Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...) Our agency is more fluid than we might have thought. In playing a game, we take on temporary ends; we submerge ourselves temporarily in an alternate agency. Games turn out to be a vessel for communicating different modes of agency, for writing them down and storing them. Games create an archive of agencies. And playing games is how we familiarize ourselves with different modes of agency, which helps us develop our capacity to fluidly change our own style of agency. (shrink)

John Searle's Speech Acts (1969) and Expression and Meaning (1979) developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, (...) though third in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

In this book Keith Graham examines the philosophical assumptions behind the ideas of group membership and loyalty. Drawing out the significance of social context, he challenges individualist views by placing collectivities such as committees, classes or nations within the moral realm. He offers an understanding of the multiplicity of sources which vie for the attention of human beings as they decide how to act, and challenges the conventional division between self-interest and altruism. He also offers a systematic account of the (...) different ways in which individuals can identify with or distance themselves from the groups to which they belong. His study will be of interest to readers in a range of disciplines including philosophy, politics, sociology, law and economics. (shrink)

In the social sciences and in everyday speech we often talk about groups as if they behaved in the same way as individuals, thinking and acting as a singular being. We say for example that "Google intends to develop an automated car", "the U.S. Government believes that Syria has used chemical weapons on its people", or that "the NRA wants to protect the rights of gun owners". We also often ascribe legal and moral responsibility to groups. But could groups literally (...) intend things? Is there such a thing as a collective mind? If so, should groups be held morally responsible? Such questions are of vital importance to our understanding of the social world. In this lively, engaging introduction Deborah Tollefsen offers a careful survey of contemporary philosophers? answers to these questions, and argues for the unorthodox view that certain groups should, indeed, be treated as agents and deserve to be held morally accountable. Tollefsen explores the nature of belief, action and intention, and shows the reader how a belief in group agency can be reconciled with our understanding of individual agency and accountability. _Groups as Agents_ will be a vital resource for scholars as well as for students of philosophy and the social sciences encountering the topic for the first time. (shrink)

This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy. The papers, many of them previously inaccessible to non-specialist readers, deal with such fundamental issues as the relationship between style and content in the exploration of ethical issues; the nature of ethical attention and ethical knowledge and their relationship to written forms and styles; and the role of the emotions in deliberation and self-knowledge. Nussbaum investigates and defends a conception of ethical understanding which (...) involves emotional as well as intellectual activity, and which gives a certain type of priority to the perception of particular people and situations rather than to abstract rules. She argues that this ethical conception cannot be completely and appropriately stated without turning to forms of writing usually considered literary rather than philosophical. It is consequently necessary to broaden our conception of moral philosophy in order to include these forms. Featuring two new essays and revised versions of several previously published essays, this collection attempts to articulate the relationship, within such a broader ethical inquiry, between literary and more abstractly theoretical elements. (shrink)

Pettit and List argue for realism about group agency, while at the same time try to retain a form of metaphysical and normative individualism on which human beings qualify as natural persons. This is an unstable and untenable combination of views. A corrective is offered here, on which realism about group agency leads us to the following related conclusions: in cases of group agency, the sort of rational unity that defines individual rational unity is realized at the level of a (...) whole group; rational unity is never a metaphysical given but always a product of effort and will; just as it can be realized within groups of human beings it can also be realized within parts of human beings, as well as within whole human lives; in cases of group agency, the rational unity that is achieved at the level of the group typically precludes rational unity at the level of its human constituents within their whole lives, though it can be realized within parts of those human lives. Along the way, a contrast is drawn between cases of genuine group agency and the cases of political agency envisaged by Rousseau and Rawls (and by Pettit and List) which leave individual human beings intact as separate agents in their own rights. (shrink)

Group agents have been represented as expressive fictions by those who treat ascriptions of agency to groups as metaphorical; as pragmatic fictions by those who think that the agency ascribed to groups belongs in the first place to a distinct individual or set of individuals; and as theoretical fictions by those who think that postulating group agents serves no indispensable role in our theory of the social world. This paper identifies, criticizes and rejects each of these views, defending a strong (...) realist position. (shrink)

This new essay collection by distinguished philosopher Margaret Gilbert provides a richly textured argument for the importance of joint commitment in our personal and public lives. Topics covered by this diverse range of essays range from marital love to patriotism, from promissory obligation to the unity of the European Union.

The most notable development in public sculpture of the last thirty years has been the disappearance of the sculpture itself. Ever since Jean Tinguely’s Homage to New York destroyed itself at the Museum of Modern Art in 1960, sculptors have tried to find new ways to make the sculptural object invisible, immaterial, or remote. Where the sculpture did have some material presence, it often took unexpected forms. As Rosalind Krauss says, “Rather surprising things have come to be called sculpture: narrow (...) corridors with TV monitors at the ends; large photographs documenting country hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert.”However various these experiments may seem, they began with a single motive: to escape the constraints of the pedestal, the gallery, and finally of art itself. To prevent this new work from becoming just another commodity in the market, artists either produced works so intangible or remote they could not be bought and sold, or disseminated their ideas in so many reproducible forms they could not be monopolized. The political nature of these motives also meant that much of this “sculpture” could be considered “public.” Changing the nature of the art meant changing the role of the audience as well, questioning the purely contemplative role the observer plays in the conventional setting of the museum or gallery. According to Henry Sayre, “As the avant-garde work of art denies its own autonomy, it implicates the audience in its workings.”3 As the aesthetic focus shifts from the object to the experience it provokes, the relationship of the two goes beyond mere implication: the public becomes the sculpture. Artists, like Richard Serra, whose goal is to illuminate the material nature of space and the often tenuous materiality of the observer’s own body, have made “the viewer, in effect, the subject of the work,” to quote Douglas Crimp. Michael North is associate professor of English at the University of California, Los Angeles. He is the author of The Final Sculpture: Public Monuments and Modern Poets and is currently completing a study of the politics of Yeats, Eliot, and Pound. (shrink)

A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of (...) a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. (shrink)

This paper outlines what we call a network model of collective emotions. Drawing upon this model, we explore the significance of collective emotions in the Palestine-Israel conflict. We highlight some of the ways in which collective shame, in particular, has contributed to the evolution of this conflict. And we consider some of the obstacles that shame and the pride-restoring narratives to which it gave birth pose to the conflict’s resolution.

Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...) engaged with the arts and aesthetics. (shrink)

Abstract: The standard picture of rationality requires that the agent acts so as to realize her most preferred alternative in the light of her own desires and beliefs. However, there are circumstances where such an agent can predict that she will act against her preferences. The story of Ulysses and the Sirens is the paradigmatic example of such cases. In those circumstances the orthodoxy requires the agent to be ‘sophisticated’. That is to say, she should take into account her expected (...) future choices and prevent her future self to act in certain ways. She should ‘bind’ herself to a certain course of action. This is a form of causal commitment. It is generally recognized that this form of self-commitment is the only one that is available to a rational agent. Rational commitment, where the agent gives herself a reason to act in a certain way rather than making herself act in that way, is considered not feasible. In this paper, I question this verdict. I sketch the broad outlines of a model of rational commitment, which takes as its starting point Michael Bratman’s ‘planning theory’ of intention. There are two important objections against this theory (one by John Broome and one by the Dutch philosopher Govert den Hartogh.) Both criticisms claim that such a theory is a form of ‘bootstrapping’ reasons for action into existence. In the remainder of the paper, I will defend the theory against these objections. This way, I hope to establish that defending the feasibility of rational commitment is not an obvious mistake. (shrink)

Are companies, churches, and states genuine agents? Or are they just collections of individuals that give a misleading impression of unity? This question is important, since the answer dictates how we should explain the behaviour of these entities and whether we should treat them as responsible and accountable on the model of individual agents. Group Agency offers a new approach to that question and is relevant, therefore, to a range of fields from philosophy to law, politics, and the social sciences. (...) Christian List and Philip Pettit argue that there really are group or corporate agents, over and above the individual agents who compose them, and that a proper approach to the social sciences, law, morality, and politics must take account of this fact. Unlike some earlier defences of group agency, their account is entirely unmysterious in character and, despite not being technically difficult, is grounded in cutting-edge work in social choice theory, economics, and philosophy. (shrink)

It is received wisdom in philosophy and the cognitive sciences that individuals can be in emotional states but groups cannot. But why should we accept this view? In this paper, I argue that there is substantial philosophical and empirical support for the existence of collective emotions. Thus, while there is good reason to be skeptical about many ascriptions of collective emotion, I argue that some groups exhibit the computational complexity and informational integration required for being in genuinely emotional states.

Sanford Goldberg investigates the role that others play in our attempts to acquire knowledge of the world.

According to Arthur Danto, post-modern or post-historical art began when artists like Andy Warhol collapsed the Modern distinction between art and everyday life by bringing “the everyday” into the artworld. I begin by pointing out that there is another way to collapse this distinction: bring art out of the artworld and into everyday life. An especially effective way of doing this is to make street art, which, I argue, is art whose meaning depends on its use of the street. I (...) defend this definition and show how it handles graffiti and public art. (shrink)

This paper contrasts individual and collective listening to music, with particular regard to the expressive qualities of music. In the first half of the paper a general model of joint attention is introduced. According to this model, perceiving together modifies the intrinsic structure of the perceptual task, and encourages a convergence of responses to a greater or lesser degree. The model is then applied to music, looking first at the silent listening situation typical to the classical concert hall, and second (...) the noisy listening situation typical to rock or jazz concerts. (shrink)

What is it for a group to believe something? A summative account assumes that for a group to believe that p most members of the group must believe that p. Accounts of this type are commonly proposed in interpretation of everyday ascriptions of beliefs to groups. I argue that a nonsummative account corresponds better to our unexamined understanding of such ascriptions. In particular I propose what I refer to as the joint acceptance model of group belief. I argue that group (...) beliefs according to the joint acceptance model are important phenomena whose aetiology and development require investigation. There is an analogous phenomenon of social or group preference, which social choice theory tends to ignore. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. Nicholas Wolterstorff asks why this might be, and proposes that almost all philosophers have accepted the grand narrative concerning art in the modern world. It is generally agreed that in the (...) early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff rejects this claim, and offers an alternative framework for thinking about the arts. Central to his alternative framework are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. (shrink)