the imagination as a faculty aimed at the production of ideas, as well as on the role that imagining plays in the wider context of our mental lives, notably in the acquisition of modal knowledge and in the comprehension of, and resistance to, stories and opinions that we take to be false or fictional. (shrink)

While in the movies or reading a novel, how can we feel terrified by monsters, ghosts, and fictional serial killers? And how can we feel sad or outraged by depictions of cruelty? After all, we know that the imagined threats that we fear do not exist and, therefore, pose no real threat to us; and we know that the instances of cruelty that bring tears to our eyes have not happened. And yet, the fear, the sadness, or the outrage experienced (...) in our imaginations feels very real. This is the so-called paradox of "fictional emotions." This and related paradoxes have become recalcitrant problems for a purely representational approach to the imagination that tries to accommodate the imagination in a belief-desire psychology, explaining our imaginings as mental states that are similar to beliefs or desires in some ways but not others—as "quasi-beliefs" or "quasi-desires." This representational approach can be seen, for example, in Kendall Walton's influential account of the imagination as "make-believe," or in Shaun Nichols and Stephen Stich's boxological account of the imagination as a "pretend box," which is in close interaction with the suspiciously similar "belief box". (shrink)

The way digital information technologies work and, more specifically, the possibilities for action that technological devices offer to us affect our processes of political belief formation. In particular, there seems to be a close connection between our digital affordances and the increase of the sort of polarization that threatens the proper functioning of democracy. In this paper, we analyze whether the type of polarization linked to the use of digital technologies, and which endangers the health of public deliberation, has to (...) do with the adoption of beliefs whose contents are increasingly extreme—extremism—or, on the contrary, has more to do with increasing our credence in the core beliefs of our political identity—radicalism. (shrink)

This is an 18,500 word bibliography of philosophical scholarship on Beauty which was published online in the Oxford Bibliographies Online. The entry includes an Introduction of 800 words, 21 x 400-word sub-themes and 168 annotated references. INTRODUCTION Philosophical interest in beauty began with the earliest recorded philosophers. Beauty was deemed to be an essential ingredient in a good life and so what it was, where it was to be found and how it was to be included in a life were (...) prime considerations. The way beauty has been conceived has been influenced by an author’s other philosophical commitments, metaphysical, epistemological and ethical and such commitments reflect the historical and cultural position of the author. For example, beauty is a manifestation of the divine on earth to which we respond with love and adoration; beauty is a harmony of the soul which we achieve through cultivating feeling in a rational and tempered way; beauty is an idea raised in us by certain objective features of the world; beauty is a sentiment which can nonetheless be cultivated to be appropriate to its object; beauty is the object of a judgment by which we exercise the social, comparative and inter-subjective elements of cognition and so on. Such views on beauty not only reveal underlying philosophical commitments but also reflect positive contributions to understanding the nature of value and the relation of mind and world. One way to distinguish between beauty theories is according to the conception of the human being that they assume or imply, for example, where they fall on the continuum from determinism to free will, ungrounded notions of compatibilism notwithstanding. For example, theories at the latter end might carve out a sense of genuine innovation and creativity in human endeavours while at the other end of the spectrum authors may conceive of beauty as an environmental trigger for consumption, procreation or preservation in the interests of the individual. Treating beauty experiences as in some respect intentional, characterises beauty theory prior to the twentieth century and since, mainly in historically inspired writing on beauty. On the other hand, treating beauty as affect or sensation has always had its representatives and is most visible today in evolutionary inspired accounts of beauty (though not all evolutionary accounts fit this classification). Beauty theory falls under some combination of metaphysics, epistemology, meta-ethics, aesthetics and psychology. While in the twentieth century beauty was more likely to be conceived as an evaluative concept for art, recent philosophical interest in beauty can again be seen to exercise arguments pertaining to metaphysics, epistemology, meta-ethics, philosophy of meaning and language in addition to philosophy of art and environmental aesthetics. (shrink)

Naess and Sessions “Deep Ecology Platform” provided a loose framework for a movement that was gaining momentum after a series of successful social and political actions and events throughout the 1970s and early 1980s. Most of the points are essentially adopted from Naess’ earlier work, which provided the basis for a number of the core concepts expressed in the later eight points and is largely an expression of a movement that sought to create a shift in consciousness of society towards (...) the natural world. It is probably better understood as a lose framework that encapsulates a world view and perspective of nature which is better understood as an aesthetic movement rather than a moral or ethical movement. (shrink)