According to the perceptual theory of emotion, emotions are evaluative perceptions. However, emotions involve us in a way that regular perception does not and this has led to two influential objections to the perceptual theory have emerged. According to the first objection, the perceptual theory is false because the phenomenology of emotion is the phenomenology of response. According to the second objection, the perceptual theory is false because emotions are susceptible to evaluations of rationality and reason-responsiveness. In this essay, I (...) defend the perceptual theory by disarming these two objections. In response to the first objection, I suggest that emotional phenomenology bears a striking resemblance to the phenomenology of touch. Both are non-transparent forms of experience whereby it is through our experience of being affected in a certain way that reveals to us some property of the world. I disarm the second objection by providing a developmental account as to how adult emotion acquires the features of rational and reason-responsive evaluability. In the process of childhood, we gain the ability to construe the world in certain ways and regulate our emotions in concert with the moral community, thus transforming emotions and bringing them into the space of normative evaluability. (shrink)

I argue for an account of creativity that unifies creative achievements in the arts, sciences, and other domains and identifies its characteristic value. This account draws upon case studies of creative work in both the arts and sciences to identify creativity as a kind of successful exploration. I argue that if creativity is properly understood in this way, then it is fundamentally a property of processes, something only agents can achieve, something that comes in degrees, subjectively novel, and non-formulaic. As (...) I develop the account, I show how it avoids challenges faced by other accounts of creativity, especially concerning creativity's value. Hills and Bird have together argued that creativity is not necessarily valuable. My account challenges this view. If I am right that creativity is a kind of successful exploration, then creativity does have a characteristic value, specifically epistemic value. (shrink)

I first quickly outline what I think grasping is, and suggest that it is both among our basic aims of inquiry and not essentially tied to belief, justification, or knowledge. Then, I briefly look at some places in the metaphysics of science in which it looks like our aim of grasping and our aim in knowing—or perhaps more specifically in knowing the explanations for things—might seem to conflict. I will use this conflict to support a broader view: sometimes, we might (...) develop philosophical views or theories—and even endorse them—in order to better grasp them, regardless of whether we genuinely believe them, or are justified in so doing. At other times, we may be aiming at propositional knowledge. These aims can come apart, and perhaps even systematically come apart. A pluralism about the value of those aims doesn’t entail an “anything goes” attitude with respect to how we think about what philosophical views to put forward, defend, or endorse, however—far from it. Instead, it suggests that what counts as a virtue of a philosophical theory depends on our aims in espousing it. If philosophers have distinct aims at the meta-level, it will be hard for them to engage in joint theory evaluation at the first-order level. At least all three of theoretical virtues, evaluative judgments of philosophical views, and what attitudes we ought to have towards the views we ourselves espouse will vary according to our guiding metaphilosophical aims. (shrink)

What can we know? How should we live? What is there? Philosophers famously diverge in the answers they give to these and other philosophical questions. It is widely presumed that a lack of convergence on these questions suggests that philosophy is not progressing at all, is not progressing fast enough, or is not progressing as fast as other disciplines, such as the natural sciences. Call the view that ideal philosophical progress is marked by at least some degree of convergence on (...) the core philosophical questions the pro-convergence thesis. I will argue that there is reason to reject the pro-convergence thesis in favor of the anti-convergence thesis, the view that significant viewpoint convergence is at odds with the aims of a philosophically ideal community. The argument centers on a thought experiment about two different philosophical communities. (shrink)