Why do we so often care about the outcomes of games when nothing is at stake? There is a paradox here, much like the paradox of fiction, which concerns why we care about the fates and threats of merely fictional beings. I argue that the paradox threatens to overturn a great deal of what philosophers have thought about caring, severing its connection to value and undermining its moral weight. I defend a solution to the paradox that draws on Kendall Walton's (...) solution to the paradox of fiction, developing his idea that it be extended to games. The solution takes games to involve make‐believe: in particular, players and spectators make‐believe that the outcome of the game matters. I also explore how the phenomenon extends beyond games. And I explore some moral implications: in particular, my view preserves the idea that we have reason not to impede others in their pursuit of what they care about. (shrink)

In The Methods of Ethics, Henry Sidgwick maintains that resolution of the free will problem is of “limited” importance to ethics and to practical reasoning. Despite the view’s uniqueness, surprisingly little sustained attention has been paid to Sidgwick’s view. This chapter tries to remedy this situation. Part one clarifies Sidgwick’s argument for the claim that resolving the free will controversy is of only limited importance to ethics. Part two examines and tries to deflect objections to Sidgwick’s position raised by J. (...) B. Schneewind and Roger Crisp while putting forward a different objection. Part three raises objections to Sidgwick’s claim that “it is practically impossible to be guided, either in remunerating services or in punishing mischievous acts, by any other considerations than those which the Determinist interpretation of desert [and responsibility] would include”. The chapter concludes by noting that although Sidgwick’s view is not without its problems, his discussion forces us to consider which aspects of moral thinking (if any) survive the conclusion that free will is illusory. (shrink)

ABSTRACTAchievements are among the things that make a life good. Assessing the plausibility of this intuitive claim requires an account of the nature of achievements. One necessary condition for achievement appears to be that the achieving agent acted competently, i.e. was not just lucky. I begin by critically assessing existing accounts of anti-luck conditions for achievements in both the ethics and epistemology literature. My own proposal is that a goal is reached competently, only if the actions of the would-be-achiever make (...) success likely, and that this is the reason why she acts that way. (shrink)

Talents often play a significant role in our personal and social lives. For example, our talents may shape the choices we make and the goods that we value, making them central to the creation of a meaningful life. Differences in the level of talents also affect how social institutions are structured, and how social goods and resources are distributed. Despite their normative importance, it is surprising that talents have not yet received substantial philosophical analysis in their own right. As a (...) result, the current literature is rife with conceptual ambiguity: a talent is referred to as all of a skill, potential, ability, capacity, endowment, and a natural gift. In response to this confusion, in this paper I develop an account of what a talent is, based on the debate concerning the metaphysics of ability and dispositions. I argue for a position that I call ‘talent dispositionalism’: S has a talent for skill A in circumstances C iff S has the general disposition to excellently develop and maintain A when, in circumstances C, she tries to excellently develop and maintain A. On this account, a talent is not the skill itself, but a general iterated ability for the excellent development and up-keep of a particular skill, constituted by an agent’s dispositional properties. I defend the account against four objections usually levelled against traditional dispositionalist theories of ability, and highlight some ways the account may influence debates in other areas of philosophical inquiry. (shrink)

The situationist experiments demonstrate that most people's behaviour is influenced by environmental factors much more than we expect, and that ordinary people can be led to behave very immorally. A number of philosophers have investigated whether these experiments demonstrate that subjects' responsibility-relevant capacities are impeded. This paper considers how, in practice, we can assess when agents have a reduced capacity to avoid wrongdoing. It critiques some previously offered strategies including appeals to the reasonable person standard, appeals to counterfactuals and understandability (...) of behaviour, and appeals to base rates of wrongdoing. It then proposes we should think a certain factor impeded capacities when this is the best explanation of a change in patterns of responses. With this approach in hand, I then argue that subjects in many of the situationist experiments are (mostly) excused for their actions. (shrink)

The demandingness of a moral prescription is generally understood exclusively in terms of the welfare costs involved in complying with that prescription. I argue that psychological difficulty is a second aspect of demandingness, whose relevance cannot be reduced to that of welfare costs. Appeal to psychological difficulty explains intuitive verdicts about the permissibility of favouring oneself over others, favouring loved ones over strangers, and favouring one’s short-term good over one’s long-term good. There are also significant implications for the morality of (...) addressing severe global poverty. (shrink)

Self‐esteem is traditionally regarded as an important human good. But it has suffered a number of injuries to its good name. Critics allege that endeavours to promote self‐esteem merely foster narcissism or entitlement, and urge that we redirect our efforts elsewhere. I argue that such criticisms are symptomatic of a normative decline in how we think and theorize about self‐esteem rather than a defect in the construct itself. After exposing the shortcomings of alternative proposals, I develop an account of self‐esteem (...) that reflects what its supporters have in mind: a valuable form of self‐appraisal worth fostering in others and ourselves. (shrink)

There is broad agreement in aesthetics that some artworks are greater than others despite bearing equivalent (or lesser) aesthetic value. One explanation of this difference in artistic value is that creation of the greater artwork represents a greater achievement. The aim of this article is to refine this explanation and to defend it against recent criticisms. First, I present a prima facie case in favor of the achievement explanation. Second, I draw on the history of photography to motivate three objections (...) to it: namely, that it wrongly excludes (1) lucky, (2) easy, and (3) failed creations from being artistically great. Third, I present my refined version of the achievement explanation and show how it avoids these objections. On my view, an artistic achievement consists in creating a work it would have been especially hard for comparable artists to create. Finally, I raise and address several additional objections. In responding to these objections, I argue, among other things, that my explanation of artistic value enhances our understanding of good-bad art: specifically, it allows us to see how good-bad art is artistically great despite being aesthetically flawed. (shrink)

We engage with the nature and the value of achievement through a critical examination of an argument according to which biomedical “enhancement” of our capacities is impermissible because enhancing ourselves in this way would threaten our achievements. We call this the argument against enhancement from achievement. We assess three versions of it, each admitting to a strong or a weak reading. We argue that strong readings fail, and that weak readings, while in some cases successful in showing that enhancement interferes (...) with the nature or value of achievement, fail to establish that enhancement poses an unusual threat to achievement. (shrink)

A common intuition is that the more difficult it is for someone to do the right thing, the more praiseworthy she is for succeeding and the less blameworthy she is for failing. Here, I call this the ‘Difficulty Thesis’ and argue that the Difficulty Thesis is false. In Section 2, I briefly describe what I mean by ‘difficulty’ and the Difficulty Thesis. The Difficulty Thesis has strong prima facie appeal, however, why exactly difficulty is morally relevant remains an open and (...) interesting philosophical question. I discuss this briefly in Section 3. Then, in Section 4, I argue that the Difficulty Thesis is in fact false. That is, difficulty is not relevant to degrees of praise- and blameworthiness. In Section 5, I offer several explanations for why many are fooled by the illusion of relevance of Difficulty. I argue that difficulty is, at best, an imperfect heuristic with regard to evaluations of praise- and blameworthiness. I also argue that while difficulty is not relevant to praiseworthiness and blameworthiness, difficulty is relevant to practices of praise and blame. I conclude, then, that the Difficulty Thesis ought to be rejected. (shrink)

A great achievement makes one’s life go better independently of its results, but what makes an achievement great? A simple answer is—its difficulty. I defend this view against recent, pressing objections by interpreting difficulty in terms of competitiveness. Difficulty is determined not by how hard the agent worked for the end but by how hard others would need to do in order to compete. Successfully reaching a goal is a valuable achievement because it is difficult, and it is difficult because (...) it is competitive. Hence, both virtuosic performances and lucky successes can be valuable achievements. (shrink)

The idea of merit is at the core of intense contemporary debate related to social justice in general and meritocracy in particular. In this paper, I aim to differentiate the notion of merit from two other notions with which it is often mistakenly identified, namely the concepts of talent and achievement. Here, I define “merit” as the value of an action that 1) is imputable to a subject‘s free conduct, 2) implies some sort of effort, and 3) is oriented towards (...) a good. Merit so understood is a valuable phenomenon considered from various perspectives, and therefore the subject who has it deserves to be properly recognized. But, more importantly, this merit is valuable in a sense that is different from the value attached to talent and achievement. We should therefore try to recognize the three of them according to their specificity. I conclude by signaling some problems and limitations associated with the idea of merit that, on the one hand, contribute to the aforementioned confusion and, on the other hand, show that the principle of merit must not be absolutized to the detriment of other forms of value (including talent and achievement). (shrink)

While investigating the value of achievements, Dunkle claims that lucky achievements are possible. For instance, if a person does great works, then it is possible that the works have the status of achievements, even if luck plays a crucial role in doing the great works. Rather than examining Dunkle’s claim, this paper proceeds discussion under the assumption that lucky achievements are possible. In particular, based on this assumption, this paper suggests a new approach to the nature of achievement named the (...) Comparative Value Approach. According to the comparative value approach, a product can have the status of an achievement if the product is valuable in an achievement-relevant domain, and in that domain the product is valuable more than most other items which either have been achieved or can be achieved by others. This paper shows that the comparative value approach successfully explains the cases of achievements, including the cases of lucky achievements. Besides this reason, this paper provides three more reasons to show that the comparative value approach is a feasible view of achievements. The comparative value approach can accommodate the fact that there are various kinds of achievements; the approach can explain the relation between the nature of achievement and the achievement-value of a product; and the approach can show why in determining the status of a product it matters that for average people achieving a similar kind of product is sufficiently difficult. Based on these four reasons, this paper concludes that the comparative value approach is a plausible understanding of achievements. (shrink)

Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...) (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)