I propose a construal of aesthetic value that gives us reason to emphasize some aesthetic practices over others. This construal rests on the existence of a central aesthetic value, namely apprehension-testing intricacy within an appropriate domain. I address three objections: the objection that asks how an aesthetic value based on intricacy can account for the value of minimalism; the objection that asks about the difference between intricacy within a medium and intricacy between media; and the objection that asks about the (...) danger of a regress. I then say that, although this central aesthetic value can in principle allow us to adjudicate between aesthetic practices, we have epistemic limits (about the potential of certain artistic domains to allow for apprehension-testing intricacy) that prevent adjudication in some cases. Even if there is a difference between the vastness of the potential-intricacy-fields somewhere down the line, it is too far for us to see. (shrink)

It is often assumed that Fichte's aim in Part I of the System of Ethics is to provide a deduction of the moral law, the very thing that Kant – after years of unsuccessful attempts – deemed impossible. On this familiar reading, what Kant eventually viewed as an underivable 'fact' (Factum), the authority of the moral law, is what Fichte traces to its highest ground in what he calls the principle of the 'I'. However, scholars have largely overlooked a passage (...) in the System of Ethics where Fichte explicitly invokes Kant's doctrine of the fact of reason with approval, claiming that consciousness of the moral law grounds our belief in freedom (GA I/5:65). On the reading I defend, Fichte's invocation of the Factum is consistent with the structure of Part I when we distinguish (a) the feeling of moral compulsion from (b) the moral law itself. (shrink)

hroughout medieval Christianity, religious works of art emerged to illustrate the teachings of the Bible for the largely illiterate population. What, then, is the significance of the psychoactive mushrooms hiding in plain sight in the artwork and icons of many European and Middle-Eastern churches? Does Christianity have a psychedelic history? -/- Providing stunning visual evidence from their anthropological journey throughout Europe and the Middle East, including visits to Roslyn Chapel and Chartres Cathedral, authors Julie and Jerry Brown document the role (...) of visionary plants in Christianity. They retrace the pioneering research of R. Gordon Wasson, the famous “sacred mushroom seeker,” on psychedelics in ancient Greece and India, and among the present-day reindeer herders of Siberia and the Mazatecs of Mexico. Challenging Wasson’s legacy, the authors reveal his secret relationship with the Vatican that led to Wasson’s refusal to pursue his hallucinogen theory into the hallowed halls of Christianity. -/- Examining the Bible and the Gnostic Gospels, the authors provide scriptural support to show that sacred mushrooms were the inspiration for Jesus’ revelation of the Kingdom of Heaven and that he was initiated into these mystical practices in Egypt during the Missing Years. They contend that the Trees of Knowledge and of Immortality in Eden were sacred mushrooms. -/- Uncovering the role played by visionary plants in the origins of Judeo-Christianity, the authors invite us to rethink what we know about the life of Jesus and to consider a controversial theory that challenges us to explore these sacred pathways to the divine. (shrink)

Cinema is neither neutral nor a universal medium. Particularly in African contexts, cinema contributes to European exceptionalism, imposes European values as the norm, and acts as an instrument of cultural and psychological control. It seems that African cinema is ontologically, politically, and aesthetically Eurocentric. By introducing an intercultural philosophical approach to the realm of cinema, we aim to move away from Eurocentrism in African cinema towards a more intercultural and dialogical orientation as an input for the liberation of humanity. Based (...) on findings from a dramaturgical analysis of five films, we argue that African cinema shows a deficiency in communicating liberation and it often fails to portray African people’s values, will, and interests as it has been alienated from its nature and purpose. Overall, African cinema seems to be either in a state of assimilation or confusion. By exploring aesthetics of liberation in African cinema and art (as described in African and intercultural philosophy,) we search for alternative film aesthetics and a mode of filmmaking that seeks to liberate the image and the minds of the filmmakers and spectators of African cinema. Inspired by Kimmerle’s aesthetic-ethic alternative ‘Living (with) art’, we propose an alternative for critical filmmaking based on aesthetics of liberation with an intercultural orientation: Living cinema. Living cinema is a dialogical and liberational cinema with aesthetics of liberation at its core. Based on aesthetic-ethic principles of African philosophy and interculturality, the liberating function of living cinema can be found in reconnecting the aesthetics and filmmaking with African values. Simultaneously, it might be contributing to the liberation of world cinema as it has an impact on both the hegemonic and the suppressed cinema. (shrink)

Semantic originalism is a theory of constitutional meaning that aims to disentangle the semantic, legal, and normative strands of debates in constitutional theory about the role of original meaning in constitutional interpretation and construction. This theory affirms four theses: (1) the fixation thesis, (2) the clause meaning thesis, (3) the contribution thesis, and (4) the fidelity thesis. -/- The fixation thesis claims that the semantic content of each constitutional provision is fixed at the time the provision is framed and ratified: (...) subsequent changes in linguistic practice cannot change the semantic content of an utterance. -/- The clause meaning thesis claims that the semantic content is given by the conventional semantic meaning (or original public meaning) of the text with four modifications. The first modification is provided by the publicly available context of constitutional utterance: words and phrases that might be ambiguous in isolation can become clear in light of those circumstances of framing and ratification that could be expected to known to interpreters of the Constitution across time. The second modification is provided by the idea of the division of linguistic labor: some constitutional provisions, such as the natural born citizen clause may be terms of art, the meaning of which are fixed by the usages of experts. The third modification is provided by the idea of constitutional implicature: the constitution may mean things it does not explicitly say. The fourth modification is provided by the idea of constitutional stipulations: the constitution brings into being new terms such as House of Representatives and the meaning of these terms is stipulated by the Constitution itself. -/- The contribution thesis asserts that the semantic content of the Constitution contributes to the law: the most plausible version of the contribution thesis is modest, claiming that the semantic content of the Constitution provides rules of constitutional law, subject to various qualifications. Our constitutional practice provides strong evidence for the modest version of the contribution thesis. -/- The fidelity thesis asserts that we have good reasons to affirm fidelity to constitutional law: virtuous citizens and officials are disposed to act in accord with the Constitution; right acting citizens and officials obey the constitution in normal circumstances; constitutional conformity produces good consequences. Our public political culture affirms the great value of the rule of law. -/- We can summarize semantic originalism as a slogan: The original public meaning of the constitution is the law and for that reason it should be respected and obeyed. The slogan recapitulates each of the claims made by semantic originalism, but it is potentially misleading because it does not clearly distinguish between the semantic claims made by the fixation and clause meaning theses, the legal claim made by the contribution thesis, and the normative claim made by the fidelity thesis. -/- Part I introduces the four theses. Part II is entitled An Opinionated History of Constitutional Originalism, and it provides the context for all that follows. Part III is entitled Semantic Originalism: A Theory of Constitutional Meaning, and it lays out the case for original public meaning as the best nonnormative theory of constitutional content. Part IV is entitled The Normative Implications of Semantic Originalism, and it articulates a variety of normative arguments for originalism. Part V is entitled Conclusion: Semantic Originalism and Living Constitutionalism, and it explores the broad implications of semantic originalism for living constitutionalism and the future of constitutional theory. (shrink)

Leo Strauss’ controversial theory of esoteric philosophy, as presented in Persecution and the Art of Writing, sparked a fierce debate. Opponents and proponents of the theory utilised a wide range of perspectives to support their arguments. By investigating esoteric philosophy from a sociolinguistic perspective, this paper introduces a novel perspective to the Strauss dispute. In PAW Strauss is mistaken regarding esotericism and its role in philosophy. On one hand it is reasonable to endorse Strauss’ persuasive account on the origins of (...) esoteric writing. The Straussian account provides a plausible sociological background as to why philosophy, per se became an esoteric fliedH. On the other hand it seems as Strauss ascribed undue significance to possible clandestine massages that may be found within works of philosophy because philosophy is mostly already done in an esoteric linguistic space. (shrink)

One of the vexed questions in the philosophy of wonder and indeed education is how to ensure that the next generation harbours a sense of wonder. Wonder is important, we think, because it encour- ages inquiry and keeps us as Albert Einstein would argue from ‘being as good as dead’ or ‘snuffed-out candles’ (Einstein 1949, 5). But how is an educator to install, bring to life, or otherwise encourage a sense of wonder in his or her stu- dents? Biologist Rachel (...) Carson suggests that exploring nature and specifically undertaking walks along the rocky coast of Maine would keep alive a person’s inborn sense of wonder (Carson 1984). Philosopher Jesse Prinz thinks that exposure to art will encourage wonderment because artworks, as he puts it, are “inventions for feeding the appetite that wonder excites in us” (Prinz 2013). Weird fiction (a subgenre of speculative fiction) – and in particular the work of one of its greatest exponents, the early-20th-century American author How- ard Phillips Lovecraft – is likewise a catalyst for wonder. The reason behind this is that Lovecraft’s ‘wonder-stories’ are densely packed with wonder per design; and in support of this claim I shall in what is to come 1) provide a brief introduction to Lovecraft and weird fiction; 2) present a working definition of wonder; and 3) clarify what is meant by something being ‘densely packed with wonder’ via bringing to the fore evidence of Lovecraft’s literary wonder- mongery. The paper ends with some reflections on the notion of ‘dark wonder’, why this peculiar label might be suitable for the kind of wonder we find in Lovecraft’s work, and why exposure to ‘dark wonder’ can be edifying, and in that sense educational. (shrink)

Largely neglected today, the work of Karl Philipp Moritz was a highly influential source for Early German Romanticism. Moritz considered the form of myth as essential to the absolute nature of the divine subject. This defence was based upon his aesthetic theory, which held that beautiful art was “disinterested”, or complete in itself. For Moritz, Myth, like art, constitutes a totality providing an idiom free from restriction in the imitation of the divine. This examination offers a consideration of Moritz’s aesthetics (...) and mythography, before turning briefly to consider his influence on the authors of Early German Romanticism. An understanding of the role of Moritz’s thought supports a number of recent claims that challenge the conventional reading of Romanticism. At the same time it allows us to see Romanticism’s unconventional realist theological programme, permitting us to overcome the problematic secularising readings of the movement. I would like to thank Kurt Mueller-Vollmer, as well as Fredrick Beiser and Lars Fischer for their help with this project. (shrink)

How may human agents come to trust (sophisticated) artificial agents? At present, since the trust involved is non-normative, this would seem to be a slow process, depending on the outcomes of the transactions. Some more options may soon become available though. As debated in the literature, humans may meet (ro)bots as they are embedded in an institution. If they happen to trust the institution, they will also trust them to have tried out and tested the machines in their back corridors; (...) as a consequence, they approach the robots involved as being trustworthy (“zones of trust”). Properly speaking, users rely on the overall accountability of the institution. Besides this option we explore some novel ways for trust development: trust becomes normatively laden and thereby the mechanism of exclusive reliance on the normative force of trust (as-if trust) may come into play - the efficacy of which has already been proven for persons meeting face-to-face or over the Internet (virtual trust). For one thing, machines may evolve into moral machines, or machines skilled in the art of deception. While both developments might seem to facilitate proper trust and turn as-if trust into a feasible option, they are hardly to be taken seriously (while being science-fiction, immoral, or both). For another, the new trend in robotics is towards coactivity between human and machine operators in a team (away from making robots as autonomous as possible). Inside the team trust is a necessity for smooth operations. In support of this, humans in particular need to be able to develop and maintain accurate mental models of their machine counterparts. Nevertheless, the trust involved is bound to remain nonnormative. It is argued, though, that excellent opportunities exist to build relations of trust toward outside users who are pondering their reliance on the coactive team. The task of managing this trust has to be allotted to human operators of the team, who operate as linking pin between the outside world and the team. Since the robotic team has now been turned into an anthropomorphic team, users may well develop normative trust towards them; correspondingly, trusting the team in as-if fashion becomes feasible. (shrink)

In this paper I shall argue that the relations between metaphorical and literal kinds of language may be illuminated and clarified by comparison with corresponding differences and similarities between representing and represented objects. A kind of "picture theory" of metaphorical language will be proposed (though one which draws more on Wittgenstein's Investigations than on the Tractatus), in which successful metaphorical phrases are taken as being about things which are capable (in context) of being seen or recognized as representing or depicting (...) that which the words ordinarily refer to or describe when being used literally. (shrink)

In the chapter of Difference and Repetition entitled ‘Ideas and the synthesis of difference,’ Deleuze mobilizes mathematics to develop a ‘calculus of problems’ that is based on the mathematical philosophy of Albert Lautman. Deleuze explicates this process by referring to the operation of certain conceptual couples in the field of contemporary mathematics: most notably the continuous and the discontinuous, the infinite and the finite, and the global and the local. The two mathematical theories that Deleuze draws upon for this purpose (...) are the differential calculus and the theory of dynamical systems, and Galois’ theory of polynomial equations. For the purposes of this paper I will only treat the first of these, which is based on the idea that the singularities of vector fields determine the local trajectories of solution curves, or their ‘topological behaviour’. These singularities can be described in terms of the given mathematical problematic, that is for example, how to solve two divergent series in the same field, and in terms of the solutions, as the trajectories of the solution curves to the problem. What actually counts as a solution to a problem is determined by the specific characteristics of the problem itself, typically by the singularities of this problem and the way in which they are distributed in a system. Deleuze understands the differential calculus essentially as a ‘calculus of problems’, and the theory of dynamical systems as the qualitative and topological theory of problems, which, when connected together, are determinative of the complex logic of different/ciation. (DR 209). Deleuze develops the concept of a problematic idea from the differential calculus, and following Lautman considers the concept of genesis in mathematics to ‘play the role of model ... with respect to all other domains of incarnation’. While Lautman explicated the philosophical logic of the actualization of ideas within the framework of mathematics, Deleuze (along with Guattari) follows Lautman’s suggestion and explicates the operation of this logic within the framework of a multiplicity of domains, including for example philosophy, science and art in What is Philosophy?, and the variety of domains which characterise the plateaus in A Thousand Plateaus. While for Lautman, a mathematical problem is resolved by the development of a new mathematical theory, for Deleuze, it is the construction of a concept that offers a solution to a philosophical problem; even if this newly constructed concept is characteristic of, or modelled on the new mathematical theory. (shrink)

With the approval and dissemination of CHED Memorandum Order Number 15, Series of 2019 in the Philippines, graduate students both in the Master of Science/Master of Arts Academic Track and Doctor of Philosophy Academic Track/Doctor of Philosophy by Research are now compelled to publish or, at least, show evidence of acceptance of research studies in refereed journals, or nationally or internationally indexed journals. Coriat (2019) claims that the value of research to society and its relationship to wealth and competitiveness has (...) long been established. But then, developing countries’ embrace, as in the case of the Philippines, of international publishing standards has received little attention (Vuong, 2019). As a result, publication pollution is growing by the day since developing-country writers including Filipino researchers lack expertise and mentoring (Jawaid, 2016). Thereupon, this policy review brings to the fore various deterrents in the fruition of students’ publications, pertinent questions than can stir waves of reflection among readers, professors, and administrators, to name a few, and mentorship as the saving grace for the emerging problems. Mentorship in this article means that the mentor and the mentee work hand in hand from research ideation to research presentation or publication. (shrink)

This study aims to find out the factors that hinder students in learning Integrated Art Education. A descriptive research design was utilized in the conduct of the study. The researcher prepared a questionnaire with 15 closed-ended- questions that could be answered objectively. The study discovered that the students would learn more when they feel that they belong to a certain group. Interests in a subject also matter, the more you are interested in a particular subject, the more you will learn (...) the material. Parent support marks an impact on the student's interest in learning Arts. Therefore, personal interest in a subject must be given attention and managed properly. Parent's support also plays a vital role in reinforcing the students on what to pursue in order to maintain their motivation. (shrink)

Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...) artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction. (shrink)

Como aparece a pornografia como um discurso e saber sobre o corpo? Qual é a relação que existe entre pornografia e a produção de subjetividade? Como funciona a pornografia dentro dos mecanismos políticos de normalização do corpo e da visão na cidade moderna? Essa pesquisa muito rápida se trata de realizar uma análise dos primeiros apontamentos realizados em Testo Yonqui (2008) e que antecedem ao Pornotopía (2010), em que em um primeiro momento se faz a proposta de uma releitura dos (...) termos presentes no debate pornográfico (sujeito, olhar, representação, prazer...), assim como das suas relações com a história da arte e as suas estratégias biopolíticas de controle do corpo e de produção de prazer através do olhar. Em um segundo momento, tenta-se aqui mostrar como e por qual razão a pornografia é uma forma de produção cultural que concerne ao museu, em como o museu produz uma categoria de lixo urbano a partir da pornografia como um amplo dispositivo biopolítico de controle e privatização da sexualidade na cidade moderna e, ao fim, por qual razão a pornografia se converteu a partir dos anos setenta em um espaço de análise, en uma ferramenta crítica e de reapropriação para as micropolíticas de gênero, sexo, raça e sexualidade. (shrink)

There seems to be confusion and disagreement among scholars about the meaning of interpersonal forgiveness. In this essay we shall venture to clarify the meaning of forgiveness by examining various literary works. In particular, we shall discuss instances of forgiveness from Homer’s The Iliad, Euripides’ Hippolytus, and Aristotle’s Nicomachean Ethics and we shall focus on the changes that the concept of forgiveness has gone through throughout the centuries, in the hope of being able to understand, and therefore, of being able (...) to use more accurately, contemporary notions of forgiveness. We shall also explore the relationship between forgiveness and concepts that are closely associated with it, such as anger/resentment, hurt, clemency, desert/merit, excuse, etc. (shrink)

Michael B. Gill’s A Philosophy of Beauty: Shaftesbury on Nature, Virtue, and Art focuses on Shaftesbury’s thinking about nature, religion, morality, and art. This beautifully and engagingly written book is insightful for scholars and general readers alike, and invites readers to explore the philosophical issues that arise from Shaftesbury’s philosophy. Gill not only shows how Shaftesbury’s ideas were revolutionary at the turn of the eighteenth century but also how they remain relevant today. Shaftesbury’s major work, Characteristicks of Men, Manners, Opinions, (...) Times, was one of the most influential books published during the first half of the eighteenth century. According to Gill, “[i]t played a momentous role in turning European thought away from the negative and toward the positive—in nature, religion, morality, and art” (1). Although Characteristicks serves as a major source, Gill also engages with numerous other published and unpublished writings by Shaftesbury. A Philosophy of Beauty is divided into five chapters which focus respectively on nature and God, virtue, art, painting, and writing. (shrink)

Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...) le problème principal soulevé à l’encontre des théories classiques est qu’elles cherchent toutes l’essence de l’art dans un trait caractéristique qui serait reconnaissable dans les œuvres elles-mêmes. Les théories contemporaines répondent à ce problème principalement de quatre façons, comme on le verra dans les sections 2.b à 2.d. Les théories sceptiques (2.b.) défendent qu’il est dès lors impossible de définir l’art – qu’on peut au mieux en donner certains caractères typiques, des airs de famille. Les théories relationnalistes (2.c.) défendent que ce qui fait qu’une chose est de l’art est à trouver en dehors de celle-ci, notamment dans les relations qu’elle entretient avec son contexte de création ou de présentation. Les théories néo-classiques (2.d.) continuent à chercher l’essence de l’art dans un trait caractéristique reconnaissable dans les œuvres elles-mêmes tout en prenant en compte les réactions sceptiques ou relationnalistes. Enfin, la théorie du ‘renvoi de la balle’ (2.e.) défend que l’on ne peut pas définir l’art mais seulement des sous-catégories comme la musique, la sculpture, les installations, les performances, etc. -/- Nous présenterons les avantages et les inconvénients principaux des théories contemporaines. Nous verrons qu’aucune n’est dénuée de problèmes, expliquant pourquoi il n’existe pas de consensus sur une définition de l’art aujourd’hui. Nous verrons également que – à l’exception d’un certain scepticisme qui jette, semble-t-il, trop vite l’éponge – chacune de ces théories amène, par son originalité, à une compréhension nouvelle et plus profonde de cette notion extrêmement complexe qu’est le concept « Art ». (shrink)

The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...) achieving this aim. Hence, by the lights of recent epistemology, it is questionable whether art is of any epistemic value. In order to hold on to the epistemic value of art, one has three options: (a) reject the recent analyses of knowledge that make the epistemic value of art questionable, (b) accept the recent analyses of knowledge but argue that they are compatible with the epistemic value of art, or (c) find another epistemic aim (besides knowledge) and show that art is of significant help in achieving this aim. In this paper I will argue that, at least with respect to pictorial art, option (c) seems promising. By reconsidering some basic insights and ideas from Nelson Goodman we can identify (objective) understanding as an epistemic aim to which pictorial art makes a significant contribution. (shrink)

A review of Tiziana Andina's The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury 2013).

Just as humans can draw conclusions responsibly or irresponsibly, so too can computers. Machine learning systems that have been trained on data sets that include irresponsible judgments are likely to yield irresponsible predictions as outputs. In this paper I focus on a particular kind of inference a computer system might make: identification of the intentions with which a person acted on the basis of photographic evidence. Such inferences are liable to be morally objectionable, because of a way in which they (...) are presumptuous. After elaborating this moral concern, I explore the possibility that carefully procuring the training data for image recognition systems could ensure that the systems avoid the problem. The lesson of this paper extends beyond just the particular case of image recognition systems and the challenge of responsibly identifying a person’s intentions. Reflection on this particular case demonstrates the importance (as well as the difficulty) of evaluating machine learning systems and their training data from the standpoint of moral considerations that are not encompassed by ordinary assessments of predictive accuracy. (shrink)

Hume introduced important innovations concerning the theory of ideas. The two most important are the distinction between impressions and ideas, and the use he made of the principles of association in explaining mental phenomena. Hume divided the perceptions of the mind into two classes. The members of one class, impressions, he held to have a greater degree of force and vivacity than the members of the other class, ideas. He also supposed that ideas are causally dependent copies of impressions. And, (...) unlike Locke and others, Hume makes positive use of the principle of association, both of the association of ideas, and, in a more limited way, of the association of impressions. Such associations are central to his explanations of causal reasoning, belief, the indirect passions (pride and humility, love and hatred), and sympathy. These views about impressions and ideas and the principles of association form the core of Hume’s science of human nature. Relying on them, he attempts a rigorously empirical investigation of human nature. The resulting system is a remarkable but complex achievement. (shrink)

One of the most controversial issues to emerge in recent studies of Fichte concerns the status of his normative ethics, i.e., his theory of what makes actions morally good or bad. Scholars are divided over Fichte’s view regarding the ‘final end’ of moral striving, since it appears this end can be either a specific goal permitting maximizing calculations (the consequentialist reading defended by Kosch 2015), or an indeterminate goal permitting only duty-based decisions (the deontological reading defended by Wood 2016). While (...) I think each interpretive position contains an element of truth, my aim in this paper is to defend a third alternative, according to which Fichte’s normative ethics presents us with a unique form of social perfectionism. (shrink)

The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present contemporary (...) art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain. (shrink)

This article argues that a person’s well-being at a time and the goodness of her life are two distinct values. It is commonly accepted as platitudinous that well-being is what makes a life good for the person who lives it. Even philosophers who distinguish between well-being at a time and the goodness of a life still typically assume that increasing a person’s well-being at some particular moment, all else equal, necessarily improves her life on the whole. I develop a precise (...) statement of this standard assumption, and then show that it is subject to counterexamples. The possibility of such counterexamples depends only on premises similar to those sometimes invoked to argue that a person’s well-being over a long period is not simply the aggregate well-being of the shorter periods that compose the long period. The refutation of the standard assumption linking well-being and life-goodness entails that these are distinct and sometimes divergent values. As an alternative to the standard assumption, it is proposed that well-being is best understood as an ingredient in a good life. (shrink)

Imagine you are casually browsing an online bookstore, looking for an interesting novel. Suppose the store predicts you will want to buy a particular novel: the one most chosen by people of your same age, gender, location, and occupational status. The store recommends the book, it appeals to you, and so you choose it. Central to this scenario is an automated prediction of what you desire. This article raises moral concerns about such predictions. More generally, this article examines the ethics (...) of artificial social cognition—the ethical dimensions of attribution of mental states to humans by artificial systems. The focus is presumptuous aim attributions, which are defined here as aim attributions based crucially on the premise that the person in question will have aims like superficially similar people. Several everyday examples demonstrate that this sort of presumptuousness is already a familiar moral concern. The scope of this moral concern is extended by new technologies. In particular, recommender systems based on collaborative filtering are now commonly used to automatically recommend products and information to humans. Examination of these systems demonstrates that they naturally attribute aims presumptuously. This article presents two reservations about the widespread adoption of such systems. First, the severity of our antecedent moral concern about presumptuousness increases when aim attribution processes are automated and accelerated. Second, a foreseeable consequence of reliance on these systems is an unwarranted inducement of interpersonal conformity. (shrink)

This article addresses three questions about well-being. First, is well-being future-sensitive? I.e., can present well-being depend on future events? Second, is well-being recursively dependent? I.e., can present well-being depend on itself? Third, can present and future well-being be interdependent? The third question combines the first two, in the sense that a yes to it is equivalent to yeses to both the first and second. To do justice to the diverse ways we contemplate well-being, I consider our thought and discourse about (...) well-being in three domains: everyday conversation, social science, and philosophy. This article’s main conclusion is that we must answer the third question with no. Present and future well-being cannot be interdependent. The reason, in short, is that a theory of well-being that countenances both future-sensitivity and recursive dependence would have us understand a person’s well-being at a time as so intricately tied to her well-being at other times that it would not make sense to consider her well-being an aspect of her state at particular times. It follows that we must reject either future-sensitivity or recursive dependence. I ultimately suggest, especially in light of arguments based on assumptions of empirical research on well-being, that the balance of reasons favors rejecting future-sensitivity. (shrink)

Abstractabstract:Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel is (...) able to embrace all three theses at once through a conception of the work of art as an internally purposive whole (what I call the "IP View" of art). On the IP View, because of the kind of wholes that artworks are, they (i.a) are valuable for their own sake as ends-in-themselves, (i.b) yield valuable experiences because they are valuable for their own sake, and thereby (i.c) are necessary for robust knowledge. Finally, I suggest that not only does Hegel appear to hold the IP View of art, but also that on such a view, there is a very sensible reason for affirming (one reading of) Hegel's end-of-art thesis as an important means to establishing art's actual significance for robust knowledge against soaring, but unsubstantiable, claims about art's potency with respect to robust knowledge. (shrink)

Despite Kant’s lasting influence on philosophical accounts of moral motivation, many details of his own position remain elusive. In the Critique of Practical Reason, for example, Kant argues that our recognition of the moral law’s authority must elicit both painful and pleasurable feelings in us. On reflection, however, it is unclear how these effects could motivate us to act from duty. As a result, Kant’s theory of moral sensibility comes under a skeptical threat: the possibility of a morally motivating feeling (...) seems incoherent. My aim in this paper is to reconstruct Kant’s theory in a way that overcomes this threat. By way of conclusion, I show how my reconstruction brings a new perspective to a long-standing dispute over intellectualist and affectivist views of moral motivation. (shrink)

Kant is well known for claiming that we can never really know our true moral disposition. He is less well known for claiming that the injunction "Know Yourself" is the basis of all self-regarding duties. Taken together, these two claims seem contradictory. My aim in this paper is to show how they can be reconciled. I first address the question of whether the duty of self-knowledge is logically coherent (§1). I then examine some of the practical problems surrounding the duty, (...) notably, self-deception (§2). Finding none of Kant's solutions to the problem of self-deception satisfactory, I conclude by defending a Kantian account of self-knowledge based on his theory of conscience (§3). (shrink)

Kant’s doctrine of the Fact of Reason is one of the most perplexing aspects of his moral philosophy. The aim of this paper is to defend Kant’s doctrine from the common charge of dogmatism. My defense turns on a previously unexplored analogy to the notion of ‘matters of fact’ popularized by members of the Royal Society in the seventeenth century. In their work, ‘facts’ were beyond doubt, often referring to experimental effects one could witness first hand. While Kant uses the (...) German equivalent in different contexts, I argue that the scientific analogy opens up a new framework for interpreting his strategy of justification in the Critique of Practical Reason. In the final section, I address a few possible objections to my reading, one of which I anticipate coming from Dieter Henrich and Ian Proops, who have argued that Kant’s Fact of Reason is best understood under a legal analogy. (shrink)

Ethical decision-making frameworks assist in identifying the issues at stake in a particular setting and thinking through, in a methodical manner, the ethical issues that require consideration as well as the values that need to be considered and promoted. Decisions made about the use, sharing, and re-use of big data are complex and laden with values. This paper sets out an Ethics Framework for Big Data in Health and Research developed by a working group convened by the Science, Health and (...) Policy-relevant Ethics in Singapore Initiative. It presents the aim and rationale for this framework supported by the underlying ethical concerns that relate to all health and research contexts. It also describes a set of substantive and procedural values that can be weighed up in addressing these concerns, and a step-by-step process for identifying, considering, and resolving the ethical issues arising from big data uses in health and research. This Framework is subsequently applied in the papers published in this Special Issue. These papers each address one of six domains where big data is currently employed: openness in big data and data repositories, precision medicine and big data, real-world data to generate evidence about healthcare interventions, AI-assisted decision-making in healthcare, public-private partnerships in healthcare and research, and cross-sectoral big data. (shrink)

It is commonly held that Kant ventured to derive morality from freedom in Groundwork III. It is also believed that he reversed this strategy in the second Critique, attempting to derive freedom from morality instead. In this paper, I set out to challenge these familiar assumptions: Kant’s argument in Groundwork III rests on a moral conception of the intelligible world, one that plays a similar role as the ‘fact of reason’ in the second Critique. Accordingly, I argue, there is no (...) reversal in the proof-structure of Kant’s two works. (shrink)

How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an ‘epistemic arc’, consisting of three parts (curiosity, epistemic action and aha experiences), which we (...) cast as aspects of active inference. We then show how epistemic arcs are built and sustained by artworks to provide us with those satisfying experiences that we tend to call ‘aesthetic’. Next, we defuse two key objections to this approach; namely, that it places undue emphasis on the cognitive component of our aesthetic encounters—at the expense of affective aspects—and on closure and uncertainty minimization (order)—at the expense of openness and lingering uncertainty (change). We show that the approach offers crucial resources to account for the open-ended, free and playful behaviour inherent in aesthetic experiences. The upshot is a promising but deflationary approach, both philosophically informed and psychologically sound, that opens new empirical avenues for understanding our aesthetic encounters. -/- This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’. (shrink)

Owen Ware here develops and defends a novel interpretation of Fichte’s moral philosophy as an ethics of wholeness. While virtually forgotten for most of the twentieth century, Fichte’s System of Ethics is now recognized by scholars as a masterpiece in the history of post-Kantian thought and a key text for understanding the work of later German idealist thinkers. This book provides a careful examination of the intellectual context in which Fichte’s moral philosophy evolved and of the specific arguments he (...) offers in response to Kant and his immediate successors. A distinctive feature of this study is a focus on the foundational concepts of Fichte’s ethics—freedom, morality, feeling, conscience, community—and their connection to his innovative but largely misunderstood theory of drives. By way of conclusion, the book shows that what appears to be two conflicting commitments in Fichte’s ethics—a commitment to the feelings of one's conscience and a commitment to engage in open dialogue with others—are two aspects of his theory of moral perfection. The result is a sharp understanding of Fichte's System of Ethics as offering a compelling resolution to the personal and interpersonal dimensions of moral life. (shrink)

The concept of respect for persons is often rejected as a basis for understanding forgiveness. As many have argued, to hold your offender responsible for her actions is to respect her as a person; but this kind of respect is more likely to sustain, rather than dissolve, your resentment toward her (Garrard & McNaughton 2003; 2011; Allais 2008). I seek to defend an alternative view in this paper. To forgive, on my account, involves ceasing to identify your offender with her (...) wrongdoing, and this requires a corresponding affective change on your behalf. While there are different ways this may happen, I argue that respect for your offender as a person can play a significant role in the process. (shrink)

Despite the plethora of freedom of religion literature (under section 2(a) of the Canadian Charter of Rights and Freedoms), the corresponding literature on the freedom of conscience is minimal. To further the discussion on the freedom of conscience, I rely heavily on the philosophical literature to make an important distinction; the difference between individual- based and communal-based conceptions of conscience. Whereas the former is plagued with subjectivity, making it difficult to conceptualize a working framework for the Charter right, the latter (...) offers a promising foothold to rise above subjectivity and find a firm footing based on communal relations. In emphasizing the importance of the dialogical nature of human beings and the relational necessity undergirding moral judgements, I argue that the concept of conscience should be understood and practiced in community, rather than individually. (shrink)

In this article I offer a critical commentary on Jeanine Grenberg’s claim that, by the time of the second Critique, Kant was committed to the view that we only access the moral law’s validity through the feeling of respect. The issue turns on how we understand Kant’s assertion that our consciousness of the moral law is a ‘fact of reason’. Grenberg argues that all facts must be forced, and anything forced must be felt. I defend an alternative interpretation, according to (...) which the fact of reason refers to the actuality of our moral consciousness. (shrink)

There is no question that Fichte's theory of conscience is central to his system of ethics. Yet his descriptions of its role in practical deliberation appear inconsistent, if not contradictory. Many scholars have claimed that for Fichte conscience plays a material role by providing the content of our moral obligations—the Material Function View. Some have denied this, however, claiming that conscience only plays a formal role by testing our moral convictions in any given case—the Formal Function View. My aim in (...) this paper is to offer a new contribution to this debate. I begin by supplying further evidence in support of the view that conscience only plays a formal function in Fichte's ethics. Then I call attention to a deeper problem this view faces, namely, that it invites an infinite regress by making one's conviction a matter of higher-order reflection. The key to overcoming this threat, I argue, lies in Fichte's doctrine of feeling, whereby the criterion of one's conviction lies, not in a cognitive state, but in an affective state. In closing, I discuss the relevance of Fichte's theory for current debates over the nature of moral error and moral deference. (shrink)

Mimesis and the portrayal of reflective life in action : Aristotle's Poetics and Sophocles' Oedipus the King -- The portrayal of reflective life in action in poetry : Shakespeare's dramatization of the poet in Sonnets 1-126 -- The portrayal of reflective life in action in music : Bach's Prelude and Fugue in B flat minor (The Well-Tempered Clavier, Book 1) and Beethoven's String Quartet in A minor, opus 132 -- The portrayal of reflective life in action in painting : discovery (...) of the inner life of sensory perception in watercolours by Turner and oil paintings by Cézanne. (shrink)

A self-fulfilling prophecy is, roughly, a prediction that brings about its own truth. Although true predictions are hard to fault, self-fulfilling prophecies are often regarded with suspicion. In this article, we vindicate this suspicion by explaining what self-fulfilling prophecies are and what is problematic about them, paying special attention to how their problems are exacerbated through automated prediction. Our descriptive account of self-fulfilling prophecies articulates the four elements that define them. Based on this account, we begin our critique by showing (...) that typical self-fulfilling prophecies arise due to mistakes about the relationship between a prediction and its object. Such mistakes—along with other mistakes in predicting or in the larger practical endeavor—are easily overlooked when the predictions turn out true. Thus we note that self-fulfilling prophecies prompt no error signals; truth shrouds their mistakes from humans and machines alike. Consequently, self-fulfilling prophecies create several obstacles to accountability for the outcomes they produce. We conclude our critique by showing how failures of accountability, and the associated failures to make corrections, explain the connection between self-fulfilling prophecies and feedback loops. By analyzing the complex relationships between accuracy and other evaluatively significant features of predictions, this article sheds light both on the special case of self-fulfilling prophecies and on the ethics of prediction more generally. (shrink)

Kant’s early readers were troubled by the appearance of a dilemma facing his theory of freedom. On the one hand, if we explain human actions according to laws or rules, then we risk reducing the activity of the will to necessity (the horn of determinism). But, on the other hand, if we explain human actions without laws or rules, then we face an equally undesirable outcome: that of reducing the will’s activity to mere chance (the horn of indeterminism). After providing (...) an overview of this dilemma, this chapter explores how Fichte and Schelling attempted to resolve it, in ways that ultimately shaped the course of post-Kantian idealism in the late 1790s and early 1800s. (shrink)

This paper examines the distinction between self-love and self-conceit in Kant's moral psychology. It motivates an alternative account of the origin of self-conceit by drawing a parallel to what Kant calls transcendental illusion.

Kant’s arguments for the reality of human freedom and the normativity of the moral law continue to inspire work in contemporary moral philosophy. Many prominent ethicists invoke Kant, directly or indirectly, in their efforts to derive the authority of moral requirements from a more basic conception of action, agency, or rationality. But many commentators have detected a deep rift between the _Groundwork for the Metaphysics of Morals_ and the _Critique of Practical Reason_, leaving Kant’s project of justification exposed to conflicting (...) assessments and interpretations. In this major re-reading of Kant, Owen Ware defends the controversial view that Kant’s mature writings on ethics share a unified commitment to the moral law’s primacy. Using both close analysis and historical contextualization, Owen Ware overturns a paradigmatic way of reading Kant’s arguments for morality and freedom, situating them within Kant’s critical methodology at large. The result is a novel understanding of Kant that challenges much of what goes under the banner of Kantian arguments for moral normativity today. (shrink)

In this essay we provide (1) an argument for why ethics should be naturalized, (2) an analysis of why it is not yet naturalized, (3) a defense of ethical naturalism against two fallacies—Hume’s and Moore’s—that ethical naturalism allegedly commits, and (4) a proposal that normative ethics is best conceived as part of human ecology committed to pluralistic relativism. We explain why naturalizing ethics both entails relativism and also constrains it, and why nihilism about value is not an especially worrisome for (...) ethical naturalists. The substantive view we put forth constitutes the essence of Duke Naturalism. (NOTE: This is a slightly modified reprint of Flangan et al 2007 of the same title.). (shrink)

This paper offers a new interpretation of Kant's relationship with skepticism in the Groundwork for the Metaphysics of Morals. My position differs from commonly held views in the literature in two ways. On the one hand, I argue that Kant's relationship with skepticism is active and systematic (contrary to Hill, Wood, Rawls, Timmermann, and Allison). On the other hand, I argue that the kind of skepticism Kant is interested in does not speak to the philosophical tradition in any straightforward sense (...) (contrary to Forster and Guyer). On my reading, Kant takes up a skeptical method in the Groundwork as a way of exposing certain obstacles in our ordinary and philosophical thinking about morality. The central obstacle he is interested in is practical in character, arising from a natural tendency we have to rationalize against the moral law. In attempting to resolve this tendency, I argue, the Groundwork turns out to have a profoundly educative task. (shrink)

In this essay we provide (1) an argument for why ethics should be naturalized, (2) an analysis of why it is not yet naturalized, (3) a defense of ethical naturalism against two fallacies—Hume’s and Moore’s—that ethical naturalism allegedly commits, and (4) a proposal that normative ethics is best conceived as part of human ecology committed to pluralistic relativism. We explain why naturalizing ethics both entails relativism and also constrains it, and why nihilism about value is not an especially worrisome for (...) ethical naturalists. The substantive view we put forth constitutes the essence of Duke Naturalism. (shrink)

While Kant’s claim that the moral law discloses our freedom to us has been extensively discussed in recent decades, the reactions to this claim among Kant’s immediate successors have gone largely overlooked by scholars. Reinhold, Creuzer, and Maimon were among three prominent thinkers of the era unwilling to follow Kant in making the moral law the condition for knowing our freedom. Maimon went so far as to reject Kant’s method of appealing to our everyday awareness of duty on the grounds (...) that common human understanding is susceptible to error and illusion. In this paper I shall examine how these skeptical reactions to Kant’s position shaped the background for Fichte’s method of moral justification, leading up to his own deduction of the moral law in the System of Ethics. By way of conclusion, I shall propose a new interpretation of how consciousness of the moral law serves as an entry-point to Fichte’s form of idealism. (shrink)