In her BBC Reith Lectures on Trust, Onora O’Neill offers a short, but biting, criticism of transparency. People think that trust and transparency go together but in reality, says O'Neill, they are deeply opposed. Transparency forces people to conceal their actual reasons for action and invent different ones for public consumption. Transparency forces deception. I work out the details of her argument and worsen her conclusion. I focus on public transparency – that is, transparency to the public over expert domains. (...) I offer two versions of the criticism. First, the epistemic intrusion argument: The drive to transparency forces experts to explain their reasoning to non-experts. But expert reasons are, by their nature, often inaccessible to non-experts. So the demand for transparency can pressure experts to act only in those ways for which they can offer public justification. Second, the intimate reasons argument: In many cases of practical deliberation, the relevant reasons are intimate to a community and not easily explicable to those who lack a particular shared background. The demand for transparency, then, pressures community members to abandon the special understanding and sensitivity that arises from their particular experiences. Transparency, it turns out, is a form of surveillance. By forcing reasoning into the explicit and public sphere, transparency roots out corruption — but it also inhibits the full application of expert skill, sensitivity, and subtle shared understandings. The difficulty here arises from the basic fact that human knowledge vastly outstrips any individual’s capacities. We all depend on experts, which makes us vulnerable to their biases and corruption. But if we try to wholly secure our trust — if we leash groups of experts to pursuing only the goals and taking only the actions that can be justified to the non-expert public — then we will undermine their expertise. We need both trust and transparency, but they are in essential tension. This is a deep practical dilemma; it admits of no neat resolution, but only painful compromise. (shrink)

Michael Peters, Sonja Arndt & Marek TesarThis is a collective writing experiment of PESA members, including its Executive Committee, asking questions of the Philosophy of Education in a New Key. Co...

In this article, I examine the moral dimensions of gender affirmation. I argue that the moral value of gender affirmation is rooted in what Iris Murdoch called loving attention. Loving attention is central to the moral value of gender affirmation because such affirmation is otherwise too fragile or insincere to have such value. Moral reasons to engage in acts that gender affirm derive from the commitment to give and express loving attention to trans people as a way of challenging their (...) marginalization. In the latter part of the paper, I will discuss how my arguments bear on recent arguments by Robin Dembroff and Daniel Wodak (2018) on the use of gender-neutral language. They argue that we have a duty not to use gender-specific pronouns for anyone. Their conclusion turns, in part, on a rejection of gender affirmation as a moral duty. The value of gender affirmation, rooted in our moral perception of trans people, should make us skeptical of this conclusion, in favor of a more nuanced and pluralistic approach to the ethics of gendering. (shrink)

Though much of what we learn about the world comes from trusting testimony, the status of aesthetic testimony – testimony about aesthetic value – is equivocal. We do listen to art critics but our trust in them is typically only provisional, until we are in a position to make up our own mind. I argue that provisional trust (but not full trust) in testimony typically allows us to develop and use aesthetic understanding (understanding why a work of art is valuable, (...) or similar); and aesthetic understanding is an essential component of aesthetic virtue. Aesthetic virtue is the orientation of a whole person towards aesthetic value and aesthetic reasons, through action, non‐cognitive and cognitive attitudes. The ideal (aesthetically virtuous) way to make aesthetic judgements is through your own aesthetic understanding. (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)

I take up three puzzles about our emotional and evaluative responses to fiction. First, how can we even have emotional responses to characters and events that we know not to exist, if emotions are as intimately connected to belief and action as they seem to be? One solution to this puzzle claims that we merely imagine having such emotional responses. But this raises the puzzle of why we would ever refuse to follow an author’s instructions to imagine such responses, since (...) we happily imagine many other implausible things. A natural response to this second puzzle is that our responses to fiction are real, and so can’t just be conjured up in response to an author’s demands. However, this simple response is inadequate, because we often respond differently to people and events in fiction than we would if we encountered them in real life. Solving these three puzzles in a consistent way requires the notion of a “perspective” on a fictional world. I sketch an account of this intuitive but frustratingly amorphous notion: perspectives are tools for organizing our thinking, which can in turn alter our emotional and evaluative responses. Cultivating a perspective can be illuminating, entertaining, or corrupting — or all three at once. (shrink)

This article explores the main similarities and differences between Derek Parfit’s notion of imprecise comparability and a related notion I have proposed of parity. I argue that the main difference between imprecise comparability and parity can be understood by reference to ‘the standard view’. The standard view claims that 1) differences between cardinally ranked items can always be measured by a scale of units of the relevant value, and 2) all rankings proceed in terms of the trichotomy of ‘better than’, (...) ‘worse than’, and ‘equally good’. Imprecise comparability, which can be understood in terms of the more familiar notions of cardinality and incommensurability, rejects only the first claim while parity rejects both claims of the standard view. -/- I then argue that insofar as those attracted to imprecise comparability assume that all rankings are trichotomous, as Parfit appears to, the view should be rejected. This is because imprecise equality is not a form of equality but is a sui generis ‘fourth’ basic way in which items can be ranked. We should, I argue, understand imprecise equality as parity, and imprecise comparability as entailing ‘tetrachotomy’ – that if two items are comparable, one must better than, worse than, equal to, or on a par with the other. Thus those attracted to the idea that cardinality can be imprecise should abandon trichotomy and accept parity and tetrachotomy instead. -/- Finally, I illustrate the difference between Parfit’s trichotomous notion of imprecise comparability and parity by examining how each notion might be employed in different solutions to the problem posed by the Repugnant Conclusion in population ethics. I suggest that parity provides the arguably more ecumenical solution to the problem. (shrink)

Our aesthetic judgments are embedded in and shaped by unjust social orders. But can our aesthetic judgments themselves—“this is beautiful; that is not”—be unjust? This article argues that they can. Admitting that this is so does not require us to be unduly revisionary with respect to our concept of justice. Rather, the thought that aesthetic judgments are unjust flows naturally from familiar egalitarian constraints.

Many great authors claim that reading literature can expand your phenomenal imagination and allow you to imagine experiences you have never had. How is this possible? Your phenomenal imagination is constrained by your phenomenal concepts, which are in turn constrained by the phenomenology of your own actual past experiences. Literature could expand your phenomenal imagination, then, by giving you new phenomenal concepts. This paper explains how this can happen. Literature can direct your attention to previously unnoticed phenomenal properties of your (...) own past experiences, as brought to mind by involuntary memory. This process gives you the opportunity to notice those phenomenal properties for the first time, and so also to form phenomenal concepts of those properties. Forming a new phenomenal concept strictly expands the range of your phenomenal imagination. It gives you the capacity to imagine more than you could have before, including certain specific kinds of experience that you yourself have never enjoyed firsthand. Literature’s capacity to expand your phenomenal imagination in this way is central to its social, moral, and epistemic value. (shrink)

Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. In (...) particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)

This is the most comprehensive book ever published on philosophical methodology. A team of thirty-eight of the world's leading philosophers present original essays on various aspects of how philosophy should be and is done. The first part is devoted to broad traditions and approaches to philosophical methodology. The entries in the second part address topics in philosophical methodology, such as intuitions, conceptual analysis, and transcendental arguments. The third part of the book is devoted to essays about the interconnections between philosophy (...) and neighbouring fields, including those of mathematics, psychology, literature and film, and neuroscience. (shrink)

Narrative representations can change our moral actions and thoughts, for better or for worse. In this article, I develop a theory of fictions' capacity for moral education and moral corruption that is fully sensitive to the diversity of fictions. Specifically, I argue that the way a fiction influences our moral actions and thoughts importantly depends on its genre. This theory promises new insights into practical ethical debates over pornography and media violence.

Philosophers and psychologists have argued that fiction can ethically educate us: fiction supposedly can make us better people. This view has been contested. It is, however, rarely argued that fiction can morally “corrupt” us. In this article, we focus on the alleged power of fiction to decrease one's prejudices and biases. We argue that if fiction has the power to change prejudices and biases for the better, then it can also have the opposite effect. We further argue that fictions are (...) more likely to be a bad influence than a good one. (shrink)

Moral particularists and generalists alike have struggled over how to incorporate the role of moral salience in ethical reasoning. In this paper, I point to neglected resources in Kant to account for the role of moral salience in maxim formation: Kant's theory of reflective judgment. Kant tasks reflective judgment with picking out salient empirical particulars for formation into maxims, associating it with purposiveness, or intentional activity (action on ends). The unexpected resources in Kantian reflective judgment suggest the possibility of a (...) particularist universalism, where recalcitrant particulars directly inform, and in some cases revise, moral principles. Such an account improves on particularist accounts of moral salience and moral perception: rather than deriving moral sensitivity solely from an agent's upbringing or cultural resources, the reflective dimension is situated alongside the universalist dimension of moral principles typically identified with Kantian ethics, allowing for a critical approach both to moral universals and to the reception of moral particulars. (shrink)

It is a commonplace that contemplation of an imaginary particular may have cognitive and motivational effects that differ from those evoked by an abstract description of an otherwise similar state of affairs. In his Treatise on Human Nature, Hume ([1739] 1978) writes forcefully of this.

Country music has not gotten much attention in philosophy. I introduce two philosophical issues that country music raises. First, country music is simple. Some people might think that its simplicity makes country music worse; I argue that simplicity is aesthetically valuable. The second issue is country music’s ideal of authenticity; fans and performers think that country should be real or genuine in a particular way. But country music scholars have debunked the idea that country authenticity gets at anything real; widespread (...) ideas about country authenticity are rooted in a racist and fabricated picture of country music. In discussing these two issues, I highlight the importance of community in country music. (shrink)

I develop two different epistemic roles for emotion and desire. Caring for moral ends and people plays a pivotal though contingent role in ensuring reliable awareness of morally salient details; possession of various emotions and motives is a necessary condition for autonomous understanding of moral concepts themselves. Those who believe such connections compromise the "objective" status of morality tend to assume rather than argue for the bifurcated conception of reason and affect this essay challenges.

We develop an argument for a novel version of moral intuitionism centered on the claim that moral intuitions are trustworthy. Our argument employs an epistemic principle that we call the Trustworthiness Criterion, a distinctive feature of which is its emphasis on oft-neglected social dimensions of cognitive states, including non-doxastic attitudes such as intuition. Thus our argument is not that moral intuitions are trustworthy because they are regress-stoppers, or because they are innocent until proven guilty, or because denying their epistemic contribution (...) would be self-defeating, or because they are presupposed in rational inference, or because they are analogous to perceptions, or because they are based on understanding—individualistic claims that have elsewhere been used (controversially) in defense of the thesis that moral intuitions are in good epistemic standing. Rather, our argument appeals to the idea that moral intuitions are trustworthy because they are the outputs of a cognitive practice, which has epistemically-fecund social elements, that is in good working order. (shrink)

Many people report that reading first-person narratives of the experience of illness can be morally instructive or educative. But although they are ubiquitous and typically sincere, the precise nature of such educative experiences is puzzling—for those narratives typically lack the features that modern philosophers regard as constitutive of moral reason. I argue that such puzzlement should disappear, and the morally educative power of illness narratives explained, if one distinguishes two different styles of moral reason: an inferentialist style that generates the (...) puzzlement and an alternative exemplarist style that offers a compelling explanation of the morally educative power of pathographic literature. (shrink)

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)

Much art is committed to political causes. However, does art contribute something unique to political discourse, or does it merely reflect the insights of political science and political philosophy? Here I argue for indispensability of art to political discourse by building on the debate about artistic cognitivism, the view that art is a source of knowledge. Different artforms, I suggest, make available specific epistemic resources, which allow audiences to overcome epistemic obstacles that obtain in a given ideological situation. My goal (...) is to offer a general model for identifying cognitive advantages for artworks belonging to distinct artforms and genres, in a way that can account for each artwork’s historical and cultural specificity. More speculatively, however, my account also comments on the ancient struggle between philosophy and the arts as competing modes of persuasion, and expands our notion of legitimate political discourse to include a greater plurality of discursive genres. (shrink)

: In the last few years, there has been a revival of interest in the philosophy of Iris Murdoch. Despite this revival, however, certain aspects of Murdoch's views remain poorly understood, including her account of a concept that she famously described as ‘central’ to moral philosophy—i.e., love. In this paper, I argue that the concept of love is essential to any adequate understanding of Murdoch's work but that recent attempts by Kieran Setiya and David Velleman to assimilate Murdoch's account of (...) love to neo-Aristotelian or neo-Kantian theories of moral agency are misconceived. We will not understand what Murdoch is trying to do unless we understand her position as a radical alternative to such theories. Here, I present a reading of Murdoch's account of love as a form of Platonic eros directed toward two objects: the Good and the particular individual. It is in navigating the tension between these two objects that we find ourselves facing what Murdoch famously described as ‘the extremely difficult realization that something other than oneself is real’. When properly understood, Murdoch's account of love opens up conceptual space for an alternative approach to some of the central questions in contemporary moral theory. (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

This volume reflects the development and theoretical foundation of a new paradigm for critical thinking based on inquiry. The field of critical thinking, as manifested in the Informal Logic movement, developed primarily as a response to the inadequacies of formalism to represent actual argumentative practice and to provide useful argumentative skills to students. Because of this, the primary focus of the field has been on informal arguments rather than formal reasoning. Yet the formalist history of the field is still evident (...) in its emphasis, with respect to both theory and pedagogy, on the structure and evaluation of individual, de-contextualized arguments. It is our view that such a view of critical thinking is excessively narrow and limited, failing to provide an understanding of argumentation as largely a matter of comparative evaluation of a variety of contending positions and arguments with the goal of reaching a reasoned judgment on an issue. As a consequence, traditional critical thinking instruction is problematic in failing to provide the reasoning skills that students need in order to accomplish this goal. Instead, the goal of critical thinking instruction has been seen largely as a defensive one: of learning to not fall prey to invalid, inadequate, or fallacious arguments. (shrink)

Like works of literature, thought experiments present fictional narratives that prompt reflection in their readers. Because of these and other similarities, a number of philosophers have argued for a strong analogy between works of literary fiction and thought experiments, some going so far as to say that works of literary fiction are a species of thought experiment. These arguments are often used in defending a cognitivist position with regard to literature: thought experiments produce knowledge, so works of literary fiction can (...) too. This article concedes that works of literary fiction can be put to use in thought experiments, but not in a way that is helpful to the cognitivist. In particular, it draws three disanalogies in the ways we engage critically with thought experiments and with literary fictions. First, we use thought experiments to make arguments; second, we read thought experiments in strongly allegorical terms; and third, the terms of criticism we apply to thought experiments and to works of literature differ. Although these disanalogies present problems for the cognitivist position, they also give us a sharper picture of the distinctive educative potential of works of literary fiction. (shrink)

Transhumanists and their fellow travelers urge humanity to prioritize the development of biotechnologies that would eliminate aging, delivering ‘an endless summer of literally perpetual youth.’ Aspiring not to age instantiates what philosopher Martha Nussbaum calls the yearning for ‘external transcendence,’ or the fundamental surpassing of human bounds due to confidence that life without them would be better. Based on Immanuel Kant’s account of the parameters of human understanding, I argue that engineering agelessness could not be a rational priority for humanity (...) on the level of public policy. This stance is complemented by an argument focused on individual decision-making in liberal-democratic milieus, where no governing conception of the good is presumed and the first-personal level matters greatly. Here, drawing on philosopher and cognitive scientist Laurie Ann Paul’s concept of ‘transformative experience,’ I maintain that individuals could not ‘rationally,’ meaning, here, ‘prudentially,’ say ‘yes’ to agelessness. Absorbing the irrationality of human zeal to eliminate aging, based on assurance that an ageless existence would be better, should spur a redoubled dedication to human flourishing. (shrink)

Can artworks be morally good or bad? Many philosophers have thought so. Does this moral goodness or badness bear on how good or bad a work isas art?This is very much a live debate.Autonomistsargue that moral value is not relevant to artistic value;interactionistsargue that it is. In this paper, I argue that the debate between interactionists and autonomists has been conducted unfairly: all parties to the debate have tacitly accepted a set of constraints which prejudices the issue against the interactionist. (...) I identify two demands which are routinely placed on arguments seeking to establish interaction and argue that they are, in fact, mutually conflicting.There are two upshots. First, in light of this, it is unsurprising that arguments for interaction have failed to meet with everybody’s satisfaction. The constraints are such that no argument can meet them. Second, recognizing this helps us uncover a new, promising, but hitherto overlooked strategy for establishing artistic-ethical interaction. (shrink)

Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.

This article presents an ethics support instrument for healthcare professionals called CURA. It is designed with a focus on and together with nurses and nurse assistants in palliative care. First, we shortly go into the background and the development study of the instrument. Next, we describe the four steps CURA prescribes for ethical reflection: (1) Concentrate, (2) Unrush, (3) Reflect, and (4) Act. In order to demonstrate how CURA can structure a moral reflection among caregivers, we discuss how a case (...) was discussed with CURA at a psychogeriatric ward of an elderly care home. Furthermore, we go into some considerations regarding the use of the instrument in clinical practice. Finally, we focus on the need for further research on the effectiveness and implementation of CURA. (shrink)

In many jurisdictions, an offender’s remorse is considered to be a relevant factor to take into account in mitigation at sentencing. The growing philosophical interest in the use of neurointerventions in criminal justice raises an important question about such remorse-based mitigation: to what extent should technologically facilitated remorse be honoured such that it is permitted the same penal significance as standard instances of remorse? To motivate this question, we begin by sketching a tripartite account of remorse that distinguishes cognitive, affective (...) and motivational elements of remorse. We then describe a number of neurointerventions that might plausibly be used to enhance abilities that are relevant to these different elements of remorse. Having described what we term the ‘moral value’ view of the justification of remorse-based mitigation, we then consider whether using neurointerventions to facilitate remorse would undermine its moral value, and thus make it inappropriate to honour such remorse in the criminal justice system. We respond to this question by claiming that the form of moral understanding that is incorporated into a genuinely remorseful response grounds remorse’s moral value. In view of this claim, we conclude by arguing that neurointerventions need not undermine remorse’s moral value on this approach, and that the remorse that such interventions might facilitate could also be authentic to the recipient of the neurointerventions that we discuss. (shrink)

Several philosophers think there are important analogies between emotions and perceptual states. Furthermore, considerations about the rational assessibility of emotions have led philosophers—in some cases, the very same philosophers—to think that the content of emotions must be propositional content. If one finds it plausible that perceptual states have propositional contents, then there is no obvious tension between these views. However, this view of perception has recently been attacked by philosophers who hold that the content of perception is object‐like. I shall (...) argue for a view about the content of emotions and perceptual states which will enable us to hold both that emotional content is analogous to perceptual content and that both emotions and perceptual states can have propositional contents. This will involve arguing for a pluralist view of perceptual content, on which perceptual states can have both contents which are proposition‐like and contents which are object‐like. I shall also address two significant objections to the claim that emotions can have proposition‐like contents. Meeting one of these objections will involve taking on a further commitment: the pluralist account of perceptual content will have to be one on which the contents of perception can be non‐conceptual. (shrink)

Many of the activities of clinical practice happen to, with or upon vulnerable human beings. For this reason numerous nursing authors draw attention to or claim a significant moral domain in clinical practice. A number of nursing authors also discuss the emotional involvement and/or emotional labour which is often experienced in clinical practice. In this article I explore the importance of emotion for moral perception and moral agency. I suggest that an aspect of being a good nurse is having an (...) emotional sensitivity to other human beings (patients), because this emotional sensitivity allows the nurse to perceive more accurately the context and perspective of the patient. It is thus important to the moral agency of the nurse and to morally sensitive clinical practice. As such education of the emotions should be a feature of the moral education of the nurse. A useful conception of the role of educated emotion in the moral life can be discovered in Aristotelian ethics. (shrink)

The relevance of the Aristotelian concept ofphronesis – practical wisdom – for medicine and medical ethics has been much debated during the last two decades. This paper attempts to show how Aristotle’s practical philosophy was of central importance toHans-Georg Gadamer and to the development of his philosophical hermeneutics, and how,accordingly, the concept of phronesiswill be central to a Gadamerian hermeneutics of medicine. If medical practice is conceived of as an interpretative meeting between doctor and patient with the aim of restoring (...) the health of the latter, then phronesis is the mark of the good physician, who through interpretation comes to know the best thing todo for this particular patient at this particular time. The potential fruitfulness of this hermeneutical appropriation of phronesis for the field of medical ethics is also discussed. The concept can be (and has been) used in critiques of the conceptualization of bioethics as the application of principle-based theory to clinical situations, since Aristotle’s point is exactly that problems of praxis cannot be approached in this way. It can also point theway for alternative forms of medical ethics, such as virtue ethics or a phenomenological andhermeneutical ethics. The latter alternative would have to address the phenomena of healthand the good life as issues for medical practice. It would also have to map out in detail the terrain of the medical meeting and the acts of interpretation through which phronesis is exercised. (shrink)

Recently, cognitivist accounts about art have come under pressure to provide stronger arguments for the view that artworks can yield genuine insight and understanding. In Gregory Currie’s Imagining and Knowing: Learning from Fiction, for example, a convincing case is laid out to the effect that any knowledge gained from engaging with art must “be judged by the very standards that are used in assessing the claim of science to do the same” (Currie 2020: 8) if indeed it is to count (...) as knowledge. Cognitivists must thus rally to provide sturdier grounds for their view. The revived interest in this philosophical discussion targets not only the concept of knowledge at the heart of cognitivist and anti-cognitivist debate, but also highlights a more specific question about how, exactly, some artworks can (arguably) afford cognitive import and change how we think about the world, ourselves and the many events, persons and situations we encounter. This paper seeks to explore some of the ways in which art is capable of altering our epistemic perspectives in ways that might count as knowledge despite circumventing some standards of evidential requirement. In so doing we will contrast two alternative conceptions of how we stand to learn from art. Whereas the former is modelled on the idea that knowledge is something that can be “extracted” from our experience of particular works of art, the latter relies on a notion of such understanding as primarily borne out of a different kind of engagement with art. We shall call this the subtractive conception and cumulative conception respectively. The cumulative conception, we shall argue, better explains why at least some insights and instances of knowledge gained from art seem to elude the evidential standards called for by sceptics of cognitivism. (shrink)

What is the relation of philosophy and teaching? Do we start from philosophy and then work to close the gap through a process of application? Do we start from teaching, and work to create a space for philosophical reflection? Is it enough to include philosophical texts and activities in teacher education? Or perhaps we need to include teachers from the start as collaborators in the production of philosophical work. Of, in, for, with: it seems that every preposition has been proposed (...) to join teaching and philosophy–a perennial dilemma that philosophers of education are far too familiar with. These anxious efforts to close the gap only reinforce our narrow, lopsided images of each endeavor. The teacher turns outward; the philosopher inward. Teaching is mired in the quotidian; philosophy prone to pointless abstraction. Called to act, the teacher works within the constraints of institutions; called to question, the philosopher practices principled withdrawal. While there is a grain of truth here, such contrasts obscure a key fact: philosophy and teaching are deeply kindred practices. The contemporary tragedies unfolding in Gaza and Israel serve as an urgent reminder of the costs of cleaving contemplation from action. Indeed, we will argue that the alienation of teaching (a practical endeavor if ever there was one) and philosophy (the contemplative discipline par excellence) damages the integrity of each. In what follows, we explore three conceptual sites—the posing of questions, the act of walking together, and the effort to discover what is at stake—which demonstrate a welcome return, or reunion, between philosophy and teaching. (shrink)

In this paper, I offer a defence of aesthetic education in terms of aesthetic experience, claiming that aesthetic experience and art appreciation is a vital component of a flourishing life. Given schools have an important role to play in helping prepare young people for their adult lives, it is crucial they should consider how best to equip students with the means to achieve a flourishing life. It is on these grounds I defend arts education as compulsory across the curriculum. In (...) order to adopt this position, I firstly critically engage with two competing defences of including the arts on the curriculum on the basis of firstly, the role art has to play in supporting self-expression, and secondly, a defence of the arts in relation to their role in supporting moral improvement. After explaining why these arguments fail to do the work required to defend aesthetic education as thoroughly as is needed, I turn to the defence based on aesthetic experience because it allows for a defence of the arts to be made on the basis of art’s distinctive value. (shrink)

What place do experiences of beauty have in a meaningful life? A marginal one, at best, it would seem, if one looks at the current literature in analytic philosophy. Treatments of beauty within so-called “analytic existentialism” tend to suffer from four limitations: beauty is neglected, reduced to artistic production, saddled to theology, or taken as a mere application of a broader theoretical framework. These discussions fail to engage with the rich tradition of philosophical aesthetics. In this essay, I begin by (...) responding to the contention that experiences of beauty cannot lend life meaning because they are passive. Drawing on work in philosophical aesthetics, I then argue that encounters with the beautiful count as genuinely meaning-conferring because they have features commonly taken as marks of meaningfulness. (shrink)

This article has two aims. The first is to open up a line of inquiry into whether epistemic and aesthetic values interact, at the most general level. Does an overall increase in epistemic or aesthetic value in the world have an effect on the alternative value? The second, and more specific, aim is to argue that yes, it does. In particular, I argue that an increase in epistemic value would result in a decrease in aesthetic value, across two important dimensions. (...) First, I argue that, if beliefs universally aligned with a commonly accepted epistemic principle—namely, doxastic correctness—then there would be less aesthetic diversity in the world. And second, I argue that, if beliefs universally aligned with doxastic correctness, then there would also be less overall aesthetic value in the world, at least in some important respects. (shrink)

In order for the concept, 'recognition', to play a critical role in social theory, it must be possible to draw a distinction between due recognition and failures of recognition. Some recognition theorists, including Axel Honneth, argue that this distinction can be preserved only if we presuppose that due recognition involves a rational response to "evaluative qualities" that can be rightly perceived in the context of social interaction. This paper points out a problem facing recent defenses of this "perception model" and (...) proposes a solution. I begin by making explicit three criteria broadly shared by recognition theorists: an adequate theory of recognition must be (a) critical, capable of drawing a distinction between due recognition and recognitive failure; (b) minimally idealist, able to accommodate the mediating role of subjectivity in human receptivity to value; and (c) historicist, should not rule out a priori that the values involved in recognitive practice are historically emergent. I then argue that Honneth's version of the perception model cannot fulfill these criteria simultaneously. Drawing upon an Aristotelian notion of evaluative perception and working through an example from Zadie Smith's On Beauty, I defend an alternative view that is, I argue, better equipped to meet these three criteria. (shrink)

In a recent paper, James Edwin Mahon argues that literary artworks—novels in particular—never lie because they do not assert. In this discussion note, I reject Mahon’s conclusion that novels never lie. I argue that a central premiss in his argument—that novels do not contain assertions—is false. Mahon’s account underdetermines the content of literary works; novels have rich layers of content and can contain what I call ‘profound’ assertions, and ‘background’ assertions. I submit that Mahon therefore fails to establish that novels (...) never lie. (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)

Applied ethicists’ interest in narratives and narratives ethics has grown steadily. Some thinkers position narratives as supplements to ethics, while others see narratives as new form of ethics comparable to virtue or deontological ethics. In this paper, I analyze some of the main ethical claims being made on behalf of business and literary narratives from the perspective of Aristotelian virtue ethics. I argue that, while narratives can significantly contribute to the development of our character, to a better grasp of virtues (...) and vices, and to a clarification of a virtue ethics framework, this contribution is highly nuanced. In particular, Aristotelian virtue ethics enable us to sensibly and helpfully distinguish the ethical value of _narratives within business ethics_ from _narrative business ethics _per se. This paper has three parts. Part One offers a provisional definition of narrative and sketches some of the large claims that literary critics, philosophers, theologians, and others have made for narratives’ relevance to and value for ethics. In Part Two, using narratives drawn from business and literature, I take up each of these claims in turn and examine whether the claim makes sense and is compelling from an Aristotelian virtue ethics perspective. Part Three gathers together the threads of the arguments in Part Two to specify the modest, but nonetheless significant, legitimate roles narratives might play within Aristotle’s virtue ethics. I also point to some limitations inherent in an Aristotelian critique of narrative ethics and suggest some questions for future research. (shrink)

Encounters with art can change us in ways both big and small. This paper focuses on one of the more dramatic cases. I argue that works of art can inspire what L. A. Paul calls transformations, classic examples of which include getting married, having a child, and undergoing a religious conversion. Two features distinguish transformations from other changes we undergo. First, they involve the discovery of something new. Second, they result in a change in our core preferences. These two features (...) make transformations hard to motivate. I argue, however, that art can help on both fronts. First, works of art can guide our attempt to imagine unfamiliar ways of living. Second, they can attract us to values we currently reject. I conclude by observing that what makes art powerful also makes it dangerous. Transformations are not always for the good, and art's ability to inspire them can be put to immoral ends. (shrink)

There is a long tradition in philosophy and literary theory defending the view that engagement with literature promotes readers’ empathy. Until the last century, few of the empirical claims adduced in that tradition were investigated experimentally. Recent work in psychology and neuropsychology has now shed new light on the interplay of empathy and literature. This article surveys the experimental findings, addressing three central questions: What is it to read empathically? Does reading make us more empathic? What characteristics of literature, if (...) any, affect readers’ empathy? While experimental studies have delivered no conclusive answers to these questions, it has exposed their psychological complexity and constructed a more nuanced picture of the diverse ways in which literature interacts with our empathic capacities. (shrink)

Editorial introduction to series of papers resulting from a European Commission Project on mental capacity.

ABSTRACT This article argues for a unique role of imagination and mental images in the moral education of students. Imagination is rendered here as a capacity oriented toward realizable and salient goals; mental images are understood as particular future-oriented self-representations (FOSRs) devised by and held in imagination. FOSRs have four moral attributes: they are 1) expressive of us as moral agents, 2) shape our moral identity, 3) serve as moral pointers, and 4) help devise mitigating strategies. FOSRs can be created (...) and utilized in educational settings to further the goals of moral education by i) fostering sensitivity to moral situations among students, ii) motivating learners to act morally, iii) facilitating environments supportive of moral practice and moral habituation, and iv) helping strengthen cross-situational consistency of moral action. The four moral attributes of future-oriented self-representations (FOSRs) (1–4) that are to be engaged in moral education to further its goals (i–iv) are correlated with four elements of moral education, namely: a) moral awareness; b) moral competency; c) moral motivation; and d) moral capacity. To argue for the special role of imagination and mental images in moral education this paper integrates philosophical research and conceptual and empirical studies in psychology and education on the morality of imagination and mental images. (shrink)