Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The 'everything change', as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the 'scientific' approaches to nature appreciation which base aesthetic judgment on scientific knowledge and the competing (...) 'non-scientific' approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

Biodiversity loss is an immense ecological crisis of our time. But while “biodiversity” has become a buzzword in media and policy, conservationists have found it difficult to build a common understanding on the nature and severity of biodiversity loss and the means to tackle it. Perhaps surprisingly, many biologists and philosophers have proposed that biodiversity might be best defended with reference to its aesthetic value. This article explores whether aesthetic values could provide strong support for biodiversity conservation. By exploring the (...) question from the viewpoints of species diversity, ecosystem diversity, and genetic diversity, we argue that there is a mismatch between apparent and real biodiversity and that aesthetics can, at best, give only limited support for biodiversity conservation. (shrink)

The sacrifices of nurses in hard-hit cities during the early stages of the COVID-19 pandemic and of family caregivers for people with late-stage Alzheimer’s disease present two puzzles. First, traditional accounts of supererogation cannot allow for the possibility of making enormous sacrifices that make one’s actions supererogatory simply to do what morality requires. These caregivers, however, are doing their moral duty, yet their actions also seem to be paradigmatic cases of supererogation. I argue that Dale Dorsey’s new account of supererogation (...) can solve this puzzle. Second, these caregivers often deny that they are heroic, but standard explanations of these assertions either diminish their sacrifice, say they are confused, or attribute to them a vice. If we want to understand them without diminishing them, we should instead see their denials as a response to what Beth DeVolder calls compulsory heroism. Compulsory heroism occurs when someone is foisted into the role of hero for doing their moral duty as a distraction from the social realities that make doing their duty involve inordinate sacrifice. (shrink)

A key dispute in environmental aesthetics concerns the role of scientific knowledge in our aesthetic appreciation of the natural environment. In this article, I will explore this debate by focusing on the aesthetic experience of forests. I intend to question reductive forms of the scientific approach and support the role of imagination and stories in nature appreciation.

This paper discusses Shoemaker's (1984) account of personal identity over time and the problems person essentialism raises for psychological continuity theories of personal identity at large, as detailed by Olson and Witt (2020).

A review of Jukka Mikkonen's 'Philosophy, literature and understanding: On reading and cognition' (2021).

Logicians commonly speak in a relatively undifferentiated way about pre-euler diagrams. The thesis of this paper, however, is that there were three periods in the early modern era in which euler-type diagrams (line diagrams as well as circle diagrams) were expansively used. Expansive periods are characterized by continuity, and regressive periods by discontinuity: While on the one hand an ongoing awareness of the use of euler-type diagrams occurred within an expansive period, after a subsequent phase of regression the entire knowledge (...) about the systematic application and the history of euler-type diagrams was lost. I will argue that the first expansive period lasted from Vives (1531) to Alsted (1614). The second period began around 1660 with Weigel and ended in 1712 with lange. The third period of expansion started around 1760 with the works of Ploucquet, euler and lambert. Finally, it is shown that euler-type diagrams became popular in the debate about intuition which took place in the 1790s between leibnizians and Kantians. The article is thus limited to the historical periodization between 1530 and 1800. (shrink)

"Lest one think that the focus on aspect-seeing in Wittgenstein is only a means to more contemporary philosophical ends, one ought to read Day’s remarkable 'Wanting to Say Something: Aspect-Blindness and Language'. Day considers the issue of aspect-blindness, arguing that universal aspect-blindness is impossible for beings with language. Specifically, he shows that a child’s first attempt at language, at trying “bloh” for “ball,” is neither an indication that the child sees the ball for the first time, nor an indication that (...) the child is giving a first label for an object seen all along. Rather, he shows that this attempt is an indication of the dawning of an aspect. The dawning of aspects, so common during the phase of language acquisition, becomes supplanted by language itself. Universal aspect-blindness is not humanly possible, then. Day argues that the acquisition of language results in a loss of desire for aspects (which it is possible to regain through art). Localized aspect-blindness is familiar because as language-users, we have lost our desire for aspects. Day then turns to questions about the deep purpose behind Wittgenstein’s style. Why are those doubting voices prominent? Why does Wittgenstein demand so often that the reader answer his questions? Day shows that these elements of Wittgenstein’s style arise from a motivation to regain his own desire for aspects, and he wants to re-awaken our own desire for aspects. Day motivates us to consider aspect-seeing in order to see Wittgenstein himself anew." --Chris Weigel, Book Review of Seeing Wittgenstein Anew, Journal of the History of Philosophy 49:2 (April 2011): 263. (shrink)