This chapter explores the foundation and content of the duty to respect persons. The authors argue that it is best understood as a duty to recognize people’s rights. Respect for persons therefore has specific implications for how competent and non-competent persons ought to be treated in research. For competent persons it underlies the obligation to obtain consent to many research procedures. The chapter gives an analysis of the requirements for obtaining valid consent. It then considers respect for persons as it (...) relates to four common topics: the therapeutic misconception, research with children and adolescents, the use of deception in research, and research on competent adults without their consent. (shrink)

This paper attempts to show the real nature of Universal Grammar. Universal grammar is separate part of human mind which makes language learning possible and generative. Universal grammar is the symbolic and systematic rules inside our mind. These rules help us to classify, analyze, differentiate, assimilate, understand and recognize human language. This paper determines the real nature of philosophical grammar and discusses the modular and non-modular approach of it. I shall examine the critical approaches of Wittgenstein and Chomsky and their (...) comparison to investigate the philosophical grammar. (shrink)

The aim of this paper is to show that for Kant, a combination of epigenesis and monogenesis is the condition of possibility of anthropology as he conceives of it and that moreover, this has crucial implications for the biological dimension of his account of human nature. More precisely, I begin by arguing that Kant’s conception of mankind as a natural species is based on two premises: firstly the biological unity of the human species (monogenesis of the human races); and secondly (...) the existence of ‘seeds’ which may or may not develop depending on the environment (epigenesis of human natural predispositions). I then turn to Kant’s account of man’s natural predispositions and show that far from being limited to the issue of races, it encompasses unexpected human features such as gender, temperaments and nations. These predispositions, I argue, are means to the realisation of Nature’s overall purpose for the human species. This allows me to conclude that man’s biological determinism leads to the species’ preservation, cultivation and civilisation. (shrink)

A short formal actually-onepage proof that proves all things must be interpretable in at least more than one way , as any determination to an exact unary finitude is an overdetermination in necessitation that obtains an analytic contradiction which would thus be a doubly determinable conclusivity, which if as assumed would not be analytically so; thus, one must have, for any axiomatic set theoretic construction to number count to properly function toward any decision making aprioretically founded actual aposteriori -- and (...) NOT a stochastic at most-base ontologic -- at least more than one concomitant incorporated-definition to any null object that its nullity being erroneously considered null is not actually so as null , since upon a minimal sufficience obtained positive differentiation is self-proved via plurality indefining its own underdeterminability, null is also naught is also ø is also orthogonal to some "you" physically reading this abstract . (shrink)

This paper defends the view that one's own mental states are metaphysically privileged vis-à-vis the mental states of others, even if only subjectively so. This is an instance of a more general view called Subjectivism, according to which reality is only subjectively the way it is. After characterizing Subjectivism in analogy to two relatively familiar views in the metaphysics of modality and time, I compare the Subjectivist View of the Mental with Egocentric Presentism, a version of Subjectivism recently advocated by (...) Caspar Hare. I argue that the Subjectivist View of the Mental goes a considerable way towards solving certain long-standing philosophical puzzles having to do with the unity of consciousness, the contents of self-awareness and the intransmissibility of experiential knowledge through testimony. (shrink)

Although the free-will reply to divine hiddenness is often associated with Kant, the argument typically presented in the literature is not the strongest Kantian response. Kant’s central claim is not that knowledge of God would preclude the possibility of transgression, but rather that it would preclude one’s viewing adherence to the moral law as a genuine sacrifice of self-interest. After explaining why the Kantian reply to hiddenness is superior to standard formulations, I argue that, despite Kant’s general skepticism about theodicy, (...) his insights pertaining to hiddenness also provide the foundation for a new theodicy that merits serious attention. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

Genes are often described by biologists using metaphors derived from computa- tional science: they are thought of as carriers of information, as being the equivalent of ‘‘blueprints’’ for the construction of organisms. Likewise, cells are often characterized as ‘‘factories’’ and organisms themselves become analogous to machines. Accordingly, when the human genome project was initially announced, the promise was that we would soon know how a human being is made, just as we know how to make airplanes and buildings. Impor- tantly, (...) modern proponents of Intelligent Design, the latest version of creationism, have exploited biologists’ use of the language of information and blueprints to make their spurious case, based on pseudoscientific concepts such as ‘‘irreducible complexity’’ and on flawed analogies between living cells and mechanical factories. However, the living organ- ism = machine analogy was criticized already by David Hume in his Dialogues Concerning Natural Religion. In line with Hume’s criticism, over the past several years a more nuanced and accurate understanding of what genes are and how they operate has emerged, ironically in part from the work of computational scientists who take biology, and in particular developmental biology, more seriously than some biologists seem to do. In this article we connect Hume’s original criticism of the living organism = machine analogy with the modern ID movement, and illustrate how the use of misleading and outdated metaphors in science can play into the hands of pseudoscientists. Thus, we argue that dropping the blueprint and similar metaphors will improve both the science of biology and its understanding by the general public. (shrink)

Crisis occupies an ambiguous place in the writings of Hannah Arendt. Not only does crisis undermine categories of judgment, but in doing so it eliminates prejudices as well, forcing us to judge without them. Although Arendt never had an opportunity to fully develop her understanding of judgment, we know that she considered it to be ‘the most political of man’s mental abilities,’ and her writings on education reflect this. In her essay, ‘The Crisis in Education’ she draws a connection between (...) judgment and crisis, linking it to the work of the classroom. It is this relationship, between crisis and judgment, that I examine. In doing so, I turn to two figures central to Arendt’s work – Immanuel Kant and Adolf Eichmann – each of whom embody opposing aspects of what it means to judge, epitomized by a conceptual tension between example and cliché. (shrink)

In hisCritique of the Power of Judgement, Kant explicates the creation of works of fine art (schöne Kunst) in terms of aesthetic ideas. His analysis of aesthetic ideas claims that they are not concepts (Begriffe) and are therefore not definable or describable in determinate language. Nevertheless, Kant claims that aesthetic ideas are communicable via spirit (Geist), a special mental ability he associates with artistic genius. This paper argues that Kant's notion ofGeistis central to his analysis of fine art's expressive power. (...) The notion ofGeistconstitutes a conceptual link between Kant's aesthetic theory and that of G. W. F. Hegel, for whose analysisGeistis the subject. (shrink)

Philosophers and artists consider the relevance of Maurice Merleau-Ponty’s philosophy for understanding art and aesthetic experience. This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened (...) scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty’s aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher’s writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining. (shrink)

David-Ménard examines the problem of the genesis of Kant's moral philosophy. The separation between Kantian practical reason and the inclinations of sense which it regulates is shown by the author to originate in Kant's attempt to regulate his own tendency to hypochondria. Her argument links the themes from two of Kant's pre-critical works which attest to this tendency—“An Essay on the Maladies of the Mind” and Observations on the Feeling of the Beautiful and the Sublime—to the final form of the (...) critical philosophy. (shrink)

How far can consistent assessment capture all the worthwhile features of educational achievement? Are some important components of learning necessarily open to a range of potentially inconsistent judgments by different assessors? I argue for a cautiously affirmative answer to this question, drawing on analogies with aesthetic judgments and a rehearsal of the holistic characteristics of some assessment criteria. I also employ recent treatments of moral particularism and of concepts of incommensurability to oppose the drive for consistency in assessment required by (...) a high stakes accountability regime. (shrink)

What do Elliot Eisner's discussions of objectivity mean for the strength of the link between consistency and truth in educational research? Following his lead, I pursue this question by comparing aspects of qualitative educational research with appraising the arts. I argue that some departures from the highest levels of consistency in assessing the arts are compatible with truth and objectivity, and that this is at least suggestive for how consistency in qualitative educational research should be viewed. In the final part (...) of the paper I look at some problems inherent in comparing the value of works of art, and consider whether similar issues arise when we attempt to grade different kinds of educational research. (shrink)

Carolyn Korsmeyer has offered some compelling arguments for the role of disgust in aesthetic appreciation. In the course of this project, she considers and holds up for justifiable criticism the account of emotional conversion proposed by David Hume in “Of Tragedy”. I will consider variant interpretations of Humean conversion and pinpoint a proposal that may afford an explanation of the ways in which aesthetic absorption can depend on and be intensified by the emotion of disgust.

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

Conventional wisdom teaches that Thomas Huxley discredited Richard Owen in their debate over ape and human brains. This paper reexamines the dispute and uses it as a test case for evaluating the metaphysical realist, internal realist, and social constructivist theories of scientific knowledge. Since Owen worked in the Kantian tradition, his anatomical research illustrates the implications of internal realism for scientific practice. As an avowed Cartesian, Huxley offered a well developed attack on Owen''s position from a metaphysical realist perspective. Adrian (...) Desmond''s political retrospective on the dispute affords the additional opportunity to contrast internal realism with social constructivism. I argue that since Huxley ultimately based his attack on his valuing Europeans as superior to blacks, his argument illustrates the hazards of accepting the metaphysical realist promise of value free science. Desmond overlooks this racial dimension of the dispute, and his work shows how social constructivism can distract the historian and philosopher from even the social meaning of science. As internal realists like Putnam have argued, values enter science not from without, but from within the very process of science itself. (shrink)

According to Kant, the opacity of human motivation takes two distinct forms – a psychological form: man ‘can never, even by the most strenuous self-examination, get entirely behind [his] covert incentives’ – and a social form: ‘everyone in our race finds it advisable to be on his guard, and not to reveal himself completely’. In other words, first, men's ‘interior’ cannot be entirely revealed to themselves and, second, they tend not to reveal their ‘interior’ to others. A number of Kant (...) scholars have acknowledged the importance of the first form of opacity in Kant's thought and have attempted to draw out from it implications for moral deliberation and ethics in general. The aim of this paper is to examine the second, social form of opacity and draw out its anthropological implications, an issue that has been overlooked in the literature. To do so, I focus on Kant's contrast between men and beings that I would like to call ‘sincere aliens’. These sincere aliens are beings who have the opposite features of man's opacity, namely beings who cannot but reveal their ‘interior’ both to others and to themselves. (shrink)

For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...) Kant's notions of an aesthetic idea and an aesthetic attribute, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it. -/- . (shrink)

Trying to assess Kant's impact on contemporary aesthetics is by no means a straightforward task, for the simple reason that the subject is saturated with his influence. In all aspects of the theory and practice of art, it is possible to observe concepts and attitudes at work which are either a reflection of, or a response to, Kant's thinking. This might seem a rather overblown claim and a difficult one to substantiate but, without going into too much detail at this (...) point, one has only to consider that the central tenets of both modernism and postmodernism can be traced back to Kant's Critical thought. There is the modernist's interest in the conditions of possibility of representation – as evidenced, for example, by the push towards abstraction in the visual arts and the attempt to paint not the world but the process of painting itself – and, responding to this, the postmodernist's concern that these conditions of possibility should not become universal absolutes. (shrink)

In this paper, I contend that there are at least two essential traits that commonly define being an I: self-identity and self-consciousness. I argue that they bear quite an odd relation to each other in the sense that self-consciousness seems to jeopardize self-identity. My main concern is to elucidate this issue within the range of the transcendental philosophies of Immanuel Kant and Edmund Husserl. In the first section, I shall briefly consider Kant’s own rendition of the problem of the Egosplitting. (...) My reading of the Kantian texts reveals that Kant himself was aware of this phenomenon but eventually deems it an unexplainable fact. The second part of the paper tackles the same problematic from the standpoint of Husserlian phenomenology. What Husserl’s extensive analyses on this topic bring to light is that the phenomenon of the Ego-splitting constitutes the bedrock not only of his thought but also of every philosophy that works within the framework of transcendental thinking. (shrink)

Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside, he nonetheless understands the task of the philosopher as that of making outside and inside converge in a representation. Drawing on Hegel's philosophy of art, I show that Kierkegaard's project in (...) both of these books is the aesthetic project of revealing the inner essence of something in its outward appearance. Kierkegaard's portrait of Socrates in The Concept of Irony is a phenomenology of the spirit of irony. My interpretation adds a new dimension to our understanding of Kierkegaard's aesthetics and his relation to Hegel; it presents him as a follower of Plato, whom he is usually thought to have dismissed; and it uncovers a deep connection between Kierkegaard's first two books, which are never read in conjunction. (shrink)

The Darwinian revolution supposed and imposed a much broader and more complex concept of environment than that which, until that moment, had been considered by most as part of natural history. Until Darwin, the environment of living beings had been regarded, almost exclusively, as the inanimate surroundings. This pre-Darwinian notion of environment included physicochemical and climatic variables: the living beings themselves were scarcely considered, or they were regarded just as food to be assimilated. In contrast, with Darwin, the influence of (...) living surroundings began to be regarded as having decisive importance for understanding the distribution, configuration, and viability of living beings. The relationships established among different living beings became the main and more significant features of the biological environment. This conceptual change was an exigency derived from the formulation and justification of the theory of natural selection. The idea of struggle for existence supposed by that theory requires that the biotic environment be considered critical in determining the viability of each living being. (shrink)

Galit Wellner’s exploration of new kinds of digital technologies employing AI algorithms that simulate features and functions of the human imagination leads her to propose a conceptual analysis of the imagination as a composite of perception and memory. Wellner poses the question of whether the output of such technological applications might be regarded as not merely simulating creative activity but as truly imaginative in their own right. Wellner concludes with a qualified “no.” The use of AI algorithms in conjunction with (...) human cognitive activity, conceived in terms of a layered architecture of the faculties in question, can in fact be understood as an essential component of imaginative, and thus creative, production, but humans are still needed in the mix. To the extent that the AI-algorithm-enhanced human system is capable of imagining and creating works of art, imagination can be extended to AI algorithms. But, the algorithms sans humans are not themselves imaginers. For Wellner, AI algorithms can augment and enhance human imaginative efforts, equipping us with a richer and vastly wider array of possibilities and options for aesthetic consideration, but ultimately, the human is the essential element. However, once the door is opened to accepting algorithmically determined alternatives as capable of successfully achieving desired results within a field of possible outcomes, it seems possible that the activities of connecting, coordinating, or meaningfully linking, combining, and establishing new imaginative layers that Wellner reserves as requiring humans to enact might also be programmable, algorithmically achievable tasks that instantiate genuine aesthetic decision making. (shrink)

Argues that truth, moral right, political right, and aesthetic value may be understood as arising out of a naturalist account of humanity, if naturalism is rightly conceived.

This paper argues that Hegel's depiction of knowledge, as presented in the Encyclopaedia philosophy of subjective Spirit, is founded on what he deems to be the practical interests of self-consciousness. More specifically, it highlights the significance of the will in Hegel's understanding of the cognitive process. I begin with a survey of the relation between category-formation and the notion of self-determining freedom in the Logic , and therewith draw attention to the unity of thinking and willing in the Concept. I (...) then indicate how Hegel's philosophy of subjective Spirit should be read as the applied logic of the Concept, according to which the socially constituted self-conscious I seeks to realise its claims to freedom through its theoretical cognitions of objects. As part of what could be called Hegel's integrative theory of the faculties, I finally argue that the will underscores both the determinate character of our theoretical cognitions and the reflexivity of knowledge in general. On this score, I maintain that Hegel, whose relation to Kant and Fichte I also consider, is of the view that it is with reference to willing that we can account for the self-referential nature of reason in toto as the actualised unity of theoretical-practical subjectivity. (shrink)

It is a common thought that mathematics can be not only true but also beautiful, and many of the greatest mathematicians have attached central importance to the aesthetic merit of their theorems, proofs and theories. But how, exactly, should we conceive of the character of beauty in mathematics? In this paper I suggest that Kant's philosophy provides the resources for a compelling answer to this question. Focusing on §62 of the ‘Critique of Aesthetic Judgment’, I argue against the common view (...) that Kant's aesthetics leaves no room for beauty in mathematics. More specifically, I show that on the Kantian account beauty in mathematics is a non-conceptual response felt in light of our own creative activities involved in the process of mathematical reasoning. The Kantian proposal I thus develop provides a promising alternative to Platonist accounts of beauty widespread among mathematicians. While on the Platonist conception the experience of mathematical beauty consists in an intellectual insight into the fundamental structures of the universe, according to the Kantian proposal the experience of beauty in mathematics is grounded in our felt awareness of the imaginative processes that lead to mathematical knowledge. The Kantian account I develop thus offers to elucidate the connection between aesthetic reflection, creative imagination and mathematical cognition. (shrink)

ArgumentThis essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. Münsterberg (1863–1916), a German born and educated professor of psychology at Harvard University, turned his attention to cinema only a few years before his untimely death at the age of fifty-three. But he brought to the new medium certain lasting preoccupations. This account begins with the contention that Münsterberg's intervention in the cinema discussion pursued his well-established strategy of pitting a laboratory model against a clinical one, (...) in this case the “master-trope” of early cinema a spectatorship drawn from hysteria, hypnosis, and related phenomena like double-consciousness. Münsterberg's laboratory-oriented account also flowed from his account of cinema technology as an outgrowth of the apparatus of his own discipline of experimental psycho-physiology, which entailed a model of cinema spectatorship continuous with the epistemological setting of laboratory relations. I argue that inThe Photoplayand related writings projection functioned in three registers: material, psychological, and philosophical. Münsterberg's primary concern was with psychological projection, where he drew upon his own work in experimental aesthetics to articulate an account of how the basic automatisms of cinema produce a state of oscillation between immersion and distraction. I show how Münsterberg's experimental aesthetics drew upon German doctrines of aesthetic empathy, orEinfühlung, which Münsterberg sought to modify in accordance with the dynamic and temporal characteristics of psycho-physiological experiment. Finally, I argue that Münsterberg's cinema theory was enfolded in his action or double-standpoint theory, in which the transcendental self posits the material, objective conditions of laboratory experience as a means to know itself. This philosophical projection explained cinema's uncanny ability to suspend ordinary perceptions of space, time, and causality. It also made cinema uniquely suited for the philosophical emancipation of a popular mass audience. (shrink)

What factors in the organizational culture of an ethically exemplary corporation are responsible for encouraging ethical decision making? This question was analyzed through an exploratory case study of a top pharmaceutical company that is a global leader in ethics. The participating organization is renowned in public opinion polls of ethics, credibility, and trust. This research explored organizational culture, communication in issues management and public relations, management theory, and deontological or utilitarian moral philosophy as factors that might encourage ethical analysis. Our (...) understanding of organiza tional ethics is enhanced by elucidating factors the case revealed as encouraging ethical analysisan organizational culture that emphasizes the importance of ethics, Theory Y management, a symmetrical worldview valuing innovation and dialogue, a counseling role for issues management or public relations in the dominant coalition, rewarding ethical behavior, ethical analysis using moral philosophy, consistency between individual values and organizational philosophy, and ethics training. These factors, and perhaps others as yet unidentified, worked together to create an environment that encouraged ethical decision making at the exemplar organization. (shrink)

In this article, I first address the ethical considerations about football and show that a meritocratic-fairness view of sports fails to capture the phenomenon of football. Fairness of result is not at centre stage in football. Football is about the drama, about the tension and the emotions it provokes. This moves us to the realm of aesthetics. I reject the idea of the aesthetics of football as the disinterested aesthetic appreciation, which traditionally has been deemed central to aesthetics. Instead, I (...) argue that we should try and develop an agon aesthetics where our aesthetic appreciation is understood as involving and being embedded in our engagement in the game. The drama of football is staged but not scripted. The aesthetics of competitions like football matches—the agon aesthetics—lies in engaging in the conflict that a competition is, while being aware that the conflict is not over ordinary world or everyday life issues, but unnecessary and invented for the very purpose of having a conflict to enjoy. (shrink)

Emergence is interpreted in a non-dualist framework of thought. No metaphysical distinction between the higher and basic levels of organization is supposed, but only a duality of modes of access. Moreover, these modes of access are not construed as mere ways of revealing intrinsic patterns of organization: They are supposed to be constitutive of them, in Kant’s sense. The emergent levels of organization, and the inter-level causations as well, are therefore neither illusory nor ontologically real: They are objective in the (...) sense of transcendental epistemology. This neo-Kantian approach defuses several paradoxes associated with the concept of downward causation, and enables one to make good sense of it independently of any prejudice about the existence (or inexistence) of a hierarchy of levels of being. (shrink)

This paper develops a novel interpretation of Kant's argument from incongruent counterparts to the effect that the representations of space and time are intuitions rather than concepts. When properly understood, the argument anticipates the contemporary position whereby the meaning of indexicals cannot be captured by descriptive contents.

This essay challenges the thesis that the modern world is a ‘disenchanted’ one. I contend that enchantment has outlasted the Enlightenment; that it endures despite the demise of the ontology that allowed it paradigmatic expression in the sixteenth century writings of Paracelsus. I present two post‐medieval pictures of an enchanted world: the first appears, of all places, in Kant's Critique of Judgment, where a peculiar magic is required of nature if humans are to gain access to the ‘supersensible’ realm of (...) freedom and rational ideas; the second focuses upon the strange beauty of late modernity's admixtures of animal and human, organism and machine, the given and made. Here I use a little Kafka and lot of Deleuze to explore these hybrids as ‘technoenchantments’ operative in a world that fascinates without being expressive of a design or a will. I spotlight contemporary sites of enchantment in order to intensify the experience of them, and thus perhaps to erode the conviction that an undesigned universe calls above all for a cold‐eyed instrumentalism. (shrink)

In this paper, I present a sample spiritual exercise—a contemporary form of the written practice that ancient philosophers used to shape their characters. The exercise, which develops the ancient practice of the examination of conscience, is on the sixth mass extinction and seeks to understand why the extinction appears as a moral wrong. It concludes by finding a vice in the moral character of the author and the author’s society. From a methodological standpoint, the purpose of spiritual exercises is to (...) create a habit of thoughtfulness in the writer, and by way of teaching, to suggest one to the reader. Such a habit is important, at least, because virtue is a habit. In other words, there can be no learning of virtue itself without habituation into it. Accordingly, I frame the sample spiritual exercise with a deliberately controversial objection to contemporary academic virtue ethics and with a justification for why the spiritual exercise is important for taking virtue ethically. And I end the paper with some further remarks explaining the form of the exercise and its relevance to doing philosophy. In this way, the paper makes and illustrates a methodological point about virtue ethics based on a meta-ethical assumption about virtue as a habit, and it does this by focusing on a pressing environmental problem in the twenty-first century. (shrink)

In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense has quite (...) a lot in common with taking and appreciating a photograph. On our way, we will see how imagination plays a crucial role in the story. (shrink)

This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual culture in (...) philosophical thought. The bibliography for the course comprised a list of basic texts in aesthetic education, from Friedrich Schiller to Nelson Goodman. In class we linked the range of philosophical views examined to the artistic exploration of themes (mainly in contemporary and local art). The course also incorporated guest speakers who presented their own projects relating to different meeting points of art and education, including social-activist artists, curators, philosophers of education and school architects. The article presents the rationale for the course, its method and a sample of its content. (shrink)

Kant and Kierkegaard are two philosophers who are not usually bracketed together. Yet, for one commentator, Ronald Green, in his book Kierkegaard and Kant: The Hidden Debt , a deep similarity between them is seen in the centrality both accord to the notion of freedom. Kierkegaard, for example, in one of his Journal entries, expresses a ‘passion’ for human freedom. Freedom is for Kierkegaard also linked to a paradox that lies at the heart of thought. In Philosophical Fragment Kierkegaard writes (...) about the ‘paradox of thought’: ‘the paradox is the passion of thought […] the thinker without the paradox is like the lover without the passion.’. (shrink)

It is argued that certain individuals can and should be considered 'morally exemplary' with respect to the environment. This can be so even where there is no universally applicable ethical principle they employ, and no canonical set of virtues they exhibit. The author identifies Henry David Thoreau, Aldo Leopold, Annie Dillard and Edward Abbey as potential 'environmental exemplars,' focusing for the purposes of the essay on individuals who have written compelling autobiographical works in defense of a way of life that (...) is both attuned to the values of a particular place and attentive to the humanistic concerns that have more traditionally been the locus of ethical thought. (shrink)

This paper opens by distinguishing between the multiple concepts of system and the philosophical idea of system. It then goes on to discuss the differences between systems and other proximate ideas, such as whole, set, aggregate and structure. Subsequently, it proposes a definition of system, and then lays out three classifications of systems. When elaborating a general definition of system, the main challenge is finding a general criterion with which to characterize both technical systems built by men, and scientific systems (...) independent of human subjects. The criterion proposed in the text solves this difficulty. Lastly, from the tenets of Gustavo Bueno’s hyperrealist philosophy of categorial closure, I put forward the consideration of the sciences as systems. (shrink)

A central question of environmental ethics remains one of how best to account for the intuitions generated by the Last Man scenarios; that is, it is a question of how to explain our experience of value in nature and, more importantly, whether that experience is justified. Seeking an alternative to extrinsic views, according to which nonhuman entities possess normative features that obligate us, I turn to constitutive views, which make value or whatever other limits nonhuman nature places on action dependent (...) on features intrinsic to human beings and constitutive of them or their obligations. After examining two kinds of constitutive views—environmental virtue ethics and Korsgaard’s Kantianism—I suggest an alternative that takes up the strengths of both while avoiding their shortcomings. On this view, we have an indirect obligation to experience nature as obligating us, although we have direct obligations only to human beings. (shrink)