Radical Enlightenment – Spinoza’s Demiurgic Role in the Formation of the Idea of Enlightenment? In his monograph devoted to the history of enlightenment, Radical Enlightenment. Philosophy and the Making of Modernity (1650-1750) British historian Jonathan Irvine Israel formulated a new theory of dating, sources, and the nature of this period of history. Israel attributed a major role in the formation of the concepts of enlightenment to the philosophy of Spinoza (1632-1677). The work has caused a series (...) of controversies and criticisms concerning the assessment of facts related to the history of ideas. In this article I refer to interpretations of the role of Spinoza’s philosophy and its early reception between 1663-1678 when it had a direct influence. The political situation in the Netherlands in the period of 1648-1677 (i.e. from the gaining of independence to the death of Spinoza) and the fate of the philosophy of Descartes (since 1650) are two significant factors that played an important role in shaping the initial reception of Spinozism and determined the fate of that philosophy for a long time. (shrink)

L'oeuvre monumentale de Jonathan Israel a suscité l'intérêt des historiens et des philosophes, mais également des experts en sciences politiques. On peut affirmer sans exagérer que ses travaux constituent une lecture incontournable pour tous ceux qui travaillent actuellement sur les Lumières, soit pour étayer ses thèses, soit pour les critiquer, mais toujours dans le cadre du dialogue avec ses propositions. Or, si l'ensemble de son oeuvre a suscité tant d'intérêt de la part des experts les plus divers, pourquoi (...) entreprendre un nouveau travail sur ses hypothèses ? La raison essentielle qui nous incite à réaliser ce projet est notre conviction que ses thèses politiques ont été quelque peu négligées. Pourtant, alors que les spécialistes ont commenté surtout les aspects religieux et philosophique de son projet, Israel soutient qu'elle comporte en outre une dimension politique incontournable, puisque les institutions démocratiques, les théories républicaines et les révolutions mêmes du XVIIIe siècle trouvent leurs racines dans cette idéologie radicale. En effet, pour les philosophes radicaux, le combat contre l'erreur et l'ignorance allait de pair avec la lutte contre la corruption institutionnelle et politique qui touchait particulièrement la religion. (shrink)

In his Philosophical Inquiry concerning Human Liberty (1717), the English deist Anthony Collins proposed a complete determinist account of the human mind and action, partly inspired by his mentor Locke, but also by elements from Bayle, Leibniz and other Continental sources. It is a determinism which does not neglect the question of the specific status of the mind but rather seeks to provide a causal account of mental activity and volition in particular; it is a ‘volitional determinism’. Some decades later, (...) Diderot articulates a very similar determinism, which seeks to recognize the existence of “causes proper to man” (as he says in the Réfutation d’Helvétius). The difference with Collins is that now biological factors are being taken into account. Obviously both the ‘volitional’ and the ‘biological’ forms of determinism are noteworthy inasmuch as they change our picture of the nature of determinism itself, but my interest here is to compare these two determinist arguments, both of which are broadly Spinozist in nature – and as such belong to what Jonathan Israel called in his recent book “the radical Enlightenment,” i.e. a kind of underground Enlightenment constituted by Spinozism – and to see how Collins’ specifically psychological vision and Diderot’s specifically biological vision correspond to their two separate national contexts: determinism in France in the mid-1750s was a much more medico-biological affair than English determinism, which appears to be on a ‘path’ leading to Mill and associationist psychology. (shrink)

It is a matter of philosophical debate whether Jonathan Israel’s assessment of Spinoza’s notion of ‘state religion’ can be interpreted as an atheistic and Marxist reading of Spinoza. Contrary to the widely accepted view, Spinoza has a peculiar understanding of religion; and thus, his views cannot, simply, be equated with atheism. By relying on this fact, in this article, I am going to shed light on the issue and try to show to what extent Israel’s interpretation goes (...) beyond what Spinoza himself claims and whether or not Spinoza’s views can make him an atheist. Another concern of the text will be elucidating Marx’s critique of Bruno Bauer’s argument for the abolition of religion and laying bare if there is any continuity between Marx and Spinoza on the problem of religion. After Israel’s interpretation is restated, both Spinozistic view of religion, as he puts forward in the Theological-Political Treatise [Tractatus Theologico- Politicus, 1670] and Political Treatise [Tractatus Politicus, 1676] and Marx’s arguments on the same issue in “On the Jewish Question” [in Deutsch-Franzosische Jahrbucher, 1844] will be examined in detail. Depending on these investigations, it will be argued that what Israel defends in his text Radical Enlightenment [2001] does not make Spinoza an atheist; on the contrary, although Spinoza is not an advocate of the commonsensical view of religion, he defends his own understanding of religion—which causes him to be regarded, prejudicedly, as an atheist. Furthermore, it will be pointed out that Israel’s interpretation cannot be a Marxist interpretation either because Marx’s critique of religion is generally misunderstood and mistaken with that of Bruno Bauer. Neither Spinoza’s views on religion nor that of Marx are completely compatible with what Israel defends in Radical Enlightenment; nevertheless, this does not mean that Israel tries to make an atheist or Marxist out of Spinoza through his appropriation of the philosopher. (shrink)

I argue that the key dynamical concepts and laws of Newton's Principia never gained a solid foothold in Germany before Kant in the 1750s. I explain this absence as due to Leibniz. Thus I make a case for a robust Leibnizian legacy for Enlightenment science, and I solve what Jonathan Israel called “a meaningful historical problem on its own,” viz. the slow and hesitant reception of Newton in pre-Kantian Germany.

Review of Jonathan Israel, "A Revolution of the Mind" (Princeton University Press, 2010).

A review essay on Jonathan Israel, The Expanding Blaze: How the American Revolution Ignited the World, 1775-1848 (Princeton: Princeton University Press, 2017) and Richard D. Brown, Self-Evident Truths: Contesting Equal Rights from the Revolution to the Civil War (New Haven: Yale University Press, 2017).

Contributors: Steven Barbone, Laurent Bove, Edwin Curley, Valérie Debuiche, Michael Della Rocca, Simon B. Duffy, Daniel Garber, Pascale Gillot, Céline Hervet, Jonathan Israel, Chantal Jaquet, Mogens Lærke, Jacqueline Lagrée, Martin Lin, Yitzhak Y. Melamed, Pierre-François Moreau, Steven Nadler, Knox Peden, Alison Peterman, Charles Ramond, Michael A. Rosenthal, Pascal Sévérac, Hasana Sharp, Jack Stetter, Ariel Suhamy, Lorenzo Vinciguerra.

In a beautiful recent essay, the philosopher Walter Sinnott-Armstrong explains the reasons for his departure from evangelical Christianity, the religious culture in which he was brought up. Sinnot-Armstrong contrasts the interpretive methods used by good philosophers and fundamentalist believers: Good philosophers face objections and uncertainties. They follow where arguments lead, even when their conclusions are surprising and disturbing. Intellectual honesty is also required of scholars who interpret philosophical texts. If I had distorted Kant’s view to make him reach a conclusion (...) that I preferred, then my philosophy professor would have failed me. The contrast with religious reasoning is stark. My Christian friends seemed happy to hide serious problems in the Bible and in their arguments. They preferred comfort to intellectual honesty. I couldn’t. To what extent can we, historians of philosophy, claim the virtue of intellectual honesty? Speaking frankly, I do not find the practice criticized by Sinnot-Armstrong’s philosophy professor rare or unusual at all. We very frequently distort the views of past philosophers in order to reach the conclusions we prefer. We just call it “Charitable Interpretation.” In this essay, I discuss and criticize the logic behind so-called charitable interpretations in the history of philosophy. This phenomenon is ubiquitous and is not at all restricted to a particular philosophical strand or ideology. Analytic philosophers and post-modernists, Marxists, liberals, secularists, and fundamentalists, we all engage in the very same domestication project. Even more disturbing than the sheer ideological pervasiveness of this phenomenon is the fact that, on many occasions, superb philosophers and historians take part in this fairly childish endeavor. In the first part of this essay, I discuss the general logic of charitable interpretations in the history of philosophy, mostly by addressing discussions in metaphysics and epistemology. In the second part, I focus on the somewhat less noticed use of charitable interpretations in the study of political philosophy, and point out the quintessential role ideology plays in these discussions. In both parts, I concentrate mostly on the interpretation of Spinoza’s thought. I do so not because I have special fondness for Spinoza (“guilty as charged,” I admit), but because Spinoza is such a beast (and may I add, an enchanting beast) and attracts a disproportionate share of the domestication efforts from historians and philosophers of all creeds and persuasions. In the third and final part of the paper, I will begin to outline an alternative methodology, which suggests that past philosophers can be most relevant to our current philosophical discussion, to the extent that they provide us with well-motivated challenges to our common-sense beliefs. Such challenges have the invaluable virtue of being able to undermine our most fundamental and secure beliefs, and force us to engage with the most fundamental questions. What more can we expect from good philosophy? (shrink)

A revolt against the Enlightenment’s legacy has marked the academic culture of a generation. Leftists today often criticize the Radical Enlightenment thesis, arguing that those who advance it privilege the force of ideas in history over material forces. They accuse its proponents of elevating philosophy written by elite European men over the sacrifices made by ordinary people in the course of mass struggle.

Aesthetic responses to human embodiment play important roles in our individual and social flourishing. Our ability to feel comfortable with and even take pleasure in our own embodiment contributes to our well-being, and our capacity to appreciate the embodiment of others contributes to our full recognition of them as persons and to their feeling of being valued and at home in the world. We are socialized into practices of appreciating bodily beauty: the facial and bodily qualities that a culture picks (...) out for special valuing. But these practices are deeply intertwined with objectionable social hierarchies. I argue that we should can and should opt out of practices of appreciating bodily beauty, despite the pleasures they afford, and choose instead to participate in other practices. Practices of appreciating the variety of aesthetic affordances of human bodies in all their diversity are both aesthetically rewarding and more compatible with our duties to ourselves and each other. (shrink)

Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...) But considering it in relation to conceptual art sheds light on its achievements and one notable limitation. In the realm of appropriation, the fact that the re-recordings exhibit both close resemblance to and subtle differences from the originals has prompted an intensity of close listening by audience members, with distinctive aesthetic experiences in the realm of the uncanny. In the realm of participation, Swift has creatively motivated her fans to abandon her beloved original albums, and the fans have in turn evolved a variety of strategies to shift their allegiance to the new versions and hold each other accountable. When it comes to institutional critique—the movement in conceptual art that highlights and challenges the power structures governing art institutions—Swift’s project has raised awareness of troubling and exploitative power dynamics in the music industry. However, consideration of historical precursors of Swift’s institutional critique may lead us to question some elements of her self-presentation as a victim of gendered exploitation. (shrink)

The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

This is a précis of Immaterial: Rules in Contemporary Art (Oxford, 2022). Contemporary art can seem like a wilderness of unwieldy installations, decaying materials, immersive environments, and audience participation. It can be hard to know what to focus on and how to assess the value or meaning of what we encounter, since so many artworks use non-art materials and techniques and defy familiar conventions. In Immaterial: Rules in Contemporary Art, I argue that these developments, disparate as they may seem, can (...) be understood by shifting our focus to the rules that artists articulate in creating and deploying their works. Rules have become an artistic medium that artists customize to achieve specific artistic statements and aesthetic effects. Rules are partly, and sometimes wholly, constitutive of the very structure of the artwork; grasping the rules associated with a work is thus crucial to understanding its nature. Articulating these rules, which may be quite specific and fine-grained, is part of the act of artmaking, and the rules bear meaning just as essential physical objects do. (shrink)

When philosophers consider factors compromising autonomy in consent, they often focus solely on the consent-giver’s agential capacities, overlooking the impact of the consent-receiver’s conduct on the consensual character of the activity. In this paper, I argue that valid consent requires justified trust in the consent-receiver to act only within the scope of consent. I call this the Trust Condition (TC), drawing on Katherine Hawley’s commitment account of trust. TC constitutes a belief that the consent-receiver is capable and willing to act (...) as we expect from them. If such trust is not warranted, I argue, consent lacks the appropriate normative grounds. After establishing TC, I explore its application in the sexual arena, asserting that due to the non-contractual dimensions of sexual activity — such as the dynamic nature of sexual desires and the absence of external factors effectively binding sexual partners to the terms of consent—trust is warranted in sexual consent by means of care. I define care as a special sensitivity and attention toward the partner’s will and discuss how this approach leads to safer intimate relationships in practice. (shrink)

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...) art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

Epistemic Courage is a timely and thought-provoking exploration of the ethics of belief, which shows why epistemology is no mere academic abstraction - the question of what to believe couldn't be more urgent. Jonathan Ichikawa argues that a skeptical, negative bias about belief is connected to a conservative bias that reinforces the status quo.

Repeatable artworks, such as novels and musical works, have often been construed as universals whose instances are particular printings or performances. In Art and Art-Attempts, Christy Mag Uidhir offers a nominalist account of repeatable artworks, eschewing talk of universals. Mag Uidhir argues that all artworks are concrete, and artworks that we regard as repeatable are simply unified by a relevant similarity relation: we use the name Beloved to refer to two concrete printed novels because they are relevantly similar to each (...) other and to certain other printings that are the product of Toni Morrison’s art-attempt. I discuss two potential difficulties for Mag Uidhir’s notion of relevant similarity: a difficulty related to appropriation, and a difficulty related to the fact that musical performances are often the product of distinct art-attempts by the composer and by the performer. I suggest that both difficulties could be addressed by enriching the notion of relevant similarity by appeal to the artist’s specification of which similarities are essential for two works to count as relevantly similar. (shrink)

In this article I reply to commentary on Immaterial: Rules in Contemporary Art (Oxford, 2022) by Shelby Moser, Darren Hudson Hick, and Guy Rohrbaugh.

I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...) experience of itches and scratches can be appropriate. I argue that attention to the domain of somatic experience is worthwhile, in that it offers the prospects of significant aesthetic satisfaction, and I suggest that even attention to unpleasant experiences like itches and pains may be aesthetically rewarding. (shrink)

In this paper, I address a fundamental challenge in the philosophy of trust: how to account for trustee discretion in scenarios that fall outside explicitly defined expectations. I argue that this challenge reveals vagueness as an inherent feature of trusting relationships, often leading to disagreements between trustors and trustees. To resolve this, I propose a novel account of trust grounded in rule-following, shifting the object of trust from particular actions to adherence to rules constitutive of relationships. By focusing on relationships (...) and their constitutive rules, I provide here a framework for understanding and minimizing disagreements through communication and engaged practice. Furthermore, I argue this framework sheds light on the dynamics of trust-related reactive attitudes, in particular, distinguishing between betrayal and mere disappointment. (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

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

In this paper, I propose a Kantian framework for moral trust—trust in another person to only act with us in morally permissible ways. First, I derive an understanding of trustworthiness from Kant's second formulation of the categorical imperative. I argue that trustworthiness embodies a moral imperative, guiding us to act in ways that are reliable and recognizable as conducive to engaging in trusting relations. However, this alone is not enough, as it doesn't provide a means to assess whether someone is (...) truly committed to the moral law and thus morally trustworthy. Therefore, in the second part, I explore a basis for assessing their moral conduct found in a local version of the Kingdom of Ends: given an ideal or archetype of a morally perfect interpersonal relationship, an archetype of the morally trustworthy agent allows us to comparatively assess the moral disposition of fellow agents. (shrink)

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...) stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

"Translating Key Terms Terms in Lu Cheng's Records in the Chuan xi lu: Some Preliminary Considerations" Draft paper for the 2024 Conference on [Wang] Yangming's Learning of Mind, Shaoxing, Zhejiang. Updated October 4, 2024. The final version will appear in the conference volume. -/- Criticism and suggestions welcome. Please do email.

Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their (...) work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it. (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...) fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

In 2012, choreographer and dancer Jill Sigman of jill sigman/thinkdance and visual artist Janine Antoni collaborated to produce Wedge, a live performance at the Albright-Knox Gallery. In this essay, I describe the collaboration and the resulting work and examine the benefits and challenges of the collaboration. The discussion touches on broader issues pertaining to collaboration, co-authorship, artists' intentions, and interpretation.

Though feminists are correct to note that conventional standards of sexiness are oppressive, we argue that feminism should reclaim sexiness rather than reject it. We argue for an aesthetic and ethical practice of working to shift from conventional attributions of sexiness to respectful attributions, in which embodied sexual subjects are appreciated in their full individual magnificence. We argue that undertaking this practice is an ethical obligation, since it contributes to the full recognition of others’ humanity. We discuss the relationship of (...) ethical to aesthetic considerations and argue that the respectful notion of sexiness is a genuinely aesthetic one, even though it does not involve assessment in relation to standards. (shrink)

According to a widely shared intuition, normal adult humans require greater moral concern than normal, adult animals in at least some circumstances. Even the most steadfast defenders of animals' moral status attempt to accommodate this intuition, often by holding that humans' higher-level capacities (intellect, linguistic ability, and so on) give rise to a greater number of interests, and thus the likelihood of greater satisfaction, thereby making their lives more valuable. However, the moves from capacities to interests, and from interests to (...) the likelihood of satisfaction, have up to now gone unexamined and undefended. I argue that context plays a morally significant role both in the formation of an individual's capacities, and in the determination of the individual's interests and potential for satisfaction based on those capacities. Claims about an individual's capacities and interests are typically presented as unconditional; but on closer examination, they are revealed to be contingent on tacit assumptions about context. Until we develop an understanding of how to account for the role of context within our moral theories, attempts to defend special moral concern for human beings based on their superior capacities are less firmly grounded than is commonly thought. (shrink)

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

As aesthetic beings, we are receptive to and engaged with the sensuous phenomena of life while also knowing that we are targets of others’ awareness: we are both aesthetic agents and aesthetic objects. Our psychological health, our standing within our communities, and our overall wellbeing can be profoundly affected by our aesthetic surroundings and by whether and how we receive aesthetic recognition from others. When our embodied selves and our cultural products are valued, and when we have rich opportunities for (...) aesthetic experience and for the exercise of aesthetic agency, the aesthetic can foster and sustain wellbeing and help to make our lives worthwhile. But when we are subjected to aesthetic blight, restriction of our aesthetic agency, and aesthetic devaluing of our embodied selves and our communities’ cultural products, the aesthetic can do great harm: such aesthetic maneuvers play a significant role in oppression and social hierarchy related to race, gender, fatness, and disability. This essay explores the notions of aesthetic objects and aesthetic agents, their relations with each other, and the unique affordances of persons’ status as simultaneously aesthetic objects and aesthetic agents. It examines the prospects for bodily aesthetic experience to promote wellbeing and, at the end, considers how the aesthetic might play a role in establishing forms of mutual vulnerability and recognition to combat oppressive social hierarchies. (shrink)

This chapter surveys a few of the central questions about philosophical perspectives on the ethics of belief, focusing especially on (1) questions about whether doxastic involuntarism is consistent with the normative approach to epistemology characteristic of any ethics of belief; (2) the status and interpretation of William Clifford's famous injunction against belief on "insufficient" evidence, and broader questions about the role of negative versus positive doxastic norms; (3) whether norms governing belief are distinctively epistemic norms, or are instead moral or (...) practical ones; and (4) how moral and political questions about belief bear on epistemic norms, including a discussion of doxastic wronging, racist beliefs, skepticism and rape culture, and epistemic partiality—whether, for instance, friendship requires beliefs that violate epistemic norms. (shrink)

This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

This article gives an overview of some recent debates about the relationship between reasons and rational requirements of coherence - e.g. the requirements to be consistent in our beliefs and intentions, and to intend what we take to be the necessary means to our ends.

In this paper I discuss the nature of halakhic facts and I frame the discussion in a broader meta-ethical context. Most of the existing literature on the philosophy of halakha has focused on the contrast between ‘Halakhic Realism’ and ‘Halakhic Nominalism’. This theoretical contrast is vague and includes a wide range of theories. Inspired by the meta-ethical literature, I propose to focus the discussion on views that can be called ‘Halakhic Naturalism’ and ‘Halakhic Non-naturalism’. I present, develop and distinguish between (...) different meanings of 'naturalism' and consider arguments for and against 'Halakhic Naturalism'. The purpose of this paper is twofold: First, to present and demonstrate the fruitful encounter between meta-ethics and the philosophy of halakha. Second, to present, evaluate and promote the substantive discussion of naturalistic and non-naturalistic views. (shrink)

In this paper, I discuss a subset of preferences in which a person desires the fulfillment of a choice they have made, even if it involves the violation of their desires, as in rape fantasies. I argue that such cases provide us with a unique insight into personal autonomy from a proceduralist standpoint. In its first part, I analyze some examples in light of Frankfurt's endorsement theory and argue that even when we cannot endorse a practical decision that involves being (...) violated, we nonetheless regard those cases as instances of autonomy. Therefore, autonomy does not necessarily require endorsement. Instead, I propose that the nature of the relevant highest-order volition dictates the procedure that should be established in one’s desire structure for its fulfillment. In the second part, I discuss how an agent may effectively consent to the violation of their decision by another person. Ordinary consent typically refers to actions but fails to communicate one's higher-order desires or commitments. To address this limitation, I propose a practical tool that accomplishes this by signaling shifts in the normative context where the agents are interacting. (shrink)

Conciliationism is the family of views that rationality requires agents to reduce confidence or suspend belief in p when acknowledged epistemic peers (i.e. agents who are (approximately) equally well-informed and intellectually capable) disagree about p. While Conciliationism is prima facie plausible, some have argued that Conciliationism is not an adequate theory of peer disagreement because it is self-undermining. Responses to this challenge can be put into two mutually exclusive and exhaustive groups: the Solution Responses which deny Conciliationism is self-undermining and (...) attempt to provide arguments which demonstrate this; and the Skeptical Responses which accept that Conciliationism is self-undermining but attempt to mitigate this result by arguing this is either impermanent and/or not very worrisome. I argue that, by Conciliationism’s own lights, both kinds of responses (almost certainly) fail to save Conciliationism from being self-undermining. Thus, Conciliationism is (almost certainly) permanently self-undermining. This result is significant because it demonstrates that Conciliationism is likely hopeless: there is likely nothing that can save Conciliationism from this challenge. I further argue that Conciliationism, like any view, should be abandoned if it is (almost certainly) hopeless. (shrink)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...) what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

As a response to climate change, geoengineering with solar radiation management has the potential to result in unjust harm. Potentially, this injustice could be ameliorated by providing compensation to victims of SRM. However, establishing a just SRM compensation system faces severe challenges. First, there is scientific uncertainty in detecting particular harmful impacts and causally attributing them to SRM. Second, there is ethical uncertainty regarding what principles should be used to determine responsibility and eligibility for compensation, as well as determining how (...) much compensation ought to be paid. Significant challenges loom for crafting a just SRM compensation system. (shrink)

A conversation between three characters: Credulus, who thinks conscious mental states can and should be attributed to other animals without any need for scientific inquiry; Skepticus, a critic with behaviorist leanings; and Moderus, who sees a middle path in the emerging science of animal consciousness.

Nie Bao 聶豹 (1487–1563) was a Neo-Confucian philosopher and scholar-official of sixteenthcentury Ming China. In his Ming ru xue an 明儒學案 (Case studies of Ming Confucians), Huang Zongxi 黃宗羲 placed him in the Jiangxi (Jiangyou 江右) group of Wang Yangming followers. Nie Bao met the influential founder of the Ming School of Mind in 1526 and was inspired by his teaching of the innate knowing (liangzhi 良知). However, he differed from other followers in his quietist approach to realizing and extending (...) this knowledge. While developing his ideas over the course of two decades, as a holder of the highest civil service examination degree, Nie Bao also held a series of impactful official positions, and earned a reputation for effectiveness and integrity. However, he was also the unwitting victim of factionalism at the Ming court, which led to his imprisonment in 1548. The goal of this article is to provide a sketch of Nie Bao’s political trajectory and intellectual development from his early years until his imprisonment, as well as translation of significant passages pertaining to that trajectory and development. By the time of his imprisonment, Nie Bao had articulated the essential elements of his philosophy of returning to the root (by which he meant silence), and attaining centeredness and, with that, his unique interpretation of his teacher’s central tenet. (shrink)