A series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgments and practices, viz. the problem of taste. The existence of the problem has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper, we remedy this by proposing six possible conceptualizations of it. Drawing on our analysis of the problem of taste, we argue that the experimental (...) results in question are not a real challenge to its existence. By contrast, they provide empirical evidence in its support. (shrink)

In recent years, increasing attention has been devoted to the underrepresentation, exclusion or outright discrimination experienced by women and members of other visible minority groups in academic philosophy. Much of this debate has focused on the state of contemporary Anglophone philosophy, which is dominated by the tradition of analytic philosophy. Moreover, there is growing interest in academia and society more generally for issues revolving around linguistic justice and linguistic discrimination (sometimes called ‘linguicism’ or ‘languagism’) (see e.g. Van Parijs 2011). Globalization (...) and the increasing adoption of English as global linguistic vehicle or lingua franca push these issues at the forefront of much of the world’s attention. The convergence of these two trends suggests the appropriateness of an analysis of the condition of non-native speakers of English in analytic philosophy. (shrink)

We provide a framework for understanding agnosticism. The framework accounts for the varieties of agnosticism while vindicating the unity of the phenomenon. This combination of unity and plurality is achieved by taking the varieties of agnosticism to be represented by several agnostic stances, all of which share a common core provided by what we call the minimal agnostic attitude. We illustrate the fruitfulness of the framework by showing how it can be applied to several philosophical debates. In particular, several philosophical (...) positions can be aptly conceived of as instances of agnosticism whilst retaining their differences and distinguishing features. (shrink)

Per il dialeteismo ci sono contraddizioni vere. Questa concezione filosofica ha assunto una forma chiara e definita a partire dal lavoro del filosofo e logico Graham Priest – uno dei suoi padri fondatori, nonché uno dei suoi più strenui difensori. Questo libro intende portare il dialeteismo all’attenzione di un ampio pubblico, che non sia solo quello degli addetti ai lavori. Il volume è suddiviso in due parti. La prima include le cinque lezioni su "Dialeteismo e storia della filosofia" tenute da (...) Priest e Filippo Casati a Padova nel 2016, in occasione del Corso di Eccellenza per il dottorato in filosofia dell’Università di Padova. La seconda contiene quattro contributi sul dialeteismo di autori italiani. (shrink)

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...) and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

ABSTRACTEcumenical Alethic Pluralism is a novel kind of alethic pluralism. It is ecumenical in that it widens the scope of alethic pluralism by allowing for a normatively deflated truth property alongside a variety of normatively robust truth properties. We establish EAP by showing how Wright’s Inflationary Arguments fail in the domain of taste, once a relativist treatment of the metaphysics and epistemology of that domain is endorsed. EAP is highly significant to current debates on the nature of truth insofar as (...) it involves a reconfiguration of the dialectic between deflationists and pluralists. (shrink)

Some philosophers have argued that truth is a norm of judgement and have provided a variety of formulations of this general thesis. In this paper, I shall side with these philosophers and assume that truth is a norm of judgement. What I am primarily interested in here are two core questions concerning the judgement-truth norm: (i) what are the normative relationships between truth and judgement? And (ii) do these relationships vary or are they constant? I argue for a pluralist picture—what (...) I call Normative Alethic Pluralism (NAP)—according to which (i) there is more than one correct judgement-truth norm and (ii) the normative relationships between truth and judgement vary in relation to the subject matter of the judgement. By means of a comparative analysis of disagreement in three areas of the evaluative domain—refined aesthetics, basic taste and morality—I show that there is an important variability in the normative significance of disagreement—I call this the variability conjecture. By presenting a variation of Lynch’s scope problem for alethic monism, I argue that a monistic approach to the normative function of truth is unable to vindicate the conjecture. I then argue that normative alethic pluralism provides us with a promising model to account for it. (shrink)

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Some time ago, the philosopher Luciano Floridi suggested that Western philosophy, and the mainstream contemporary approach to it traditionally called ‘analytic philosophy’, is in dire need of a reboot. The concern was that the discipline might be in a period of decadence. Analytic philosophy would be benefited by greater internationalization, wider and more transparent decision-making, and the reduction (as much as possible) of conflicts of interest as well as of its current habit of hiring and providing publication opportunities on the (...) basis of contacts, networking, and academic pedigree. If we are right, then we need a reconditioning of the institutional framework of analytic philosophy that adjusts it to the current global and interconnected world. (shrink)

In Truth and Objectivity, Crispin Wright argues that because truth is a distinctively normative property, it cannot be as metaphysically insubstantive as deflationists claim.1 This argument has been taken, together with the scope problem,2 as one of the main motivations for alethic pluralism.3 We offer a reconstruction of Wright’s Inflationary Argument (henceforth IA) aimed at highlighting what are the steps required to establish its inflationary conclusion. We argue that if a certain metaphysical and epistemological view of a given subject matter (...) is accepted, a local counterexample to IA can be constructed. We focus on the domain of basic taste and we develop two variants of a subjectivist and relativist metaphysics and epistemology that seems palatable in that domain. Although we undertake no commitment to this being the right metaphysical cum epistemological package for basic taste, we contend that if the metaphysics and the epistemology of basic taste are understood along these lines, they call for a truth property whose nature is not distinctively normative—contra what IA predicts. This result shows that the success of IA requires certain substantial metaphysical and epistemological principles and that, consequently, a proper assessment of IA cannot avoid taking a stance on the metaphysics and the epistemology of the domain where it is claimed to be successful. Although we conjecture that IA might succeed in other domains, in this paper we don’t take a stand on this issue. We conclude by briefly discussing the significance of this result for the debate on alethic pluralism. (shrink)

“Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...) and different ways of para-textual activation, entitle and unable us to such an operation and to live an aesthetic relation? This issue of “Aisthesis” explores the conditions under which it could be useful to distinguish between aesthetic objects and artworks–visual, musical, literary, performing arts– and to admit that the existence of the latter depends on a marginal and basic component of them: tags. The issue contains articles by Jerrold Levinson, Bernard Sève, Filippo Focosi, Alberto Voltolini, Giulia Alberti, Pietro Kobau, Jean-Pierre Cometti, Isabelle Thomas-Fogiel, Filippo Fimiani, Bertrand Rougé, Leardo Botti, Michel Déguy, Jean-Marie Klinkenberg, Micla Petrelli, Andrea Olivieri, Alessandro Ottaviani. (shrink)

Metaphor has often been seen as tightly associated with both aesthetics and cognition, as well as with other aesthetic and cognitive phenomena such as imagination, symbol, allegory, analogy and simile. This article offers a theory of metaphor that accounts for such aesthetic and cognitive associations. The theory is based on a suitably interpreted version of a tool originally developed in an epistemic context, viz. Floridi and Sanders’ method of abstraction.

Can someone who suspends judgement about a certain proposition <p> be in a relational state of disagreement with someone who believes <p> as well as with some- one who disbelieves <p>? This paper argues for an af- firmative answer. It develops an account of the notions of suspended judgement and disagreement that explains how and why the suspender is in a relational state of disagreement with both the believer and the disbeliever about the very same proposition <p>. More specifically, the (...) paper first provides a characterisation of the norma- tive profile associated with the state of suspended judge- ment in terms of the set of normative commitments that it engenders in the context of inquiry. It then provides a characterisation of the notion of disagreement in terms the incompatibility between the sets of normative com- mitments characteristic of the three states in question— belief, disbelief, and suspension. (shrink)

Contemporary philosophy is beginning to pay to problems of linguistic justice the attention that they deserve in today’s heavily interconnected world. However, contemporary philosophy, as a part of today’s world, has problems of linguistic justice of its own which deserve meta-philosophical attention. At least in the philosophical tradition that is mainstream in much of the world today, viz. analytic philosophy, methodological and sociological mechanisms make it the case that the voices of non-native-speaking philosophers are substantially less heard. In this essay, (...) I briefly outline the problems non-native speakers face in contemporary analytic philosophy. I then move on to analysing the possible causes of the current problems. Among these reasons, I argue, is the emphasis given to linguistic style and appearances as signs of clarity, precision and rigour in the treatment of philosophical problems. I argue that the current emphasis on linguistic style in analytic philosophy is not justifiable, in part because it deprives contemporary analytic philosophy of a wider variety of philosophical perspectives. I argue that an important remedy for the emphasis on linguistic appearances within philosophy is to foster greater linguistic diversity. I conclude by presenting and motivating a recent initiative that aims to achieve such a goal. (shrink)

This paper considers two issues raised by the claim that fictional characters are abstract artifacts. First, given that artifacts normally have functions, what is the function of a fictional character? Second, given that, in experiencing works of fictions, we usually treat fictional characters as concrete individuals, how can such a phenomenology fit with an ontology according to which fictional characters are abstract artifacts? I will indirectly address the second issue by directly addressing the first one. For this purpose, I will (...) rely on the notion of a mental file. I will argue that the function of fictional characters is the generation of mental files of a special kind. I will show that our experience of fictional characters as concrete individuals depends on the kind of mental files that are generated by fictional characters as abstract artifacts. I will conclude that an appreciator of a work of fiction can open two files about a certain fictional character; one about the character as an individual in the fictional world, and the other about the character as an abstract artifact in the actual world. In this sense, our relation to a fictional character is characterized by a duality of files or ‘twofileness’. (shrink)

In this book, we interpret post-truth as a multifaceted phenomenon which involves fake news, emotion-driven rhetoric (vs fact-driven discussion), credulism in the social-media, conspiracy theories and scientific denialism. We develop three models intended to represent the multifaceted nature of post-truth in terms of deviated forms of enquiry – which we label “post-enquiries”. The first form of post-enquiry posits the existence of alternative facts; the second prioritizes emotions over facts; the third limits the scope of the norms of enquiry. We elaborate (...) on the third model in relation to scientific denialism and we apply it to analyse the case of flat-earthism. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

En el verano de 1947, Yves Klein, Claude Pascal, Armand Fernández, sentados en la playa de Niza: contemplan el mar y el cielo azul, no hacen nada, y hacen declaraciones sobre el arte que llegará, sobre el Arte y el Gran Estilo del Futuro. A partir de ese momento, y de esas palabras, cada una de sus vidas cambia radicalmente: se convertirá en una vida nueva, una vida de artista sin obras, hecha solo de palabras, narraciones, gestos. En ese episodio, (...) nace el Nouveau Realisme y la voluntad artística de la superación del problema del arte según el Modernismo y la Action Painting. En ese episodio y en su narración, hecha sucesivamente por los tres jóvenes artistas, se puede localizar el nacimiento del propio y auténtico mito del artista contemporáneo. (shrink)

Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...) the actual world whereas the alleged tokens of a fictional character are concrete particulars in a fictional world. Thirdly, many fictional characters, unlike Batman, only appear in one work of fiction, and therefore one can wonder whether it does make sense to treat them as types. The main aim of this paper is to address these issues in order to defend a creationist account of fictional characters as types. (shrink)

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...) a medial incarnation–e.g. a Verkörperung–of the underworld. (shrink)

In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

The pragmatist tradition in philosophy has left a sound legacy in many contemporary research fields. John Dewey’s continuist and emergentist approach to the nature-or-nurture problem in relation to the individual human mind has been regained lately in evolutionist psychology and related disciplines. For Dewey, language plays a fundamental role in creating and maintaining this continuity between the individual mind and the social and physical environment humans inhabit. The present article will focus on a few contemporary lines of research that identify (...) language as the ‘glue’ that bonds each individual to one another and to society, with a decisive impact on the development of one’s own mind. (shrink)

Assessment relativism, as developed by John MacFarlane, is the view that the truth of our claims involving a variety of English expressions—‘tasty’, ‘knows’, ‘tomorrow’, ‘might’, and ‘ought’—is relative not only to aspects of the context of their production but also to aspects of the context in which they are assessed. Assessment relativism is thus a form of truth relativism which is offered as a new way of understanding perspectival thought and talk. In this article, I present the main theses of (...) assessment relativism, focusing in particular on highlighting the points of commonality and contrast with other forms of truth relativism. I then offer some critical remarks concerning the motivation of assessment relativism in relation to matters of taste. (shrink)

Pride is a fundamental element in Hume's description of human nature. An important part of the secondary literature on Hume is devoted to this passion. However, no one, as far as I am aware, takes seriously the fact that pride often appears in pairs with vanity. In Book 2 of the Treatise, pride is defined as the passion one feels when society recognizes his connection to a ‘cause’, composed by a ‘subject’ and a (positive) ‘quality’. Conversely, no definition of vanity (...) is provided. Despite Hume's fluctuating vocabulary, I hold that a conceptual difference between pride and vanity exists. To support this claim, I analyse the common features of these two passions, showing that both pride and vanity (a) are indirect passions, (b) are self-regarding passions, and (c) have the same structure. Supported by textual evidence, I then claim that vanity is a desire of reputation, a desire to feel pride, when pride is not (yet) in place, because its cause is only imaginary and not real. Nonetheless, I underscore that, at times, ‘vanity’ means simply pride and call for greater attention on this ongoing oscillation. In conclusion, I explore the implications of this account of vanity for social interactions in Hume's philosophy, which illustrates its intrinsic ambivalence. (shrink)

In the debate on our engagement with and appreciation of fiction films, the thesis that the viewer of a fiction film imagines observing fictional events, and the thesis that these events are imagined to be presented by a narrator, are usually taken as two components of one theoretical package, which philosophers such as George Wilson and Jerrold Levison defend, while philosophers such as Gregory Currie and Berys Gaut reject. This paper argues that the two theses can be disentangled and investigates (...) their logical connection. The investigation shows that the second thesis entails the first but there is no entailment the other way around. Endorsing the first thesis is thus compatible with two options, namely endorsing the second thesis or abandoning it. However, the paper argues that if we endorse the first thesis, endorsing the second provides us with a more compelling explanation of our engagement with and appreciation of fiction films. (shrink)

This paper explores some phenomenological consequences of the ontological affinity between films and pop songs. Given the central place of the recording technology in both films and pop songs, one can wonder whether pop songs can elicit from their listeners the same kind of experience that films elicit from their spectators. In other words, one can wonder whether pop songs encourage us to play a ‘game of make-believe’ analogous to that we play when we engage with films. The main part (...) of the paper is meant to provide a positive answer to this question. The remaining sections illustrate and test the proposed account by contrasting paradigmatic pop songs with borderline cases. (shrink)

In Propelled, Elpidorou persuasively argues that the three prima facie undesirable conditions of boredom, frustration and anticipation are, in fact, importantly valuable to human life. His method is an interesting combination of existentialist explorations and reporting of cognitive science research, all written in a style more friendly to the analytic-philosophical tradition. However, I argue, the book’s precision and depth of philosophical analysis have some limitations. This is so in two main respects: first, in the relative lack of discussion of important (...) philosophical antecedents, and secondly, in the relative lack of critical engagement with some of the empirical literature the book discusses. (shrink)

Noël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of (...) horror in the genre. This article offers a critical understanding of the nature of the emotion of horror for Carroll, with a view to informing future investigations into the nature of horror in film (and beyond). (shrink)

“La ‘modernidad’ a través de la imagen de la comida y la digestión”. Ésta es la tarea y el programa de la genealogía fisiológica y psicológica identificada con claridad por Nietzsche en un fragmento del otoño de 1888 y firmemente perseguida en toda su obra. El diagnóstico es implacable y es posible por un uso extendido de la metáfora gastronómica, aplicada a todos los campos de la experiencia y el lenguaje por una escritura temeraria de la historia. Como Valéry y (...) Péguy también lo ilustran, la experiencia de los hombres contemporáneos es pobre y enferma y se caracteriza por una duplicidad radical y una contradicción sin síntesis. No sólo las cosas, como además lo muestra en sus análisis sobre las mercancías como nuevos jeroglíficos que marcan el espacio saturado de la metrópolis, sino también el hombre es doble, así como su corporizada y profundamente fisiológica economía. Su estómago hambriento tiene dos caras, porque todo lo toma pero no nutre en absoluto; vocifera acerca de entusiasmos varios y heterogéneos, no sobre un verdadero alimento para ser absorbido y transformado. En resumen, vive por un instante sin pasado ni futuro. El opuesto de esta lógica de la enfermedad y la insensibilidad en busca de muchas sensaciones y shocks sensacionales, y el reverso de este olvido por rapidez excesiva, es un ser anti- o incluso premoderno en extremo. En los tiempos modernos, el entrenamiento de un criticismo genuino acerca de los prejuicios y el supuesto auto-conocimiento implican una regresión y una alteración de las propias identidades históricas, las creencias y los valores. Finalmente, como Benjamin y Warburg lo revelaron, el criticismo es como tornarse otra vez animal y la interpretación es como recuperar la lentitud y la melancolía de un eterno masticar, al igual que un perro o una vaca. (shrink)

What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of (...) phenomenology, pragmatic, rhetoric, and ontology is called upon? What type of percepts, of effects and affects, of appearance and apparatus, are put into play in this esthetic relation lacking an artistic object? When there is nothing to see and to touch, what living forms, what beliefs, what qualities are dealt with? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics and to the history of art. (shrink)

We offer a critical survey of the most discussed accounts of epistemic peer disagreement that are found in the recent literature. We also sketch an alternative approach in line with a pluralist understanding of epistemic rationality.

This paper considers two different kinds of philosophical interpretations of the movie Eternal Sunshine of the Spotless Mind. On the one hand, Eternal Sunshine as a thought experiment that can function as an argument against utilitarianism. On the other hand, Eternal Sunshine as an instance of the genre of the remarriage comedy. I will argue that these two kinds of interpretations are in conflict. More specifically, Eternal Sunshine, understood as a comedy of remarriage, cannot function as an argument against utilitarianism, (...) at least in the sense specified by Grau and Wartenberg. Finally, I will suggest a different way in which Eternal Sunshine, understood as a comedy of remarriage, might function as an argument against utilitarianism. (shrink)

The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Noël Carroll, Trevor Ponech, and Carl Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Gregory Currie's account can do so by relying on the notion of trace, but this involves an undesirable side effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces (...) of their subjects, as, for instance, documentaries that resort to reenactment. Is there a way to exclude docudramas from the documentary without also excluding other films that we usually treat as documentaries? This article affirmatively answers by relying on the notion of perceptual belief, that is, a belief that one can form by endorsing the demonstrative content of one's perception. While documentaries primarily involve the formation of perceptual beliefs, docudramas invite us to form nonperceptual beliefs by primarily involving the formation of perceptual imaginings. That is why docudramas are not documentaries. By contrast, a documentary that resorts to reenactment primarily involves the formation of perceptual beliefs, namely, perceptual beliefs about the reenactment itself. (shrink)

The transparency thesis for disgust claims that what is disgusting in nature is always also disgusting in art. Versions of the thesis have been endorsed by, among others, Kant, Lessing, Mendelssohn, and, more recently, Arthur Danto, Carolyn Korsmeyer, and Jenefer Robinson. The present paper articulates and discusses different readings of the thesis. It concludes that the transparency thesis is false.

Logical abductivism is the epistemic view about logic according to which logical theories are justified by abduction (or Inference to the Best Explanation), that is on how well they explain the relevant evidence, so that the correct logical theory turns out to be the one that explains it best. Arguably, this view should be equally applied to both deductive and non-deductive logics, abduction included. But while there seems to be nothing wrong in principle in using abduction to determine the correct (...) logical theories of deduction and induction, things might be more complicated regarding logical theories of abduction. We may wonder whether allowing for an abductive justification of a theory of abduction is an epistemically legitimate move, since here circularity casts its shadow and makes the situation darker. This is the issue to which this work is devoted. I will defend that, to be effective, an abductive justification for a theory of abduction calls for a justification of abduction in advance, which we do not yet have. (shrink)

Control is typically accepted as a necessary condition for moral responsibility. Thus, humans are morally responsible for their actions only if we can realise the right kind of control. Are there good reasons to think that humans can psychologically realise control? This paper is an attempt to address this question by establishing choice and agenthood as separate but interconnected aspects of control. I consider two challenges to the claim that humans can realise the kind of control required for moral responsibility. (...) First, an empirical challenge from cognitive neuroscience provides a familiar way to argue against the realisation of the choice aspect by human psychology. Second, a more formidable conceptual challenge to the aspect of agenthood presents us with scepticism about the kind of explanations that psychology can provide. The second challenge suggests that, in psychological accounts of choice, the agent disappears. Drawing on recent empirical models of cognitive control and philosophical accounts of agency, I conclude that the psychological explanation of choice is consistent with the aspect of agenthood being realised by human psychology. (shrink)

Philosophy’s place, at the intersection of the scientific and humanities disciplines, makes it an interesting test case for the role of English and other languages and cultures in our contemporary knowledge economy. The humanities’ attention to the richness of the world’s languages and cultures is in tension with the science’s essentially cosmopolitan project. This tension is perhaps especially evident in ‘analytic’ or ‘Anglo-American’ philosophy. Despite complementarity in earlier stages of the discipline, the humanities and scientific tendencies are now clashing with (...) undesirable results. This is in an important part due to analytic philosophy’s underexamined focus on a single vehicular language. One symptom of this malaise is that the voices of non-native-speaking philosophers are significantly less heard than those of native speakers. Especially problematic is, I argue, the current emphasis given to aesthetic considerations, and in particular linguistic form or style, as a sign of scientific rigour in the analysis of philosophical problems. I discuss this emphasis critically, arguing that it is not justifiable, in part because it deprives contemporary analytic philosophy of a wider variety of philosophical perspectives arising from different languages and cultures. I conclude by briefly presenting a recent attempt to make contemporary philosophy more linguistically inclusive. (shrink)

It has been recently argued, contrary to the received eighteenth-century view, that disgust is compatible with aesthetic pleasure. According to such arguments, what allows this compatibility is the interest that art appreciators sometimes bestow on the cognitive content of disgust. On this view, the most interesting aspect of this cognitive content is identified in meanings connected with human mortality. The aim of this paper is to show that these arguments are unsuccessful.

In this article we will try to present a picture of what was the Stoic position on time; we will show the background ontology of the Stoics and in particular their idea of continuity. Through the theme of the continuum we will see the Stoic conception of the temporal instant and how they tried to answer Aristotle's aporias on time.

Over the past two decades, virtue ethicists have begun to devote increasing attention to applied ethics. In particular, the application of virtue ethical frameworks to the environmental ethics debate has flourished. This chapter reviews recent contributions to the literature in this field and highlights some strengths and weaknesses of thinking about climate change through a virtue ethical lens. Section “Two Benefits of Virtue Ethical Approaches to Climate Change” explores two benefits of applying virtue ethics to climate change: (a) we can (...) better capture the phenomenology of our moral experience, and (b) we avoid the problem of inconsequentialism. Section “A Catalogue of Environmental Virtues” analyzes various practical proposals that have been put forward in the form of specific environmental virtues. Section “An Objection to Virtue-Oriented Approaches to Climate Change” reconstructs a fundamental objection to the idea of using a virtue ethical normative approach to tackling the urgent and imminent dangers of climate change. (shrink)

The study of the arts in philosophy has often concentrated on the role that emotions (and affective responses more generally) play in art’s creation and value. Philosophical theories of art have sometimes even defined art in terms of its capacity to elicit or express emotions. Philosophers have debated such questions as what it is to express an emotion in art; whether emotions form part of the value of an artwork; whether the emotions involved in art appreciation are of the same (...) kind as those that we experience in real life, or of a different, even sui generis kind (i.e., aesthetic emotions); whether it is rational or appropriate to experience emotions in response to art; and what value, if any, there is in art that evokes unpleasant emotions. Although the focus here will be on what, to a first approximation, can be characterized as the “Western mainstream philosophical tradition,” discussion of the role of emotions in art can also be found in different approaches and traditions of thought: from Indian philosophy to cognitive science, to so-called Continental philosophy. (shrink)

This paper casts the television series BoJack Horseman as a challenge to the genre that Stanley Cavell calls “the comedy of remarriage.” First, it is argued that the last season of the series explicitly suggests but finally contradicts the narrative pattern of the comedy of remarriage. Then, the impossibility of remarriage in BoJack Horseman is traced back to some structural features of the medium of television and its relationship to time. Finally, the impossibility of remarriage in BoJack Horseman is related (...) to the capacity of the medium of television to enable self-defeating fictions which challenge fiction as a cultural institution. (shrink)