While philosophers and scientists sometimes suggest (or take for granted) that consciousness is an essential condition for free will and moral responsibility, there is surprisingly little discussion of why consciousness (and what sorts of conscious experience) is important. We discuss some of the proposals that have been offered. We then discuss our studies using descriptions of humanoid robots to explore people’s attributions of free will and responsibility, of various kinds of conscious sensations and emotions, and of reasoning capacities, and examine (...) the relationships between these attributions. Our initial results suggest that people’s attributions of free will are strongly influenced by their attributions of conscious emotions, such as happiness and disappointment, including Strawsonian emotions, such as pride and regret. These results provide some support for an intriguing proposal: Free will requires the capacity to make decisions that really matter to the agent, and for anything to really matter to the agent, she must be able to consciously experience the good and bad effects of the decisions she makes—to suffer and regret, or to enjoy and feel proud of, their outcomes. (shrink)

Bentham's best-known book stands as a classic of both philosophy and jurisprudence. The 1789 work articulates an important statement of the foundations of utilitarian philosophy — it also represents a pioneering study of crime and punishment. Bentham's reasoning remains central to contemporary debates in moral and political philosophy, economics, and legal theory.

This second edition features a new 48-page Afterword--1980 updating Professor Beardsley's classic work.

In chapters ranging from "The Beautiful, the Dainty, and the Dumpy" to "Skin-deep or In the Eye of the Beholder?" Nick Zangwill investigates the nature of beauty as we conceive it, and as it is in itself. The notion of beauty is currently attracting increased interest, particularly in philosophical aesthetics and in discussions of our experiences and judgments about art. In The Metaphysics of Beauty, Zangwill argues that it is essential to beauty that it depends on the ordinary features of (...) things. He uses this principle to defend the notion of the aesthetic, to call for a version of aesthetic formalism, and to reconsider the reality of beauty. The Metaphysics of Beauty brings beauty to the center of intellectual consciousness in a manner informed by contemporary metaphysics and engages with beauty as an enduring object of human thought and experience. (shrink)

Aesthetic Pursuits is a new collection of essays from Jerrold Levinson, one of the most prominent philosophers of art today, focusing on literature, film, and visual art, while addressing issues of humour, beauty, and the emotions. More than half of the essays in the volume are previously unpublished.

When do people say that they are moved, and does this experience constitute a unique emotion? We review theory and empirical research on being moved across psychology and philosophy. We examine feeling labels, elicitors, valence, bodily sensations, and motivations. We find that the English lexeme being moved typically (but not always) refers to a distinct and potent emotion that results in social bonding; often includes tears, piloerection, chills, or a warm feeling in the chest; and is often described as pleasurable, (...) though sometimes as a mixed emotion. While we conclude that it is a distinct emotion, we also recommend studying it in a more comprehensive emotion framework, instead of using the ambiguous vernacular term being moved as a scientific term. (shrink)

In The Metaphysics of Beauty, Zangwill argues that it is essential to beauty that it depends on the ordinary features of things.

Participants compared the mental capacities of various human and nonhuman characters via online surveys. Factor analysis revealed two dimensions of mind perception, Experience and Agency. The dimensions predicted different moral judgments but were both related to valuing of mind.

I present the foundational structure for a life-centered theory of environmental ethics. The structure consists of three interrelated components. First is the adopting of a certain ultimate moral attitude toward nature, which I call “respect for nature.” Second is a belief system that constitutes a way of conceiving of the natural world and of our place in it. This belief system underlies and supports the attitude in a way that makes it an appropriate attitude to take toward the Earth’s natural (...) ecosystems and their life communities. Third is a system of moral rules and standards for guiding our treatment of those ecosystems and life communities, a set of normative principles which give concrete embodiment or expression to the attitude of respect for nature. The theory set forth and defended here is, I hold, structurally symmetrical with a theory of human ethics based on the principle of respect for persons. (shrink)

What rational justification is there for conceiving of all living things as possessing inherent worth? In _Respect for Nature_, Paul Taylor draws on biology, moral philosophy, and environmental science to defend a biocentric environmental ethic in which all life has value. Without making claims for the moral rights of plants and animals, he offers a reasoned alternative to the prevailing anthropocentric view--that the natural environment and its wildlife are valued only as objects for human use or enjoyment. _Respect for Nature_ (...) provides both a full account of the biological conditions for life--human or otherwise--and a comprehensive view of the complex relationship between human beings and the whole of nature. This classic book remains a valuable resource for philosophers, biologists, and environmentalists alike--along with all those who care about the future of life on Earth. A new foreword by Dale Jamieson looks at how the original 1986 edition of _Respect for Nature_ has shaped the study of environmental ethics, and shows why the work remains relevant to debates today. (shrink)

ABSTRACTPeople sometimes say they are “moved” or “touched” by something. Although the experience is familiar to most, systematic research on being moved has just begun. The current research aims to advance our understanding of the prototypical elicitors of being moved. We tested the hypothesis that being moved is elicited by core values that manifest themselves in circumstances that are unfavourable to their emergence. In three experiments, two with text stimuli and one with pictorial stimuli, we found compelling evidence that the (...) same core value is perceived as more moving when it emerges in unfavourable than in favourable circumstances. The effect was found in both males and females, although stronger in the latter group, and across all investigated core values, although love was generally more moving than other core values. The theoretical and practical significance of these findings is discussed. (shrink)

In this article I re-examine Adorno's and Horkheimer's account of the disenchantment of nature in Dialectic of Enlightenment . I argue that they identify disenchantment as a historical process whereby we have come to find natural things meaningless and completely intelligible. However, Adorno and Horkheimer believe that modernity not only rests on disenchantment but also tends to re-enchant nature, because it encourages us to think that its institutions derive from, and are anticipated and prefigured by, nature. I argue that Adorno's (...) Negative Dialectics and Aesthetic Theory show how constellations and artworks generate an alternative form of reenchantment which is critical of modernity and its domination of nature. This form of re-enchantment finds natural beings to be mysteriously meaningful because they embody histories of immeasurable suffering. This experience engenders guilt and antipathy to human domination over nature. (shrink)

In both environmental ethics and bioethics, one central issue is the range of entities that are morally considerable. According to one view on this issue, we ought to extend consideration to any entity that possesses interests. But what kinds of entities possess interests? Some philosophers have argued that only sentient beings can have interests, while others have held that all living organisms possess interests in the fulfillment of their biological functions. Is it true that all living organisms have biological interests? (...) The standard arguments made against biological interests are unsatisfactory. There are two central reasons why we ought to reject the idea of biological interests: a metaphysical reason and a normative reason. First, the idea of biological interests implies a metaphysically mysterious account of the nature of how things come to have value for an entity. Second, as normative interests, the idea of biological interests implies that what is good for human beings is at least partly determined by things that are external to themselves, completely independent of their capacities for desires, conflicting with the individual ideal of self-direction, according to which it is fundamentally desirable that how we ought to live (or what is good for one) is grounded in one’s own capacities for desires. It is still an open possibility that nonsentient entities may be morally considerable in the sense of having intrinsic value. (shrink)

Passmore argues that there is urgent need to change our attitude to the environment, and that humans cannot continue unconstrained exploitation of the biosphere.

I offer a set of sufficient conditions for beauty, drawing on Parsons and Carlson’s account of ‘functional beauty’. First, I argue that their account is flawed, whilst falling short of...

Recent decades have witnessed an explosion in neuroscientific and related research treating aesthetic response. This book integrates this research with insights from philosophical aesthetics to propose new answers to longstanding questions about beauty and sublimity. Hogan begins by distinguishing what we respond to as beautiful from what we count socially as beautiful. He goes on to examine the former in terms of information processing and emotional involvement. In the course of the book, Hogan examines such issues as how universal principles (...) of aesthetic response may be reconciled with individual idiosyncrasy, how it is possible to argue rationally over aesthetic response, and what role personal beauty and sublimity might play in the definition of art. To treat these issues, the book considers works by Woolf, Wharton, Shakespeare, Arthur Miller, Beethoven, Matisse, and Kiran Rao, among others. (shrink)

This essay takes a critical look at aesthetics as the basis for nature preservation, presenting three reasons why we should not rely on aesthetic foundations to justify the environmentalist program. First, a comparison to other kinds of aesthetic value shows that the aesthetic value of nature can provide weak reasons foraction atbest. Second, not everything environmentalists want to protect has positive aesthetic qualities. Attempts have been made to get around this problem by developing a reformist attitude towards natural aesthetics. I (...) argue that these approaches fail. Third, development can be as aesthetically positive as nature. If it is simply beauty we are looking for, why can't the beauty of a wellconstructed dam or a magnificent skyscraper suffice? (shrink)

Environmentalists can make individuals more eco-friendly by dispelling many of the myths and misconceptions about the natural world. By learning what in nature is and is not dangerous, and in what contexts the danger is real, individuals can come to aesthetically appreciate seemingly unappreciable nature. Since aesthetic attraction can be an extremely valuable tool for environmentalists, with potentialbeyond that of scientific education, the quest for an eco-friendly is neither unnecessary nor redundant. Rather, an eco-friendly aesthetic ought to be pursued in (...) conjunction with other efforts to protect nature. (shrink)

This paper is not primarily about the philosophy of beauty with regard to landscape evaluation. Neither is it basically about the place of aesthetics in environmental philosophy. Rather, its aim is to argue that while aesthetics has a clear role to play, it cannot form the basis of an adequate environmental philosophy without presupposing that natural processes and their products have no role to play independent of the human evaluation of them in terms of their beauty. The limitations, especially of (...) a subjective aesthetics, are brought out through examining the decision of the National Trust in the Lake District to restore Yew Tree Tarn, thereby 'to ensure its beauty will be permanent'. But should a landscape (an ecosystem for that matter) be 'frozen' against natural changes in order that its beauty be preserved 'permanently'? If not, what counter principle(s) can one invoke to argue against such a philosophy of management or at least to limit such intervention in its name? The National Trust is committed 'to preserving the beauty and unique character of the Lake District'. Its unique character includes its geological formations which make the area beautiful. But geological processes are dynamic. Should their products necessarily be subordinated to aesthetic considerations? If so, are they not in danger of being treated like a work of art, an artefact which we, humans, are entitled to preserve against change? In a conflict between the requirement of conserving beauty of the landscape on the one hand and natural processes at work which might undermine that beauty on the other, should aesthetic considerations always have priority? This paper will explore these related issues. However, the restoration of Yew Tree Tarn as opposed to the failure in Yosemite to intervene to prevent one of its lakes from drying out are merely used as handy examples to lead into such theoretical exploration which should, most certainly, not be interpreted as a general indictment of the overall management policies of the National Trust on the one hand, or endorsement of those of the Yosemite National Park on the other. (shrink)

In this article, we present evidence of a bidirectional coupling between moral concern and the attribution of properties and states that are associated with experience (e.g., conscious awareness, feelings). This coupling is also shown to be stronger with experience than for the attribution of properties and states more closely associated with agency (e.g., free will, thoughts). We report the results of four studies. In the first two studies, we vary the description of the mental capacities of a creature, and assess (...) the effects of these manipulations on moral concern. The third and fourth studies examine the effects of variations in moral concern on attributions of mindedness. Results from the first two studies indicate that moral concern depends primarily on the attribution of experience, rather than the attribution of agency. The results of the latter two studies demonstrate that moral concern increases attributions of mindedness, and that this effect is stronger for attributions of experience than for attributions of agency. (shrink)

This book examines the social and philosophical attitudes in Western culture that relate to the environment including aesthetics, wildlife, and land use. Both the historical significance and a framework for further discussions of environmental ethics are discussed in the book.

Many people are attracted to the idea that plants experience phenomenal conscious states like pain, sensory awareness, or emotions like fear. If true, this would have wide-ranging moral implications for human behavior, including land development, farming, vegetarianism, and more. Determining whether plants have minds relies on the work of both empirical disciplines and philosophy. Epistemology should settle the standards for evidence of other minds, and science should inform our judgment about whether any plants meet those standards. We argue that evidence (...) for other minds comes either from testimony, behavior, anatomy/physiology, or phylogeny. However, none of these provide evidence that plants have conscious mental states. Therefore, we conclude that there is no evidence that plants have minds in the sense relevant for morality. (shrink)

This experimental study examines how framing an animal species as endangered affects its perceived attractiveness and how an animal's perceived attractiveness affects support for its conservation. Undergraduate students were shown a flyer from a fictitious environmental organization pleading for the protection of either a bat or an ape. The flyer contained either no picture, a picture of an attractive member of its species, or a picture of an unattractive member of its species. For both species, an animal's attractiveness substantially increased (...) support for its protection. There was also more support for saving the species that was larger in size and more resembled humans. In a second experiment, participants rated an unattractive animal as more attractive if it was framed as endangered. There was no such effect for an animal originally perceived as attractive. The implications of the results for environmental policy and conservation support are discussed. (shrink)

I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...) ugliness sits opposed to beauty across a neutral midpoint (the argument from proposed intensions). And third, ugliness and disgustingness function in the same way in both giving rise to representations of contamination (the argument from the law of contagion). In making these arguments, I show why prominent objections to the thesis do not succeed, cast light on some of the artistic functions of ugliness, and, in addition, demonstrate why a dispositional account of disgustingness is correct, and present a novel problem for warrant-based accounts of disgustingness (the ‘too many reasons’ problem). (shrink)

Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion— ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues (...) are partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. (shrink)

Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion—ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues are (...) partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. (shrink)

In this article, an account of the architecture of the cognitive contamination system is offered, according to which the contamination system can generate contamination represen- tations in circumstances that do not satisfy the norms of contamination, including in cases of mere visual contact with disgusting objects. It is argued that this architecture is important for explaining the content, logic, distribution, and persistence of maternal impression beliefs – according to which fetal defects are caused by the pregnant mother’s experiences and actions (...) – which in turn provide important evidence of the architecture of the cognitive contamination system. (shrink)

In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside as well.

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These include: (...) how the aesthetic appreciation of nature should be understood; the character of an aesthetic response to nature; what kinds of aesthetic experience nature affords and what kinds of aesthetic judgement it is amenable to; the aesthetic significance of intrusions by humanity into nature; whether aesthetic judgements about nature can be objectively true; the doctrine of positive aesthetics with respect to nature; the aesthetic significance of knowledge of nature and in particular whether scientific knowledge is necessary for serious aesthetic appreciation of nature; and the correct model for the appropriate aesthetic appreciation of nature. -/- The Aesthetic Appreciation of Nature also includes a comprehensive exposition and examination of the thoughts of the greatest philosopher to make a substantial contribution to the subject, Immanuel Kant, and an encyclopaedic critical survey of much of the most significant recent literature. Scholars and students of aesthetics will find valuable resources here, and much to think about. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...) approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

This paper proposes the ‘AGENCY model’ of conscious state attribution, according to which an entity's displaying certain relatively simple features (e.g. eyes, distinctive motions, interactive behavior) automatically triggers a disposition to attribute conscious states to that entity. To test the model's predictions, participants completed a speeded object/attribution task, in which they responded positively or negatively to attributions of mental properties (including conscious and non-conscious states) to different sorts of entities (insects, plants, artifacts, etc.). As predicted, participants responded positively to conscious (...) state attributions only for those entities that typically display the simple features identified in the AGENCY model (eyes, distinctive motion, interaction) and took longer to deny conscious states to those entities. (shrink)

Dialectic of Enlightenment is undoubtedly the most influential publication of the Frankfurt School of Critical Theory. Written during the Second World War and circulated privately, it appeared in a printed edition in Amsterdam in 1947. "What we had set out to do," the authors write in the Preface, "was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism." Yet the work goes far beyond a mere critique of (...) contemporary events. Historically remote developments, indeed, the birth of Western history and of subjectivity itself out of the struggle against natural forces, as represented in myths, are connected in a wide arch to the most threatening experiences of the present. The book consists in five chapters, at first glance unconnected, together with a number of shorter notes. The various analyses concern such phenomena as the detachment of science from practical life, formalized morality, the manipulative nature of entertainment culture, and a paranoid behavioral structure, expressed in aggressive anti-Semitism, that marks the limits of enlightenment. The authors perceive a common element in these phenomena, the tendency toward self-destruction of the guiding criteria inherent in enlightenment thought from the beginning. Using historical analyses to elucidate the present, they show, against the background of a prehistory of subjectivity, why the National Socialist terror was not an aberration of modern history but was rooted deeply in the fundamental characteristics of Western civilization. Adorno and Horkheimer see the self-destruction of Western reason as grounded in a historical and fateful dialectic between the domination of external nature and society. They trace enlightenment, which split these spheres apart, back to its mythical roots. Enlightenment and myth, therefore, are not irreconcilable opposites, but dialectically mediated qualities of both real and intellectual life. "Myth is already enlightenment, and enlightenment reverts to mythology." This paradox is the fundamental thesis of the book. This new translation, based on the text in the complete edition of the works of Max Horkheimer, contains textual variants, commentary upon them, and an editorial discussion of the position of this work in the development of Critical Theory. (shrink)

What is the environment, and how does it figure in an ethical life? This book is an introduction to the philosophical issues involved in this important question, focussing primarily on ethics but also encompassing questions in aesthetics and political philosophy. Topics discussed include the environment as an ethical question, human morality, meta-ethics, normative ethics, humans and other animals, the value of nature, and nature's future. The discussion is accessible and richly illustrated with examples. The book will be valuable for students (...) taking courses in environmental philosophy, and also for a wider audience in courses in ethics, practical ethics, and environmental studies. It will also appeal to general readers who want a reliable and sophisticated introduction to the field. (shrink)

While the current philosophical debate surrounding Hegel’s aesthetics focuses heavily on the philosopher’s controversial ‘end of art’ thesis, its participants rarely give attention to Hegel’s ideas on the nature of beauty and its relation to art. This study seeks to remedy this oversight by placing Hegel’s views on beauty front and center. Peters asks us to rethink the common assumption that Hegelian beauty is exclusive to art and argues that for Hegel beauty, like art, is subject to historical development. Her (...) careful analysis of Hegel’s notion of beauty not only has crucial implications for our understanding of the ‘end of art’ and Hegel’s aesthetics in general, but also sheds light on other fields of Hegel’s philosophy, in particular his anthropology and aspects of his ethical thought. (shrink)

Human Beauty 3. Natural Beauty 4. Everyday Beauty 5. Artistic Beauty 6. Taste and Order 7. Eros and Art 8. Sacred Beauty Notes and Further Reading.

Functional beauty in the aesthetic tradition -- Functional beauty in contemporary aesthetic theory -- Indeterminacy and the concept of function -- Function and form -- Nature and environment -- Architecture and the built environment -- Artefacts and everyday aesthetics -- The functions of art.

Ecology, Community and Lifestyle is a revised and expanded translation of Naess' book Okologi, Samfunn og Livsstil, which sets out the author's thinking on the relevance of philosophy to the problems of environmental degradation and the rethinking of the relationship between mankind and nature. The text has been thoroughly updated by Naess and revised and translated by David Rothenberg.

Theodor W. Adorno is best known for his contributions to aesthetics and social theory. Critics have always complained about the lack of a practical, political or ethical dimension to Adorno's philosophy. In this highly original contribution to the literature on Adorno, J. M. Bernstein offers the first attempt in any language to provide an account of the ethical theory latent in Adorno's writings. Bernstein relates Adorno's ethics to major trends in contemporary moral philosophy. He analyses the full range of Adorno's (...) major works, with a special focus on Dialectic of Enlightenment, Minima Moralia and Negative Dialectics. In developing his account Bernstein lays particular stress on Adorno's contention that the event of Auschwitz demands a new categorical imperative. This book will be widely acknowledged as the standard work on Adorno's ethics and as such will interest professionals and students of philosophy, political theory, sociology, history of ideas, art history and music. (shrink)

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)