The East Asian notion of a heart-mind is arguably more accurate to our psychology than the Western term “mind” and its equivalents are: the latter term implies the possibility of psychological functioning in the absence of all emotion, and it can be shown that that is impossible. But then it turns out that we can update the traditional Chinese notions of yin 陰 and yang 陽 in such a way as to help us philosophically explain how our functioning psychology involves (...) emotion and why any possible psychology has to rest on such a basis. Yin-yang is the essence of heart-mind, and heart-mind is essential to any functioning psychology. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

One popular reason for rejecting moral realism is the lack of a plausible epistemology that explains how we come to know moral facts. Recently, a number of philosophers have insisted that it is possible to have moral knowledge in a very straightforward way—by perception. However, there is a significant objection to the possibility of moral perception: it does not seem that we could have a perceptual experience that represents a moral property, but a necessary condition for coming to know that (...) X is F by perception is the ability to have a perceptual experience that represents something as being F . Call this the ‘Representation Objection’ to moral perception. In this paper I argue that the Representation Objection to moral perception fails. Thus I offer a limited defense of moral perception. (shrink)

On the face of it, some of our knowledge is of moral facts (for example, that this promise should not be broken in these circumstances), and some of it is of non-moral facts (for example, that the kettle has just boiled). But, some argue, there is reason to believe that we do not, after all, know any moral facts. For example, according to J. L. Mackie, if we had moral knowledge (‘‘if we were aware of [objective values]’’), ‘‘it would have (...) to be by some special faculty of moral perception or intuition, utterly different from our ordinary ways of knowing everything else’’(1977,p.38).But wehavenosuchspecialfaculty.So,wehavenomoralknowledge. Following Mackie, let us distinguish two questions: Q1: Assuming that we have moral knowledge, how do we have it? Q2: Do we in fact have any moral knowledge? In response to the first question, I argue that if we have moral knowledge, we have some of it in the same way we have knowledge of our immediate environment: by perception. Many people think that this answer leads to moral skepticism, because they think that we obviously cannot have moral knowledge by perception. But I will argue that this is incorrect. The plan for the paper is as follows. In Sections 2–4, I work up to my answer to Q1 by considering rivals. In Section 5, I explain what marks my answer to Q1 as a distinctive view, and defend it. In Section 6, I briefly discuss how this answer to Q1 affects what we say in response to Q2. (shrink)

In this paper, I defend the view that we can have perceptual moral knowledge. First, I motivate the moral perception view by drawing on some examples involving perceptual knowledge of complex non‐moral properties. I argue that we have little reason to think that perception of moral properties couldn't operate in much the same way that our perception of these complex non‐moral properties operates. I then defend the moral perception view from two challenging objections that have yet to be adequately addressed. (...) The first objection is that the moral perception view has implausible commitments concerning the morally blind, people who would claim not to perceive wrongness. The second objection is that the moral perception view is not really compatible with a wide range of the main candidate moral theories. I argue that the moral empiricist has plausible responses to both of these objections. I then address three residual concerns that my defense raises. (shrink)

I start by examining Robert Audi's positive suggestions about moral perception, and then attempt to point out some challengeable assumptions that he seems to make, and to consider how things might look if those assumptions are abandoned.

This paper defends doubts about the existence of genuine moral perception, understood as the claim that at least some moral properties figure in the contents of perceptual experience. Standard examples of moral perception are better explained as transitions in thought whose degree of psychological immediacy varies with how readily non-moral perceptual inputs, jointly with the subject's background moral beliefs, training, and habituation, trigger the kinds of phenomenological responses that moral agents are normally disposed to have when they represent things as (...) being morally a certain way. (shrink)

In attempting to influence the moral views of others, activists sometimes employ pictures as tools of moral persuasion. In such cases, a viewer is confronted with an actual instance of the practice whose morality is at issue and invited to draw a general moral conclusion in response. This paper explores some of the philosophical issues that arise in connection with the use of pictures as tools of moral persuasion, with special attention to the roles of acquaintance and conversion in the (...) moral domain. Against concerns that relying on pictures will tend to bias or distort one’s moral judgment, the paper offers a qualified defense of the use of pictures. It then considers some implications for (i) the characterization of wide reflective equilibrium, (ii) the concept of a moral expert, and (iii) our attitudes towards our moral convictions. (shrink)