What do we see? We are visually conscious of colors and shapes, but are we also visually conscious of complex properties such as being John Malkovich? In this book, Susanna Siegel develops a framework for understanding the contents of visual experience, and argues that these contents involve all sorts of complex properties. Siegel starts by analyzing the notion of the contents of experience, and by arguing that theorists of all stripes should accept that experiences have contents. She then introduces a (...) method for discovering the contents of experience: the method of phenomenal contrast. This method relies only minimally on introspection, and allows rigorous support for claims about experience. She then applies the method to make the case that we are conscious of many kinds of properties, of all sorts of causal properties, and of many other complex properties. She goes on to use the method to help analyze difficult questions about our consciousness of objects and their role in the contents of experience, and to reconceptualize the distinction between perception and sensation. Siegel's results are important for many areas of philosophy, including the philosophy of mind, epistemology, and the philosophy of science. They are also important for the psychology and cognitive neuroscience of vision. (shrink)

David Shoemaker presents a new pluralistic theory of responsibility, based on the idea of quality of will. His approach is motivated by our ambivalence to real-life cases of marginal agency, such as those caused by clinical depression, dementia, scrupulosity, psychopathy, autism, intellectual disability, and poor formative circumstances. Our ambivalent responses suggest that such agents are responsible in some ways but not others. Shoemaker develops a theory to account for our ambivalence, via close examination of several categories of pancultural emotional responsibility (...) responses and their appropriateness conditions. The result is three distinct types of responsibility, each with its own set of required capacities: attributability, answerability, and accountability. Attributability is about the having and expressing of various traits of character, and it is the target of a range of aretaic sentiments and emotional practices organized around disdain and admiration. Answerability is about one’s capacity to govern one’s actions and attitudes by one’s evaluative judgments about the worth of various practical reasons, and it is the target of a range of sentiments and emotional practices organized around regret and pride. Accountability is about one’s ability to regard others, both evaluatively and emotionally, and it is the target of a range of sentiments and emotional practices organized around anger and gratitude. In Part One of the book, this tripartite theory is developed and defended. In Part Two of the book, the tripartite theory’s predictions about specific marginal cases are tested, once certain empirical details about the nature of those agents have been filled in and discussed. (shrink)

Gwen Bradford presents the first systematic account of what achievements are, and why they are worth the effort. She argues that more things count as achievements than we might have thought, and offers a new perfectionist theory of value in which difficulty, perhaps surprisingly, plays a central part in characterizing achievements.

Everyone agrees that not all norms that govern belief and assertion are epistemic. But not enough attention has been paid to distinguishing epistemic norms from others. Norms in general differ from merely evaluative standards in virtue of the fact that it is fitting to hold subjects accountable for violating them, provided they lack an excuse. Different kinds of norm are most readily distinguished by their distinctive mode of accountability. My thesis is roughly that a norm is epistemic if and only (...) if its violation makes it fitting to reduce epistemic trust in the subject, even if there is no doubt about their sincerity, honesty, or other moral virtues. That is, violations of epistemic norms don’t merit resentment or other forms of blame, but rather deduction of credibility points in internal scorekeeping and related attitudinal and behavioral changes. As Fricker’s work on epistemic injustice shows, such distrust is undesirable from the point of view of an epistemic agent. Consequently, when one manifests epistemic distrust towards a subject in suitable circumstances, it amounts a way of holding her accountable. Since this form of accountability involves no opprobrium, there is good reason to think it is not linked to voluntary control in the same way as moral accountability. Finally, I make use of this account of what makes epistemic norms distinctive to point out some faulty diagnostics in debates about norms of assertion. My aim is not to defend any substantive view, however, but only to offer tools for identifying the right kind of evidence for epistemic norms. (shrink)

An essential work for anyone interested in the creativity of the human mind, "The Creative Mind" has been updated to include recent developments in artificial ...

Recently, a number of philosophers have begun to question the commonly held view that choice or voluntary control is a precondition of moral responsibility. According to these philosophers, what really matters in determining a person’s responsibility for some thing is whether that thing can be seen as indicative or expressive of her judgments, values, or normative commitments. Such accounts might therefore be understood as updated versions of what Susan Wolf has called “real self views,” insofar as they attempt to ground (...) an agent’s responsibility for her actions and attitudes in the fact (when it is a fact) that they express who she is as a moral agent. As such, they seem to be open to some of the same objections Wolf originally raised to such accounts, and in particular to the objection that they cannot license the sorts of robust moral assessments involved in our current practices of moral responsibility. My aim in this paper is to try to respond to this challenge, by clarifying the kind of robust moral assessments I take to be licensed by (at least some) non-volitional accounts of responsibility and by explaining why these assessments do not in general require the agent to have voluntary control over everything for which she is held responsible. I also argue that the limited applicability of the distinction between “bad agents” and “blameworthy agents” on these accounts is in fact a mark in their favor. (shrink)

It is widely assumed that sense perception cannot deliver knowledge of nonactual (metaphysical) possibilities. We are not supposed to be able to know that a proposition p is necessary or that p is possible (if p is false) by sense perception. This paper aims to establish that the role of sense perception is not so limited. It argues that we can know lots of modal facts by perception. While the most straightforward examples concern possibility and contingency, others concern necessity and (...) impossibility. The possibility of a perceptual route to some modal knowledge is not as radical as it may at first sound. On the contrary, acknowledging it has benefits. (shrink)

Achievements have recently begun to attract increased attention from value theorists. One recurring idea in this budding literature is that one important factor determining the magnitude or value of an achievement is the amount of effort the achiever invested. The aim of this paper is to present the most plausible version of this idea. This advances the current state of debate where authors are invoking substantially different notions of effort and are thus talking past each other. While the concept of (...) effort has been invoked in the philosophical analysis of a number of important concepts such as desert, attention, competence, and distributive justice, it has hardly ever been analyzed itself. This paper makes headway in this regard by discussing three ambiguities in the everyday notion of effort. It continues to develop two accounts of effort and shows how both of them are achievement-enhancing. (shrink)

This treatise on aesthetics begins by showing that the word "art" is used as a name not only for "art proper" but also for certain things which are "art falsely so called." These are craft or skill, magic, and amusement, each of which, by confusion with art proper, generates a false aesthetic theory. In the course of attacking these theories the author criticizes various psychological theories of art, offers a new theory of magic, and reinterprets Plato's so-called "attack on art," (...) showing that it has been entirely misunderstood. Finally, he draws important inferences concerning the position of art in human society. (shrink)

This paper critically assesses existing accounts of the nature of difficulty, finds them wanting, and proposes a new account. The concept of difficulty is routinely invoked in debates regarding degrees of moral responsibility, and the value of achievement. Until recently, however, there has not been any sustained attempt to provide an account of the nature of difficulty itself. This has changed with Gwen Bradford’s Achievement, which argues that difficulty is a matter of how much intense effort is expended. But while (...) this account captures something important about the relationship between difficulty and achievement, it fails to account for the fact that part of what makes achievements great is that they are difficult in a moderately agent-neutral kind of way. Nor is this thought captured by any other extant account. I argue that to fill this gap we should think of difficulty in terms of low probability of success. (shrink)

This article gives an account of what makes achievements valuable. Although the natural thought is that achievements are valuable because of the product, such as a cure for cancer or a work of art, I argue that the value of the product of an achievement is not sufficient to account for its overall value. Rather, I argue that achievements are valuable in virtue of their difficulty. I propose a new perfectionist theory of value that acknowledges the will as a characteristic (...) human capacity, and thus holds that the exercise of the will, and therefore difficulty, is intrinsically valuable. (shrink)

When we admire a person, we don’t just have a wow-response towards them, as we might towards a painting or a sunset. Rather, we construe them as realizing an ideal of the person in their lives to a conspicuous degree. To merit admiration, it is not enough simply to do something valuable or to possess desirable character traits. Rather, one’s achievements must manifest commitments and character traits that define a worthwhile ideal. Agential admiration, I argue, is a person-focused attitude like (...) shame, contempt, and hubristic pride, not an act-focused one like gratitude or guilt, not to mention mere evaluation as excellent. Given its holistic focus, its motivational effects permeate our interactions with its target, who is construed as an exemplar. Consequently, even if someone is admirable in some way, admiring them may be all-things-considered inappropriate, if they fall short of other ideals that we ought to care about. (shrink)

Very plausibly, there is something important missing in our lives if we are thoroughly ignorant or misled about reality – even if, as in a kind of Truman Show scenario, intervention or fantastic luck prevents unhappiness and practical failure. But why? I argue that perfectionism about well-being offers the most promising explanation. My version says, roughly, that we flourish when we exercise our self-defining capacities successfully according to their constitutive standards. One of these self-defining capacities, or capacities whose exercise reveals (...) who we are, is Reason, our capacity for normative self-governance. I argue that in its practical use, Reason formally aims at competently realizing self-chosen valuable ends that are in harmony with each other, or valuable achievements. In its theoretical use, it formally aims at competently grasping fundamental enough subject matters, or a kind of understanding. Because success by reason’s own standards requires many things to go right, there are many different ways in which we can fall short. Some of them amount to partial success. But some, like incompetent inquiry that fails to yield understanding of its target, or taking inefficient means to a worthless end, are robust failures that amount to epistemic or agential unflourishing, and thus to a form of ill-being. (shrink)

Affective experiences motivate and rationalize behavior in virtue of feeling good or bad, or their valence. It has become popular to explain such phenomenal character with intentional content. Rejecting evaluativism and extending earlier imperativist accounts of pain, I argue that when experiences feel bad, they both represent things as being in a certain way and tell us to see to it that they will no longer be that way. Such commands have subjective authority by virtue of linking up with a (...) relevant background concern. The imperative content explains but doesn’t constitute world-directed motivation. It also rationalizes action indirectly, by giving rise to an affective seeming that represents the situation as calling for the authoritatively commanded behavior. One experience feels worse than another if its content tells us to bear a higher opportunity cost to comply with the command. Finally, experience-directed motivation is contingent on our being attitudinally (dis)pleased with the character of our experience. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions. The Philosophy of Creativity takes up these questions and, in doing so, illustrates the value of interdisciplinary exchange.

I argue that creativity is compatible with determinism and therefore with naturalistic explanation. I explore different kinds of novelty, corresponding with four distinct concepts of creativity – anthropological, historical, psychological and metaphysical. Psychological creativity incorporates originality and spontaneity. Taken together, these point to the independence of the creative mind from social learning, experience and previously acquired knowledge. This independence is nevertheless compatible with determinism. Creativity is opposed to specific causal factors, but it does not exclude causal determination as such. So (...) creativity can be naturalized. (shrink)

Pride in our own actions tells a story: we faced a challenge, overcame it, and achieved something praiseworthy. In this paper, I draw on recent psychological literature to distinguish to between two varieties of pride, 'authentic' pride that focuses on particular efforts (like guilt) and 'hubristic' pride that focuses on the whole self (like shame). Achievement pride is fitting when either efforts or traits explain our success in meeting contextually relevant, authoritative, and challenging standards without excessive opportunity cost. When it (...) is fitting, our lives are at least somewhat meaningful. (shrink)

Seventeen philosophical thinkers ask: What is creativity? What are the criteria of creativity? Should we assign logical priority to creative persons, processes, or products? How do various forms of creativity relate to different domains of human activity?