People sometimes explain behavior by appealing to an essentialist concept of the self, often referred to as the true self. Existing studies suggest that people tend to believe that the true self is morally virtuous; that is deep inside, every person is motivated to behave in morally good ways. Is this belief particular to individuals with optimistic beliefs or people from Western cultures, or does it reflect a widely held cognitive bias in how people understand the self? To address this (...) question, we tested the good true self theory against two potential boundary conditions that are known to elicit different beliefs about the self as a whole. Study 1 tested whether individual differences in misanthropy—the tendency to view humans negatively—predict beliefs about the good true self in an American sample. The results indicate a consistent belief in a good true self, even among individuals who have an explicitly pessimistic view of others. Study 2 compared true self-attributions across cultural groups, by comparing samples from an independent country and a diverse set of interdependent countries. Results indicated that the direction and magnitude of the effect are comparable across all groups we tested. The belief in a good true self appears robust across groups varying in cultural orientation or misanthropy, suggesting a consistent psychological tendency to view the true self as morally good. (shrink)

The Twin Earth thought experiment invites us to consider a liquid that has all of the superficial properties associated with water (clear, potable, etc.) but has entirely different deeper causal properties (composed of “XYZ” rather than of H2O). Although this thought experiment was originally introduced to illuminate questions in the theory of reference, it has also played a crucial role in empirically informed debates within the philosophy of psychology about people’s ordinary natural kind concepts. Those debates have sought to accommodate (...) an apparent fact about ordinary people’s judgments: Intuitively, the Twin Earth liquid is not water. We present results from four experiments showing that people do not, in fact, have this intuition. Instead, people tend to have the intuition that there is a sense in which the liquid is not water but also a sense in which it is water. We explore the implications of this finding for debates about theories of natural kind concepts, arguing that it supports views positing two distinct criteria for membership in natural kind categories – one based on deeper causal properties, the other based on superficial, observable properties. (shrink)

Past research has identified a number of asymmetries based on moral judgments. Beliefs about what a person values, whether a person is happy, whether a person has shown weakness of will, and whether a person deserves praise or blame seem to depend critically on whether participants themselves find the agent's behavior to be morally good or bad. To date, however, the origins of these asymmetries remain unknown. The present studies examine whether beliefs about an agent's “true self” explain these observed (...) asymmetries based on moral judgment. Using the identical materials from previous studies in this area, a series of five experiments indicate that people show a general tendency to conclude that deep inside every individual there is a “true self” calling him or her to behave in ways that are morally virtuous. In turn, this belief causes people to hold different intuitions about what the agent values, whether the agent is happy, whether he or she has shown weakness of will, and whether he or she deserves praise or blame. These results not only help to answer important questions about how people attribute various mental states to others; they also contribute to important theoretical debates regarding how moral values may shape our beliefs about phenomena that, on the surface, appear to be decidedly non-moral in nature. (shrink)

Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We then (...) explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see something distinctively musical in works that express precisely those emotions that they think most create connection within conversation. (shrink)

A growing body of research has examined how people judge the persistence of identity over time—that is, how they decide that a particular individual is the same entity from one time to the next. While a great deal of progress has been made in understanding the types of features that people typically consider when making such judgments, to date, existing work has not explored how these judgments may be shaped by normative considerations. The present studies demonstrate that normative beliefs do (...) appear to play an important role in people's beliefs about persistence. Specifically, people are more likely to judge that the identity of a given entity remains the same when its features improve than when its features deteriorate. Study 1 provides a basic demonstration of this effect. Study 2 shows that this effect is moderated by individual differences in normative beliefs. Study 3 examines the underlying mechanism, which is the belief that, in general, various entities are essentially good. Study 4 directly manipulates beliefs about essence to show that the positivity bias regarding essences is causally responsible for the effect. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...) our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

Bill Seeley suggests that what follows from research into crossmodal perception for expression and emotion in the arts is that there is an emotional contour (i.e., a contour constitutive of the content of an emotion and potentially realizable across a range of media). As a response of sorts, I speculate as to what this might hold for philosophical and empirical enquiry into expression and emotion across the arts as well as into the nature of the emotions themselves.

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...) Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)

Psychopathic behavior is characteristically amoral, but to date research studies have largely failed to identify any systematic differences in moral judgment capability between psychopaths and non-psychopaths. In this study, we investigate whether significant differences in moral judgment emerge when taking into account the phenotypic heterogeneity of the disorder through a well-validated distinction between psychopathic subtypes. Three groups of incarcerated participants [low-anxious psychopaths (n 1⁄4 12), high-anxious psychopaths (n 1⁄4 12) and non-psychopaths (n 1⁄4 24)] completed a moral judgment test involving (...) hypothet- ical dilemmas. The moral dilemmas featured personal (i.e. involving direct physical harm) or impersonal (i.e. involving indirect or remote harm) actions. Compared to non-psychopaths, both groups of psychopaths were significantly more likely to endorse the impersonal actions. However, only the low-anxious psychopaths were significantly more likely to endorse the personal harms when commission of the harm would maximize aggregate welfare the utilitarian choice. High-anxious psychopaths and non-psychopaths did not significantly differ in their personal moral judgments. These results provide novel laboratory evidence of abnormal moral judgment in psychopaths, as well as additional support for the importance of considering psychopathic subtypes. (shrink)

According to authoritative Christian teaching, Jesus Christ is a single person existing in two natures, divinity and humanity. In attempting to understand this claim, the high-scholastic theologians often asked whether there was more than one existence in Christ. John Duns Scotus answers the question with a clear and strongly-formulated yes, and Thomists have sometimes suspected that his answer leads in a heretical direction. But before we can ask whether Scotus‘s answer is acceptable or not, we have to come to a (...) clear understanding of what his answer is. And before we can ask what his answer is, we have to come to a clear understanding of what question or questions he is trying to answer. In this paper I begin by explaining that the question about Christ‘s existence is ambiguous, i.e., that there are actually two questions hidden behind one formulation. Next I look at Scotus‘s writings on the topic in order to determine which question he is really trying to answer, and I argue that he is trying to answer both of them, even though he does not make this clear. Third, I provide an initial look at the answers that he gives. Fourth, I explain why these answers might seem problematic, especially from a Thomistic perspective. Fifth, I explain Scotus‘s answers in more detail and show that they are not problematic in the way that some Thomists have held. Indeed, at least some of Scotus‘s ideas are the very same ideas that Thomas spells out in one of his works. (shrink)

In attempt to provide an answer to the question of origin of deductive proofs, I argue that Aristotle’s philosophy of math is more accurate opposed to a Platonic philosophy of math, given the evidence of how mathematics began. Aristotle says that mathematical knowledge is a posteriori, known through induction; but once knowledge has become unqualified it can grow into deduction. Two pieces of recent scholarship on Greek mathematics propose new ways of thinking about how mathematics began in the Greek culture. (...) Both claimed there was a close relationship between the culture and mathematicians; mathematics was understood through imaginative processes, experiencing the proofs in tangible ways, and establishing a consistent unified form of argumentation. These pieces of evidence provide the context in which Aristotle worked and their contributions lend support to the argument that mathematical premises as inductively available is a better way of understanding the origins of deductive practices, opposed to the Platonic tradition. (shrink)

The selected effects or ‘etiological’ theory of Proper function is a naturalistic and realist account of biological teleology. It is used to analyse normativity in philosophy of language, philosophy of mind, philosophy of medicine and elsewhere. The theory has been developed with a simple and intuitive view of natural selection. Traits are selected because of their positive effects on the fitness of the organisms that have them. These ‘selected effects’ are the Proper functions of the traits. Proponents argue that this (...) analysis of biological teleology has the unique advantage that the selected effect function of a trait is also a causal explanation of the trait: the trait exists because it performs this function. We show, however, that selected effect functions as currently defined explain the existence of traits only under highly restrictive assumptions about evolutionary dynamics. In many common scenarios in which traits evolve by natural selection, selected effect functions do not explain those traits. This is because definitions of selected effect function extract from any evolutionary scenario only the information that would be explanatorily relevant in the simple evolutionary scenario implicit in those definitions. When applied to more complex scenarios selected effect functions omit the key information that is explanatorily relevant in those scenarios. The assumptions required for selected effect functions to be explanatory are particularly unlikely to hold in the domain that its proponents care most about - the evolution of representation. A more adequate selected effects theory of Proper functions may be possible, but will require much greater attention to the structure of actual evolutionary explanations. (shrink)

A long tradition of psychological research has explored the distinction between characteristics that are part of the self and those that lie outside of it. Recently, a surge of research has begun examining a further distinction. Even among characteristics that are internal to the self, people pick out a subset as belonging to the true self. These factors are judged as making people who they really are, deep down. In this paper, we introduce the concept of the true self and (...) identify features that distinguish people’s understanding of the true self from their understanding of the self more generally. In particular, we consider recent findings that the true self is perceived as positive and moral, and that this tendency is actor-observer invariant and cross-culturally stable. We then explore possible explanations for these findings and discuss their implications for a variety of issues in psychology. (shrink)

Armed military interventions often inflict large amounts of collateral harm on innocent civilians. Ought intervening soldiers, when possible, to direct collateral harm to one innocent population group rather than the other? Recently several authors have proposed that expected beneficiaries of a military intervention ought to carry greater risk of collateral harm than neutral bystanders who are not subject to the threat the military forces are intervening to avert. According to this view, intervening soldiers ought to reduce the risk of collateral (...) harm to neutral bystanders, even if this means foreseeably imposing a somewhat higher overall number of collateral casualties among those for whom the intervention is conducted. This chapter raises a number of challenges to this view. Even if the beneficiary thesis is accepted with respect to discrete risk-imposing acts, it should not be with respect to risk-imposing strategies individuated on a war-by-war basis. (shrink)

An influential view in the ethics of self-defence is that causal responsibility for an unjust threat is a necessary requirement for liability to defensive harm. In this article, I argue against this view by providing intuitive counterexamples and by revealing weaknesses in the arguments offered in its favour. In response, adherents of the causal view have advanced the idea that although causally inefficacious agents are not liable to defensive harm, the fact that they may deserve harm can justify harming them (...) in the course of defending oneself. I argue that this strategy is ad hoc and leads to more problems than it solves. Once we allow normative facts outside our account of liability to affect a person's moral protection against harm, the lieability verdicts cannot tell us whether there is a relevant moral asymmetry between the victim and the target of defence. In conclusion, the causal view is wrong and causal responsibility for an unjust threat is not a necessary requirement for liability to defensive harm. (shrink)

What are the justifications for and constraints on the use of force in self-defense? In his book The Morality of Defensive Force, Jonathan Quong presents the moral status account to address this and other fundamental questions. According to the moral status account, moral liability to defensive harm is triggered by treating others with less respect than they are due. At the same time, Quong rejects the relevance of culpability to the morality of defensive harming. In this article I argue that (...) this rejection of culpability is unfounded and that Quong fails to establish his account as superior to the culpability account of liability to defensive harm. (shrink)

Artwork of astounding genius requires a spectator (and not just anyone will do!). The materialist magic worked by an artistic genius only affects others; each genius is impervious to their own magic. Diderot's thought is wonderful and really deserves wider attention (if any thought really does deserve attention ...): a masterpiece is incomplete without one who can appreciate it. -/- This is a talk presented (a few years ago) to an audience of nearly none at a conference. I only post (...) it in case there is anyone out there who enjoys Diderot, art, French, hardcore materialism and magic. (shrink)

Thomas Nagel argues that Aristotle identifies rationality as the ergon idion of the human being. Against Nagel, I defend a reading of Aristotle which depicts a complex human ergon. This complex identity involves desire. It is in Book X of the Nichomachean Ethics that my understanding of Aristotle's position is clinched.

This study aimed to describe the levels of job satisfaction of 95 respondent- Secondary School Science teachers (SSST) in the Schools Division Office of Urdaneta City. Specifically, it dealt with the profile variables of the respondent-SST, namely: age, sex. civil status, relevant inservice trainings, teaching position, and years in service. It also determined the level of socioemotional, mental health, well-being of the respondent-SST in the areas of self-management, socialization, and teamwork. Moreover, the study determined whether or not there are significant (...) differences in the levels of socio-emotional, mental health, well-being of the respondent-SST across the profile variables. Finally, it determined whether or not there are significant relationships between the levels of and the profile variables levels of socio- emotional, mental health, well-being of the respondent-SST across the profile variables. The study showed that majority of the respondent-SST belong to the age bracket of 41 years old and above; predominantly females; most of whom are teacher III in position. Most of them had attended 1-8 relevant in-service trainings and majority of them are single and working in Department of Education (DepEd) for 6-10 years. The grand overall weighted mean (GWOM) obtained by the respondent-SST is 3.80, equivalent to Manageable (M), in transmuted rating. Moreover, an overall weighted of Manageable (M) was obtained by the areas of self-management (OWM=4.12) and socialization (OWM=3.80). However, teamwork obtained the lowest OWM (OWM=3.49) which is equivalent to Moderately Manageable(MM) in the transmuted rating. It was found out that there were no significant differences in the respondent-SST’s levels of socioemotional, mental health and well-being across the variables, age, teaching position, trainings and years in service. However, it was found out that there is significant differences in the area of teamwork across the variable sex and relevant trainings attended. Similarly, socialization and teamwork across the number of years in the service also had significant differences. There are significant relationships between the levels of socio-emotional, mental heath and wellbeing the respondent-SST in teamwork and the variable, sex. Likewise, there are significant relationship between their levels of socio-emotional, mental health and well-being in socialization and the variable, number of years in service. Based from the salient findings, it was concluded that the respondents are relatively young in the service as secondary science teachers, predominantly females, and majority of them is in Teacher III position. These science teachers have very low management in socio-emotional, mental health and well-being under teamwork particularly in working under pressure or stress. Their levels of socio-emotional, mental health and well-being are differentiated only by the variables, sex and number of years in the service, in specific areas, namely: socialization and teamwork. The levels of socio-emotional, mental health and well-being of the SST are associated only to the variables, sex, and number of years in the service, in the areas of socialization and teamwork. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Conservationists have two types of arguments for why we should conserve ecosystems: instrumental and intrinsic value arguments. Instrumental arguments contend that we ought to conserve ecosystems because of the benefits that humans, or other morally relevant individuals, derive from ecosystems. Conservationists are often loath to rely too heavily on the instrumental argument because it could potentially force them to admit that some ecosystems are not at all useful to humans, or that if they are, they are not more useful than (...) alternative configurations of those ecosystems. Consequently, conservationists often resort to an intrinsic value argument, contending that ecosystems are objectively valuable as ends in themselves, rather than merely as means to an end. If ecosystems have intrinsic value, then they have moral standing, which means that we must consider their needs and interests in any decisions we make about them. This paper concerns the significance of this move for... (shrink)

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...) the term “pornographic art.”. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

Dans ses Salons Denis Diderot explique l’aspect communicatif de la peinture. Le peintre de génie partage sa vision cumulative de la beauté naturelle dont il a fait l’expérience. Devant la toile réussie, le spectateur préparé vie sa propre expérience — selon lui la tentative surpassant la beauté naturelle de la nature originaire. Toutefois, semblant transcendante, cette rencontre reste carrément matérialiste. Diderot dévoile l'apparente transcendance. Du point de vue spectatoriel, en communiquant, les œuvres de génie apportent une expérience censée magique qui (...) s'explique de manière empirique: il s'agit de prestidigitation, non pas de sorcellerie. Ainsi, l'explication n'efface pas forcément le merveilleux de l'expérience. Diderot, encyclopédiste, défend la valeur riche de l'expérience, des lumières. Cette communication ciblera la magie ressentie par le spectateur en soulignant que, manque de récepteur convenable la magie s'évapore. Il incombe au spectateur de se préparer — d'où l'importance redoublée de l'expérience — afin que la communication artistique magique le réjouisse. (shrink)

Denis Diderot’s thoroughly materialist metaphysics undergird prescient philosophical analyses; his forays into the field of ethics arguably tend toward what we today would class amongst the range of forward-looking alternative perspectives. It isn’t just that Diderot sketches or even defends the cutting-edge which motivates this paper, but also his use of female characters to reveal crucial insights. Anyone familiar with the prolific author’s body of work realizes that Diderot’s women are certainly not mere “pretty little things.” So it is that (...) his Pensées sur l’interprétation de la nature might seem to smack dissonantly of sexism. My intent is to dispel such a misreading by demonstrating that the Pensées are addressed to the intellectual everyman. To wit, Diderot’s “jeune homme” is both gender and age neutral. Denis Diderot is proven, yet again, to be ahead of his time. -/- THIS IS A NEW VERSION. ERRORS IN PREVIOUS MANUSCRIPT HAVE BEEN CORRECTED; A FEW OTHER ITEMS HAVE BEEN CHANGED>. (shrink)

In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...) are those that invite us to believe something false. We further develop this account and restate it in terms of the notion of “import-export inconsistency.” That is, unrealistic fictions invite us to import certain propositions true in the actual world then invite us to export propositions entailing the negation of those imported. Finally, we consider whether for fiction being unrealistic is always an aesthetic flaw. (shrink)

I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.

Many contemporary moral theories accept and rely upon a singular (often unstated) premise. Contractualisms, traditionally construed rights theories and Millian utilitarianisms all accept a uniquely indefensible claim about the nature of the moral value of rationality. As a result, these moral theories are, despite their differences, equally and seriously marked for reliance on what I will call "the rationality premise". In this work I explain how it is that said reliance guarantees that a theory is impervious to demonstration of soundness. (...) My conclusion deals a serious blow to any theory which relies on the aforementioned premise. (I elsewhere defend an "alternative rights theory" which does not turn on the unique value of rationality, or reason. The work at hand provides the groundwork necessary to a move away from longstanding insistence on human superiority in the carving out of moral theory. (shrink)

Because factory-farmed meat production inflicts gratuitous suffering upon animals and wreaks havoc on the environment, there are morally compelling reasons to become vegetarian. Yet industrial plant agriculture causes the death of many field animals, and this leads some to question whether consumers ought to get some of their protein from certain kinds of non factory-farmed meat. Donald Bruckner, for instance, boldly argues that the harm principle implies an obligation to collect and consume roadkill and that strict vegetarianism is thus immoral. (...) But this argument works only if the following claims are true: all humans have access to roadkill, roadkill would go to waste if those who happen upon it don’t themselves consume it, it’s impossible to harvest vegetables without killing animals, the animals who are killed in plant production are all-things-considered harmed by crop farming, and the best arguments for vegetarianism all endorse the harm principle. As I will argue in this paper, each claim is deeply problematic. Consequently, in most cases, humans ought to strictly eat plants and save the roadkill for cats. (shrink)

This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...) certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

I take issue with an argument to the effect that because contractualism proves--both practically and theoretically--the philosophically superior moral theory, we have the result that nonhuman animals can have no, nor ought be extended any, moral standing. The combined argument belongs to Peter Carruthers, and appears in his The Animals Issue. My response involves demonstration that on careful analysis contractualism fares even less well than the two theories against which Carruthers compares it--rights and utilitarian. Furthermore, I offer a sketch of (...) a theory which does not fall for reliance on a singularly problematic premise--a premise which plays pivotally in traditional contractualist, rights and utilitarian accounts. The upshot is that this "alternative rights theory" fares best in reflective equilibrium analysis as against not only those theories Carruthers decries, but contractualism as well. We are, it appears, drawn back to the nagging question of whether and how things nonhuman may matter morally. For, Carruthers conclusion is disallowed. That the alternative rights theory offers novel yet satisfactory means by which to account for moral motivation and knowledge, as well as differences in moral respect due morally relevant beings, is explored. That the theory avoids the troublesome pitfalls of intuitionism and supervenience further secures its frontrunning position--which, again, begins to indicate that and how more than solely humans are of moral relevance. (shrink)

This chapter introduces and defends a pragmatist model of aesthetic disagreement that avoids many of the philosophical puzzles generated by the traditional, semantic, approach. Mainstream philosophical inquiry into aesthetic disagreement begins with a rather innocuous assumption: to understand what’s going on we must first explain what disputants are saying, which involves identifying the meaning of the relevant expressions or determining how aesthetic claims could be true. However, this task brings with it a new host of semantic and epistemic puzzles and (...) fails to vindicate the central role aesthetic disagreements occupy in our aesthetic lives more generally. Further, it isn’t clear how settling the meaning of aesthetic expressions bears on everyday aesthetic disagreements. Paying attention to what we do in an aesthetic disagreement will give us a better chance at identifying what matters for determining what we say. (shrink)

For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...) aesthetic. That is, we claim Aesthetic Theory so re-framed suggests that the aesthetic might have a central and substantial explanatory role to play within both traditional philosophical enquiries as well as recent and more empirical enquiries into the psychological and cognitive aspects of art and its practice. Finally, we discuss the directions this new work might take—by tying art theory to investigations of the distinctive sensorimotor capacities of expert artists, their specialized aesthetic conceptual schemata, and the ways these distinctive capacities and schemata contribute to the production of artworks. (shrink)

Psychopathy, which is characterized by a constellation of antisocial behavioral traits, may be subdivided on the basis of etiology: “primary” (low-anxious) psychopathy is viewed as a direct consequence of some core intrinsic deficit, whereas “secondary” (high-anxious) psychopathy is viewed as an indirect consequence of environmental factors or other psychopathology. Theories on the neurobiology of psychopathy have targeted dysfunction within ventromedial prefrontal cortex (vmPFC) as a putative mechanism, yet the relationship between vmPFC function and psychopathy subtype has not been fully explored. (...) In this study, we administered two laboratory decision-making tasks (the Ultimatum Game and the Dictator Game) to a group of prisoners (n=47) to determine whether the different subtypes of psychopathy (primary vs. secondary) are associated with characteristic patterns of economic decision-making, and furthermore, whether either subtype exhibits similar performance to patients with vmPFC lesions. Comparing primary psychopaths (n=6) to secondary psychopaths (n=6) and non-psychopaths (n=22), we found that primary psychopathy was associated with significantly lower acceptance rates of unfair Ultimatum offers and lower offer amounts in the Dictator Game. Moreover, primary psychopaths were quantitatively similar to vmPFC lesion patients in their response patterns. These results support the purported connection between psychopathy and vmPFC dysfunction, bolster the distinction between primary and secondary psychopathy, and demonstrate the utility of laboratory economic decision-making tests in differentiating clinical subgroups. (shrink)

The basic kinds of physical causality that are foundational for other kinds of causality involve objects and the causal relations between them. These interactions do not involve events. If events were ontologically significant entities for causality in general, then they would play a role in simple mechanical interactions. But arguments about simple collisions looked at from different frames of reference show that events cannot play a role in simple mechanical interactions, and neither can the entirely hypothetical causal relations between events. (...) These arguments show that physics, which should be authoritative when it comes to the metaphysics of causality, gives no reasons to believe that events are causal agents. Force relations and some cases of energy-momentum transfer are examples of causal relations, with forces being paradigmatic in the macroscopic world, though it is conceivable that there are other kinds of causal relation. A relation between two objects is a causal relation if and only if when it is instantiated by the two objects there is a possibility that the objects that are the terms of the relation could change. The basic metaphysics of causality is about objects, causal relations, changes in objects, and a causal primitive. The paper also includes a discussion of the metaphysics of forces and a discussion of the metaphysics of energy and momentum exchanges. (shrink)

In recent discussions, it has been argued that a theory of animal rights is at odds with a liberal abortion policy. In response, Francione (1995) argues that the principles used in the animal rights discourse do not have implications for the abortion debate. I challenge Francione’s conclusion by illustrating that his own framework of animal rights, supplemented by a relational account of moral obligation, can address the moral issue of abortion. I first demonstrate that Francione’s animal rights position, which grounds (...) moral consideration in sentience, is committed to the claim that a sentient fetus has a right to life. I then illustrate that a fully developed account of animal rights that recognizes the special obligations humans have to assist animals when we cause them to be dependent and vulnerable through our voluntary actions or omissions is committed to the following: a woman also has a special obligation to assist a sentient fetus when she causes it to be dependent and vulnerable through her voluntary actions or omissions. From these considerations, it will become evident that a fully developed and consistent animal rights ethic does in fact have implications for the abortion discussion. (shrink)

In The Case for Animal Rights, Tom Regan argues that although all subjects-of-a-life have equal inherent value, there are often differences in the value of lives. According to Regan, lives that have the highest value are lives which have more possible sources of satisfaction. Regan claims that the highest source of satisfaction, which is available to only rational beings, is the satisfaction associated with thinking impartially about moral choices. Since rational beings can bring impartial reasons to bear on decision making, (...) Regan maintains that they have an additional possible source of satisfaction that nonrational beings do not have and, consequently, the lives of rational beings turn out to have greater value.. (shrink)

The doctrine of the moral equality of combatants holds that combatants on either side of a war have equal moral status, even if one side is fighting a just war while the other is not. This chapter examines arguments that have been offered for and against this doctrine, including the collectivist position famously articulated by Walzer and McMahan’s influential individualist critique. We also explore collectivist positions that have rejected the moral equality doctrine and arguments that some individualists have offered in (...) its favor. We defend a non-categorical version of the moral equality doctrine, according to which combatants on either side of a just war sometimes (but not always) have equal moral status. On our view, some degree of culpability is necessary for liability, and non-culpable combatants may therefore sometimes remain non-liable even when they fight for an unjust cause. (shrink)