Resolving to finish reading a novel, staying true to your punk style, or dedicating your life to an artistic project: these are examples of aesthetic commitments. I develop an account of the nature of such commitments, and I argue that they are significant insofar as they help us manage the temporally extended nature of our aesthetic agency and our relationships with aesthetic objects. At the same time, focusing on aesthetic commitments can give us a better grasp on the nature of (...) aesthetic normativity; this is because, in making aesthetic commitments, we are capable of giving aesthetic concerns the weight of obligation. I argue that appealing to aesthetic commitments allows us to account for the existence of aesthetic obligations as well as their grounding. I conclude by arguing that, although the aesthetic domain is a domain of play and freedom of choice, there is nevertheless an important place in it for both aesthetic commitments and the aesthetic obligations they generate. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

The following is not a successful skeptical scenario: you think you know you have hands, but maybe you don't! Why is that a failure, when it's far more likely than, say, the evil genius hypothesis? That's the question.<br><br>This is an earlier draft.

This article explains and defends a novel idea about how people can be misled by a discussion topic, even if the discussion itself does not explicitly involve the making of false claims. The crucial aspect of this idea is that people are liable to infer, from the fact that a particular topic is being discussed, that this topic is important. As a result, they may then be led to accept certain beliefs about the state of the world they consider necessary (...) for the topic’s importance. What the article calls “importance misrepresentation” occurs when these beliefs about the state of the world are false or otherwise mistaken. The article explores different ways in which importance misrepresentation can occur, and it uses this idea to help clarify and strengthen some well‐known criticisms of the topic choices of academic philosophers. (shrink)

Reductionists about dispositions must either say the natural properties are all dispositional or individuate properties hyperintensionally. Lewis stands in as an example of the sort of combination I think is incoherent: properties individuated by modal profile + categoricalism.

The aesthetic domain is a social one. We coordinate our individual acts of creation, appreciation, and performance with those of others in the context of social aesthetic practices. More strongly, many of the richest goods of our aesthetic lives are constitutively social; their value lies in the fact that individuals are engaged in joint aesthetic agency, participating in cooperative and collaborative project that outstrips what can be realized alone. I provide an account of nature and value of two such social (...) aesthetic goods—aesthetic communities and aesthetic traditions—and further argue that such goods are a core constituent of an aesthetically good life. At the same time, I argue that the ideals of the dominant theory of aesthetic value, aesthetic value hedonism, are incompatible with a full commitment to these social aesthetic goods; the hedonist is thereby alienated from the other participants within aesthetic communities and traditions. This sets up a dilemma for the hedonist: either the hedonist must bite the bullet, accepting that the theory leads to a problematic form of aesthetic alienation; or, we must reject aesthetic value hedonism and adopt a different theory of aesthetic value which accommodates the value of social aesthetic goods. I argue that we should take the second horn of the dilemma. (shrink)

In recent years, an increasing number of contemporary artists have incorporated live animals into their work. Although this development has attracted a great deal of attention in the artworld and among animal rights activists, it has not been much discussed in the philosophy of art—which is quite remarkable, given the serious ethical and artistic questions that these artworks prompt. I focus on answering two such questions. First, is the use of animals in these artworks ethically objectionable? Or are such artworks (...) instead morally permissible or even laudable? Second, what might be the distinctive value or good of incorporating animals into artworks in this way? In response to both questions, I argue that one distinctive value of some of the artworks I discuss is their ability to facilitate a relationship of moral concern and respect on the part of an audience toward the animals that are a part of the artwork. Insofar as artworks facilitate such relationships, they are not simply artistically important; they are also, to that extent, morally good. (shrink)

An extended critical investigation of Plantinga's evolutionary argument against naturalism (EAAN). -/- I wrote this a couple of years ago as a way of thinking through the argument, but now lack the ambition to revise it into a paper. (It's too long to be a paper, too short and too narrowly focused on one person's argument to be a book.) Rather than let it age in private, I'm sharing it publicly for anyone interested in Plantinga's argument.

Some writers appear to believe that a theory of justice must somehow pick people up by the scruff of the neck and force them to behave justly, regardless of their beliefs or inclinations. This is an absurd demand... (B. Barry, Justice as Impartiality).

Bu çalışma, dağarcık ağı tekniği kullanılarak, Türkiye'deki 20 Müslüman ilâhiyat öğretim görevlisinin?gerçek' Müslümanların arzu edilir vasışarı ile ilgili bilişsel kurgularını ortaya koyma denemesidir. Verilerin faktör analizi ve diğer istatistikî yöntem ve teknikler, öğretim görevlilerinin arzu edilen Müslüman niteliklerini temsil eden 200 bilişsel kurgusuna ve bunlardan da 18 bilişsel kurgu grubuna ulaşılmasını sağlamıştır. Bu 18 nitelikler grubu "Diğerkâmlık"tan "Sıkı Çalışkanlık"a ve "Bilişsel Dindarlık"tan "Samimiyet"e kadar dindarlıkla ilgili çeşitli konuları kapsamaktadır. Bu gruplardan önemli olanları, diğerkâmlık, bilişsel dindarlık, dürüstlük ve samimiyet, içtenlik olarak (...) ortaya çıkmıştır. Yazarlar, bu şekilde algılanan İslâmî dindarlık niteliklerinin modern çoğulcu toplumların değer yargılarıyla uzlaşma içinde olup olmadıklarını değerlendirdiler. (shrink)