In this essay, I reply to critiques of my article “In Defense of Transracialism.” Echoing Chloë Taylor and Lewis Gordon’s remarks on the controversy over my article, I first reflect on the lack of intellectual generosity displayed in response to my paper. In reply to Kris Sealey, I next argue that it is dangerous to hinge the moral acceptability of a particular identity or practice on what she calls a collective co-signing. In reply to Sabrina Hom, I suggest that (...) relying on the language of passing to describe transracialism is potentially misleading. In reply to Tina Botts, I both defend analytic philosophy of race against her multiple criticisms and suggest that Botts’s remarks risk complicity with a form of transphobia that Talia Mae Bettcher calls the Basic Denial of Authenticity. I end by gesturing toward a more inclusive understanding of racial identity. (shrink)

According to Stephen Davies, there is no such thing as free beauty. Using actual and imaginary examples, he tries to show that our aesthetic evaluations of objects inevitably pay heed to the kinds to which they belong or in which we judge them to belong. His examples are not as compelling as he thinks, however. Furthermore, nature looked at through a microscope (or a telescope) provides us with a particular class of counter-examples which have not been dealt with by Davies (...) and which put considerable pressure on his account. (shrink)

Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...) and pornography; or at the least, nothing can be coherently projected as both erotic art and pornography.1I have argued elsewhere .. (shrink)

Judging works of art is one thing. Loving a work of art is something else. When you visit a museum like the Louvre you make hundreds of judgements in the space of just a couple of hours. But you may grow to love only one or a handful of works over the course of your entire life. Depending on the art form you are most aligned with, this can be a painting, a novel, a poem, a song, a work of (...) architecture, or some other art object or performance. As it happens, however, we have fallen in love with a series of films: Before Sunrise, Before Sunset, and Before Midnight. But what does it mean to love a film? What’s the difference between liking a film, loving a film, and being a film lover? How rational or irrational is it to fall in love with a film? What are the constitutive elements of such a love? These are the questions we seek to address in this paper. -/- . (shrink)

This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.

Common psychopathy rating instrument sdistinguish between an interpersonal-affective and an antisocial dimension.The suggestion that the interpersonal-affective dimension,often considered to be the core feature of psychopathy,is positively associated with executive functioning is occasionally made in the literature, without reporting objective empirical data. The primary aim of thep resent paper was to search for empirical studies reporting relevant data, focussing on four aspects of 'cold' executive functioning: inhibition, attentional shifting, working memory, and planning. Eleven published articles wereidentified, reporting data of 721 individuals (...) from incarcerated and non-incarcerated,male and female,and adult and non-adult samples. Using a heterogeneous set of tests and dependent measures across studies, the inhibition and attentional shifting components were assessed in eight and five studies, respectively; the working memory and planning components each in two studies. A small majority of the studies found positive associations with the different executive functions, although the associations were mostly non-significant. Given the scarcity of studies and the use of heterogeneous populations,tests and statistical analyses, no robust conclusions can be drawn at this stage. Therefore,caution is needed when claiming a positive association between the interpersonal-affective features of psychopathy and executive functioning. Clearly more research is needed to further validate and specify the suggested association. (shrink)

Numerous philosophers have tried to define modesty, but none of them succeeds in articulating the necessary and sufficient conditions for this virtue. Moreover, all existing accounts ignore the striking self-other asymmetry that is at the heart of modesty. Drawing on the analogy with the practice of giving presents, I clarify and further investigate this self-other asymmetry. In the process, I show why Bernard Williams is right in pointing out the notorious truth that a modest person does not act under the (...) title of modesty and why Alan Bennett is wrong in supposing that all modesty is false modesty. (shrink)

Section 1 proposes a new philosophical account of melancholy. Section 2 examines the reasons why one might think that pornography and melancholy are incompatible. Section 3 discusses some successful examples of melancholic pornography and makes the case that feminist pornographers are particularly well-placed to produce such material.

In this paper, we aim to show that there is a particular kind of bullshit that is not dealt with in Harry Frankfurt’s and G.A. Cohen’s critiques of bullshit. We also point out the evaluative complexity of bullshit. Frankfurt and Cohen both stress its negative and possibly destructive aspects, but one might wonder whether bullshit need always and necessarily be reprehensible. We will argue that there are positive or at least neutral aspects to some kinds of bullshit.

Paisley Livingston claims that an artist’s intentions are successfully realized and hence determinate of the meaning of a work if and only if they are compatible and “mesh” with the linguistic and conventional meanings of the text or artefact taken in its target or intended context. I argue that this specific standard of success is not without its difficulties. First, I show how an artist’s intention can sometimes be constitutive of a work’s meaning even if there is no significant meshing (...) between the artist’s intention and his work. Second, I argue against the claim that the artist’s intentions need to be compatible with the linguistic and conventional meanings of a text. Third, I discuss a case that creates a particular puzzle for Livingston since the intentions of the artist concerned are clearly not successfully realized, though they are compatible and mesh with all the relevant data. I conclude my paper by suggesting a solution to this puzzle. (shrink)

In a chapter that hones in on certain Renaissance portraits by Hans Holbein, Giorgione, and Jan van Scorel, Hans Maes examines how it is that we can be deeply moved by such portraits, despite (or perhaps because of) the fact that we don’t know anything about their sitters. Standard explanations in terms of the revelation of an inner self or the recreation of a physical presence prove to be insuffi cient. Instead, Maes provides a more rounded account of what makes (...) said portraits moving and memorable, thereby relying on Barthes’ notion of ‘punctum,’ James Elkins’ account of why people cry in front of paintings, and a phenomenological exploration of the parallel between portraiture and the tradition of the Vanitas painting. (shrink)

Melancholy is a central expressive property of the Before films and key to understanding and appreciating the trilogy as a whole. That, in a nutshell, is the thesis I develop in this paper. In the first section, I present a philosophical account of melancholy in general and aesthetic melancholy in particular. Melancholy is understood here as the profound and bittersweet emotional experience that occurs when we vividly grasp a harsh truth about human existence in such a way that we come (...) to appreciate certain aspects of life more deeply. The second section of the paper focuses on the many intense as well as more subtle moments of melancholy in the various encounters between Celine and Jesse. These moments, I argue, are partly prompted by the environment and the circumstances in which they find themselves. But both of them also actively seek out and create such moments by the stories they tell and the reflections they engage in. That seems part of who they are as individuals and, I contend, it may be part of what attracts them to each other. In the third section, I address ‘film expression’, as opposed to ‘character expression’, and argue that melancholy is not just present in the characters’ dialogue and in their facial and bodily expressions but is also expressed through various cinematic means. The final section centres on the audience and the reception of the Before trilogy. I introduce the distinction between expression and expressiveness and suggest that the films may have resonated deeply with some viewers because they are so expressive of melancholy. (shrink)

Caffeine makes you sexy! This absurd slogan can be seen in the shop windows of a popular Brussels coffee chain – its bold pink lettering indicating how they are mainly targeting female customers. It is one of the silliest examples of something that is both very common and very worrisome nowadays, namely, the constant call on women to look ‘hot’ and conform to the standards of sexiness as they are projected in the media, entertainment industry, and advertising. But what exactly (...) is wrong with this state of affairs and what can be done about it? In a recent essay Sheila Lintott and Sherri Irvin take up this issue and make an elaborate case for what they call a ‘feminist reclamation’ of sexiness. This chapter investigates the merits and shortcomings of their proposal, presents an alternative account, and considers how pornography may be part of the problem but also part of the solution in this matter. (shrink)

In his The Symbolism of Evil Ricœur explores the dynamics of human consciousness of evil in different cultures and times. Consciousness of evil is examined by looking at the different prevailing symbols wherein human beings confess their experience with evil. Although appeared in 1960, this study is still cited in recent publications in psychology, cultural anthropology and religion. In this article I describe the context of The Symbolism of Evil as the last part of Ricœur’s study of the will and (...) give a summary of its relevant content. (shrink)

What is the correct procedure for determining the contents of perception? Philosophers tackling this question increasingly rely on empirically-oriented procedures in order to reach an answer. I argue that this constitutes an improvement over the armchair methodology constitutive of phenomenal contrast cases, but that there is a crucial respect in which current empirical procedures remain limited: they are unimodal in nature, wrongly treating the senses as isolatable faculties. I thus have two aims: first, to motivate a reorientation of the admissible (...) contents debate into a multimodal framework, charting its various significances. The second is to explore whether any experimental studies of multimodal perception support a so-called Liberal (or ‘high-level’ or ‘rich’) account of perception’s admissible contents. I conclude that the McGurk effect and the ventriloquist effect are both explicable without the postulation of high-level content, but that at least one multimodal experimental paradigm may necessitate such content: the rubber hand illusion. One upshot of this argument is that Conservatives who claim that the Liberal view intolerably broadens the scope of perceptual illusions, particularly from the perspective of perceptual psychology, should pursue other arguments against that view. (shrink)

Richard Linklater’s celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Céline (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy. This book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature so (...) vividly in the interactions between Céline and Jesse, including: the nature of love, romanticism and marriage the passage and experience of time the meaning of life the art of conversation the narrative self gender death Including an interview with Julie Delpy in which she discusses her involvement in the films and the importance of studying philosophy. (shrink)

Deepfakes are extremely realistic audio/video media. They are produced via a complex machine-learning process, one that centrally involves training an algorithm on hundreds or thousands of audio/video recordings of an object or person, S, with the aim of either creating entirely new audio/video media of S or else altering existing audio/video media of S. Deepfakes are widely predicted to have deleterious consequences (principally, moral and epistemic ones) for both individuals and various of our social practices and institutions. In this introduction (...) to the Topical Collection, I first survey existing philosophical research on deepfakes (Sects. 2 and 3). I then give an overview of the papers that comprise the Collection (Sect. 4). Finally, I conclude with remarks on a line of argument made in a number of papers in the Topical Collection: that deepfakes may cause their own demise (Sect. 5). (shrink)

Recent develops in AI technology have led to increasingly sophisticated forms of video manipulation. One such form has been the advent of deepfakes. Deepfakes are AI-generated videos that typically depict people doing and saying things they never did. In this paper, I demonstrate that there is a close structural relationship between deepfakes and more traditional fake barn cases in epistemology. Specifically, I argue that deepfakes generate an analogous degree of epistemic risk to that which is found in traditional cases. Given (...) that barn cases have posed a long-standing challenge for virtue-theoretic accounts of knowledge, I consider whether a similar challenge extends to deepfakes. In doing so, I consider how Duncan Pritchard’s recent anti-risk virtue epistemology meets the challenge. While Pritchard’s account avoids problems in traditional barn cases, I claim that it leads to local scepticism about knowledge from online videos in the case of deepfakes. I end by considering how two alternative virtue-theoretic approaches might vindicate our epistemic dependence on videos in an increasingly digital world. (shrink)

I argue that considerations pertaining to constitutive luck undermine historicism—the view that an agent’s history can determine whether or not she is morally responsible. The main way that historicists have motivated their view is by appealing to certain cases of manipulation. I argue, however, that since agents can be morally responsible for performing some actions from characters with respect to which they are entirely constitutively lucky, and since there is no relevant difference between these agents and agents who have been (...) manipulated into acting from a character bestowed upon them by their manipulators, we should give up historicism. After presenting this argument and defending it against some potential objections, I briefly criticize the standard structuralist alternative and propose a new structuralist position that is shaped by reflection on constitutive luck. (shrink)

In this article, Bettcher argues that sexual attraction must be reconceptualized in light of transgender experience. In particular, Bettcher defends the theory of “erotic structuralism,” which replaces an exclusively other-directed account of gendered attraction with one that includes a gendered eroticization of self as an essential component. This erotic experience of self is necessary for other-directed gendered desire, where the two are bound together and mutually informing. One consequence of the theory is that the controversial notion of “autogynephilia” is rejected. (...) Another consequence is that the distinction between gender identity and sexual orientation is softened. (shrink)

All too often women are considered sexy in accordance with an externally dictated and unduly narrow conception of sexiness – one that excludes large portions of the female population from being considered sexy. In response to this, some feminists have suggested that we should give up on sexiness altogether. Since the agency, subjectivity, and autonomy of a woman being judged sexy is generally ignored, they argue, we have, in effect, an equation of sexiness with objecthood. In a recent essay entitled (...) “Sex Objects and Sexy Subjects” Sheila Lintott and Sherri Irvin object to this strategy because they see sexuality as a crucial element of selfhood – something that one cannot simply ‘give up on’. Instead, they propose to reclaim and redefine sexiness in such a way that makes room for women as sexy subjects desiring and pursuing authentic pleasure. In this short paper, I will investigate the merits and shortcomings of their proposal and present an alternative account. (shrink)

It is unlikely that when my the grandfather of Cometan, Derrick Taylor, sat down to participate in an interview with his good friend Judith Shean now almost thirty years ago that all those years later his grandson would have written a book analysing that very interview. On 22nd February 1995, Derrick Taylor agreed to participate in an interview at his home 222 Longmeanygate to reveal his experience as a Protestant turned Catholic. During the interview, Derrick Taylor provided (...) a realistic view of what his life had been like detailing loss, tragedy and suffering. By contrast, he also detailed his predisposition for experiencing interior locutions – divine communications to the ear – which filled him with great elation in times of spiritual crisis. This interview was titled Light a Candle for Me as based on Derrick Taylor's very first interaction with the Sacred Heart of Jesus when he was just seven years old in which he asked his friend's mother to light a candle for him as a metaphor for his journey to Catholicism. What we ultimately learn of Derrick Taylor's character in this 1995 interview is that he held such a dedication to the Catholic faith that he found it difficult to reconcile the fact that the world and the Church were changing. In this interview, which is now often titled the Sceptre Bulletin Interview, Derrick Taylor tells us in his own words what he thought of the reforms of the Second Vatican Council. This book, the Catholic Conversion, is an exegetical work written by Derrick's grandson Cometan some 27 years later that develops his grandfather's words into a set of theological concepts that come to form Derrick Taylor's definitive approach to Catholicism. (shrink)

Self-esteem can influence educational success, and educational success can also be influenced by self-esteem. Hence, high self-esteem has been recognized as a key predictor of academic success in students. Thus, this study investigates the relationship between self-esteem and anxiety of senior high school students. Employing descriptive-correlational design with 194 senior high school students enrolled in private schools during the school year 2021-2022. Based on the statistical analysis, there is a correlation between self-esteem and anxiety (r.=.125).

Social metaphysics is a source of important philosophical and moral insight. Furthermore, much social metaphysics appears to be substantive. However, some have recently argued that standard views of metaphysics cannot accommodate substantive social metaphysics. In this paper I offer a new diagnosis of this problem and defend a new solution, showing that this problem is an illuminating lens through which to examine the nature and boundaries of metaphysics. This case instantiates a broad, common pattern generated by attempts to align distinctions (...) between realism and anti-realism, mind-independence and mind-dependence, and legitimate and non-legitimate inquiry. I show that the best response is to abandon the association between substantive metaphysics and mind-independence, and I sketch a new definition of substantivity, given in terms of explanatory power, that makes room for substantive social metaphysics while also offering an attractive basis for general metaphysics. (shrink)

In 1984, Arthur Danto wrote an article with the telling title ‘The End of Art.’ Just a few years earlier, Richard Rorty had declared the end of philosophy and Michel Foucault, the end of politics. A few years later, Francis Fukuyama was to declare the end of history. So, on the face of it, Danto’s thesis fits in nicely with the ‘endism’ that was popular in the 1980s. In important ways, however, I believe it also stands out.

This paper presents a close analysis of Steve Pyke’s famous series of portraits of philosophers. By comparing his photographs to other well-known series of portraits and to other portraits of philosophers we will seek a better understanding of the distinctiveness and fittingness of Pyke’s project. With brief nods to Roland Barthes, Jean Baudrillard, G.W.F. Hegel, and Arthur Schopenhauer and an extensive critical investigation of Cynthia Freeland’s ideas on portraiture in general and her reading of Steve Pyke’s portraits in particular, this (...) paper will also aim to make a contribution to the philosophical debate on portraiture. (shrink)

This paper examines Harold Garfinkel's notion of the natural attitude about sex and his claim that it is fundamentally moral in nature. The author looks beneath the natural attitude in order to explain its peculiar resilience and oppressive force. There she reveals a moral order grounded in the dichotomously sexed bodies so constituted through boundaries governing privacy and decency. In particular, naked bodies are sex-differentiated within a system of genital representation through gender presentation—a system that helps constitute the very boundaries (...) between the public and private. (shrink)

It is widely thought that, to be morally responsible for some action or omission, an agent must have had, at the very least, the general ability to do otherwise. As we argue, however, there are counterexamples to the claim that moral responsibility requires the general ability to do otherwise. We present several cases in which agents lack the general ability to do otherwise and yet are intuitively morally responsible for what they do, and we argue that such cases raise problems (...) for various kinds of accounts of moral responsibility. We suggest two alternative approaches to thinking about the connection between moral responsibility and abilities to do otherwise, one of which denies that there is any ability-to-do-otherwise requirement on moral responsibility and the other of which requires only an opportunity to do otherwise. We also argue that a general-ability-to-do-otherwise requirement not only faces counterexamples but also lacks positive motivation. (shrink)

In recent years, a number of philosophers have turned their attention to developments in Artificial Intelligence, and in particular to deepfakes. A deepfake is a portmanteau of ‘deep learning' and ‘fake', and for the most part they are videos which depict people doing and saying things they never did. As a result, much of the emerging literature on deepfakes has turned on questions of trust, harms, and information-sharing. In this paper, I add to the emerging concerns around deepfakes by drawing (...) on resources from vice epistemology. As deepfakes become more sophisticated, I claim, they will develop to be a source of online epistemic corruption. More specifically, they will encourage consumers of digital online media to cultivate and manifest various epistemic vices. My immediate focus in this paper is on their propensity to encourage the development of what I call ‘intellectual cynicism'. After sketching a rough account of this epistemic vice, I go on to suggest that we can partially offset such cynicism – and fears around deceptive online media more generally – by encouraging the development what I term a trained ‘digital sensibility'. This, I contend, involves a calibrated sensitivity to the epistemic merits of online content. (shrink)

The vast literature on negative treatment of outgroups and favoritism toward ingroups provides many local insights but is largely fragmented, lacking an overarching framework that might provide a unified overview and guide conceptual integration. As a result, it remains unclear where different local perspectives conflict, how they may reinforce one another, and where they leave gaps in our knowledge of the phenomena. Our aim is to start constructing a framework to help remedy this situation. We first identify a few key (...) ideas for creating a theoretical roadmap for this complex territory, namely the principles of etiological functionalism and the dual inheritance theory of human evolution. We show how a “molecular” approach to emotions fits into this picture, and use it to illuminate emotions that shape intergroup relations. Finally, we weave the pieces together into the beginnings of a systematic taxonomy of the emotions involved in social interactions, both hostile and friendly. While it is but a start, we have developed the argument in a way that illustrates how the foundational principles of our proposed framework can be extended to accommodate further cases. (shrink)

What is the relationship between perception and mental imagery? I aim to eliminate an answer that I call perceptualism about mental imagery. Strong perceptualism, defended by Bence Nanay, predictive processing theorists, and several others, claims that imagery is a kind of perceptual state. Weak perceptualism, defended by M. G. F. Martin and Matthew Soteriou, claims that mental imagery is a representation of a perceptual state, a view sometimes called The Dependency Thesis. Strong perceptualism is to be rejected since it misclassifies (...) imagery disorders and abnormalities as perceptual disorders and abnormalities. Weak Perceptualism is to be rejected since it gets wrong the aim and accuracy conditions of a whole class of mental imagery–projected mental imagery–and relies on an impoverished concept of perceptual states, ignoring certain of their structural features. Whatever the relationship between perception and imagery, the perceptualist has it wrong. (shrink)

This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman.

Is moral responsibility essentially historical, or does an agent's moral responsibility for an action depend only on their psychological structure at that time? In previous work, I have argued that the two main (non‐skeptical) views on moral responsibility and agents’ histories—historicism and standard structuralism—are vulnerable to objections that are avoided by a third option, namely history‐sensitive structuralism. In this paper, I develop this view in greater detail and evaluate the view by comparing it with its three dialectical rivals: skepticism about (...) moral responsibility, historicism, and standard structuralism. Each comparison includes discussion of new work on moral responsibility and agents’ histories, and along the way I offer new arguments for preferring history‐sensitive structuralism, paying special attention to the view's explanatory power. (shrink)

In May 2017, my book ‘Conversations on Art and Aesthetics’ appeared. It contains conversations with, and photographic portraits of, ten prominent philosophers of art. They are Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. The book has two main aims. One is to provide a broad and accessible overview of what aesthetics as a subfield of philosophy has to offer. The other is to stimulate new work in (...) this area of research. In this brief paper I’d like to say a bit more about this second objective. Current research is rarely conducted or communicated in the form of conversations, so the question arises: how can a book like mine fit with and feed into a research culture which is very much dominated by the format of the journal article? (shrink)

In ‘The End of Art: A Real Problem or Not Really a Problem?’ I raised some questions about Arthur Danto’s famous ‘end of art’ thesis. A largely polemical paper, it was intended as an invitation to further discussion, and Kalle Puolakka has now taken up this invitation in ‘Playing The Game After The End of Art’. I thank him for his many insightful remarks. Critical comments are typically more interesting and helpful than simple praise, and Puolakka’s comments are no exception. (...) I would therefore like to return the favour. I will place Puolakka’s remarks under critical examination and in the process hope to rephrase, refine, and defend some of my original claims. First, however, I will briefly restate my reading of Danto’s ideas on the end of art. (shrink)

Recently, several authors have utilized the notion of dependence to respond to the traditional argument for the incompatibility of freedom and divine foreknowledge. However, proponents of this response have not always been so clear in specifying where the incompatibility argument goes wrong, which has led to some unfounded objections to the response. We remedy this dialectical confusion by clarifying both the dependence response itself and its interaction with the standard incompatibility argument. Once these clarifications are made, it becomes clear both (...) (1.) that the dependence response does not beg the question against the proponent of the incompatibility argument and (2.) that the dependence response advances the dialectic whether it is developed as a version of Ockhamism or as a version of multiple-pasts compatibilism. (shrink)

Aphantasia is a condition characterised by a deficit of mental imagery. Since several psychopathologies are partially maintained by mental imagery, it may be illuminating to consider the condition against the background of psychological disorder. After outlining current findings and hypotheses regarding aphantasia and psychopathology, this paper suggests that some support for defining aphantasia as a lack of voluntary imagery may be found here. The paper then outlines potentially fruitful directions for future research into aphantasia in general and its relation to (...) psychopathology in particular, including rethinking use of the SUIS to measure involuntary imagery, whether aphantasia offers protection against addiction, and whether hyperphantasia is a potential risk factor for maladaptive daydreaming, among others. (shrink)

An attractive form of social stability is realized when the members of a well-ordered society give that society’s organizing principles their free and reflective endorsement. However, many political philosophers are skeptical that there is any requirement to show that their principles would engender this kind of stability. This skepticism is at the root of a number of objections to political liberalism, since arguments for political liberalism often appeal to its ability to be stable in this way. The aim of this (...) paper is to address skepticism about the stability condition by putting forward a novel defense of it. My defense builds on the claim that stable principles are necessary to secure the full autonomy of those who live under them. (shrink)

In this paper, I defend a version of compatibilism against luck-related objections. After introducing the types of luck that some take to be problematic for moral responsibility, I consider and respond to two recent attempts to show that compatibilism faces the same problem of luck that libertarianism faces—present luck. I then consider a different type of luck—constitutive luck—and provide a new solution to this problem. One upshot of the present discussion is a reason to prefer a history-sensitive compatibilist account over (...) a purely nonhistorical structuralist account. (shrink)

The initial foundations to the notion that Cometan's grandparents, Irene Mary Taylor and Derrick Taylor, should be recognised for their life as laypeople in the Roman Catholic Church first emerged in January 2020 and October 2021 respectively. Irene Mary was well known for her devotion to Catholicism among her family and acquaintances, yet Cometan saw in her icon and life events an opportunity to reinvigorate Catholic fervour in England and abroad. In his own endeavour as a religious figure (...) and philosopher as the founder of Astronism, Cometan had made it clear that his paternal grandmother had played a large role in his religious life from infancy and so Irene Mary's Cause for Beatification was the culmination of this destined religious figureship. The Beatification Story of Irene Mary Taylor holds the responsibility of presenting Irene Mary for the recognition in the Roman Catholic Church in whichever capacity the Church deems suitable. The book explores the major remembered life events of Irene Mary Taylor, relates them to Catholic doctrine, and systematises them to form Irenianism, Irene Mary's eponymous Catholic system of thought. (shrink)

Although convinced by Frankfurt-style cases that moral responsibility does not require the ability to do otherwise, semicompatibilists have not wanted to accept a parallel claim about moral responsibility for omissions, and so they have accepted asymmetrical requirements on moral responsibility for actions and omissions. In previous work, I have presented a challenge to various attempts at defending this asymmetry. My view is that semicompatibilists should give up these defenses and instead adopt symmetrical requirements on moral responsibility for actions and omissions, (...) and in this paper I highlight three advantages of doing so: first, it avoids a strange implication of the truth of determinism; second, it allows for a principled reply to Philip Swenson’s recent ‘No Principled Difference Argument’; third, it provides a reason to reject a crucial inference rule invoked by Peter van Inwagen’s ‘Direct Argument’ for the incompatibility of moral responsibility and determinism. (shrink)

Some compatibilists are internalists. On their view, whether an agent is morally responsible for an action depends only on her psychological structure at that time. Other compatibilists are externalists. On their view, an agent’s history can make a difference as to whether or not she is morally responsible. In response to worries about manipulation, some internalists have claimed that compatibilism requires internalism. Recently, Alfred Mele has argued that this internalist response is untenable. The aim of this paper is to vindicate (...) the claim that compatibilism requires internalism, showing where Mele’s argument goes wrong along the way. (shrink)

How tight is the conceptual connection between imagination and perception? A number of philosophers, from the early moderns to present-day predictive processing theorists, tie the knot as tightly as they can, claiming that states of the imagination, i.e. mental imagery, are a proper subset of perceptual experience. This paper labels such a view ‘perceptualism’ about the imagination and supplies new arguments against it. The arguments are based on high-level perceptual content and, distinctly, cognitive penetration. The paper also defuses a recent, (...) influential argument for perceptualism based on the ‘discovery’ that visual perception and mental imagery share a significant neural substrate: circuitry in V1, the brain’s primary visual cortex. Current neuropsychology is shown to be equivocal at best on this matter. While experiments conducted on healthy, neurotypical subjects indicate substantial neural overlap, there is extensive clinical evidence of dissociations between imagery and perception in the brain, most notably in the case of aphantasia. (shrink)

Soms is het ongepast om jezelf te beoordelen vanuit een extern gezichtspunt en soms is het zelfs onmogelijk om dat te doen. Het standpunt van anderen kan dus op twee manieren ontoegankelijk zijn, doch dit betekent niet dat het vanzelf ook als onbelangrijk wordt ervaren. Integendeel, het niet in te nemen standpunt van anderen bepaalt vaak in hoge mate de wijze waarop wij tegen onszelf aankijken. Onze zelfwaardering blijkt zodoende op een onophefbare manier afhankelijk van anderen. -/- Deze algemene stelling (...) vormt de kern van het voorliggende boek. Ze wordt gaandeweg ontwikkeld en onderbouwd in discussie met de bestaande analytisch-filosofische literatuur. De dubbele asymmetrie tussen zelfwaardering en waardering van anderen wordt door hedendaagse auteurs namelijk vaak miskend. Als zodanig kan men spreken van een opvallende en gemeenschappelijke lacune in de actuele debatten over bescheidenheid, ijdelheid en trots. (shrink)

Predictive processing (PP) accounts of perception are unique not merely in that they postulate a unity between perception and imagination. Rather, they are unique in claiming that perception should be conceptualised in terms of imagination and that the two involve an identity of neural implementation. This paper argues against this postulated unity, on both conceptual and empirical grounds. Conceptually, the manner in which PP theorists link perception and imagination belies an impoverished account of imagery as cloistered from the external world (...) in its intentionality, akin to a virtual reality, as well as endogenously generated. Yet this ignores a whole class of imagery whose intentionality is directed on the actual environment—projected mental imagery—and also ignores the fact that imagery may be triggered crossmodally in a bottom-up, stimulus-driven way. Empirically, claiming that imagery and perception share neural circuitry ignores relevant clinical results in this area. These evidence substantial perception/imagery neural dissociations, most notably in the case of aphantasia. Taken together, the arguments here suggest that PP theorists should substantially temper, if not outright abandon, their claim to a perception/imagination unity. (shrink)

Sensorimotor expectations concern how visual experience covaries with bodily movement. Sensorimotor theorists argue from such expectations to the conclusion that the phenomenology of vision is constitutively embodied: objects within the visual field are experienced as 3-D because sensorimotor expectations partially constitute our experience of such objects. Critics argue that there are two ways to block the above inference: to explain how we visually experience objects as 3-D, one may appeal to such non-bodily factors as expectations about movements of objects, not (...) the perceiver, or to the role of mental imagery in visual experience. But instead of using sensorimotor expectations to explain how objects are experienced within the visual field, we can instead use them to explain our experience of the visual field itself and, in particular, our experience of its limits; that is, our ever-present visual sense of there being more to see, beyond what’s currently within the visual field. Crucially, this inference from sensorimotor expectations to the constitutive embodiment of visual phenomenology is not threatened by the above two challenges. I thus present here a sensorimotor theory of the phenomenology of the visual field, that is, our experience of our visual fields as such. (shrink)