What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

In this paper, we argue that Midjourney—a generative AI program that transforms text prompts into images—should be understood not as an agent or a tool, but as a new type of artistic medium. We first examine the view of Midjourney as an agent, considering whether it could be seen as an artist or co-author. This perspective proves unsatisfactory, as Midjourney lacks intentionality and mental states. We then explore the notion of Midjourney as a tool, highlighting its unpredictability and the limited (...) fine-grained control users have over its outputs, which sets it apart from traditional artistic tools. We propose that creating images with Midjourney parallels a gardener's interaction with natura naturans—nature's autonomous generative processes. Similarly, Midjourney acts as machina naturans, where users engage with its dynamic recalcitrance to influence, but not fully control, the creative process. This approach presents Midjourney as an artistic medium shaped by its inherent unpredictability. (shrink)

Our paradigms of aesthetic value condition the philosophical questions we pose and hope to answer about it. Theories of aesthetic value are typically individualistic, in the sense that the paradigms they are designed to capture, and the questions to which they are offered as answers, center the individual’s engagement with aesthetic value. Here I offer some considerations that suggest that such individualism is a mistake and sketch a communitarian way of posing and answering questions about the nature of aesthetic value.

Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...) pessimism has certain advantages over the first. I offer two candidates for the non-epistemic norm that, on this view, stands in the way of our taking aesthetic testimony. And I argue that this form of pessimism meets a challenge to pessimism in general – that of explaining why, if testimony cannot be a legitimate source of aesthetic belief, we can nonetheless rightly rely on the aesthetic recommendations of others. (shrink)

Epistemologists often appeal to the idea that a normative theory must provide useful, usable, guidance to argue for one normative epistemology over another. I argue that this is a mistake. Guidance considerations have no role to play in theory choice in epistemology. I show how this has implications for debates about the possibility and scope of epistemic dilemmas, the legitimacy of idealisation in Bayesian epistemology, uniqueness versus permissivism, sharp versus mushy credences, and internalism versus externalism.

Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's (...) semantics for basic depictive content, I argue that the relevant systematicity is absent from the pictorial realm. (shrink)

We cannot imagine two straight lines intersecting at two points even though they may do so. In this case our abilities to imagine depend upon our abilities to visualise.

We begin by showing that every theory of the value of uncertain prospects must have one of three unpalatable properties. _Reckless_ theories recommend giving up a sure thing, no matter how good, for an arbitrarily tiny chance of enormous gain; _timid_ theories permit passing up an arbitrarily large potential gain to prevent a tiny increase in risk; _non-transitive_ theories deny the principle that, if A is better than B and B is better than C, then A must be better than (...) C. Having set up this trilemma, we study its horns. Non-transitivity has been much discussed; we focus on drawing out the costs and benefits of recklessness and timidity when it comes to axiology, decision theory, and normative uncertainty. (shrink)

This article argues that there can be epistemic dilemmas: situations in which one faces conflicting epistemic requirements with the result that whatever one does, one is doomed to do wrong from the epistemic point of view. Accepting this view, I argue, may enable us to solve several epistemological puzzles.

Epistemologists spend a great deal of time thinking about how we should respond to our evidence. They spend far less time thinking about the ways that evidence can be acquired in the first place. This is an oversight. Some ways of acquiring evidence are better than others. Many normative epistemologies struggle to accommodate this fact. In this article I develop one that can and does. I identify a phenomenon – epistemic feedback loops – in which evidence acquisition has gone awry, (...) with the result that even beliefs based on the evidence are irrational. Examples include evidence acquired under the influence of confirmation bias and evidence acquired under the influence of cognitively penetrated experiences caused by implicit bias. I then develop a theoretical framework which enables us to understand why beliefs that are the outputs of epistemic feedback loops are irrational. Finally, I argue that many popular approaches to epistemic normativity may need to be abandoned on the grounds that they cannot comfortably explain feedback loops. The scope of this last claim is broad: it includes almost all contemporary theories of justified/rational belief and of the epistemology of cognitive penetration. (shrink)

What is it to know more? By what metric should the quantity of one's knowledge be measured? I start by examining and arguing against a very natural approach to the measure of knowledge, one on which how much is a matter of how many. I then turn to the quasi-spatial notion of counterfactual distance and show how a model that appeals to distance avoids the problems that plague appeals to cardinality. But such a model faces fatal problems of its own. (...) Reflection on what the distance model gets right and where it goes wrong motivates a third approach, which appeals not to cardinality, nor to counterfactual distance, but to similarity. I close the paper by advocating this model and briefly discussing some of its significance for epistemic normativity. In particular, I argue that the 'trivial truths' objection to the view that truth is the goal of inquiry rests on an unstated, but false, assumption about the measure of knowledge, and suggest that a similarity model preserves truth as the aim of belief in an intuitively satisfying way. (shrink)

Feminist philosophers of science have long discussed the importance of taking situatedness into account in scientific practices to avoid erasing important aspects of lived experience. Through the example of Gillian Einstein’s [2012] situated neuroscience, I will add support to Gallagher’s [2019] claims that intertheoretic reduction is problematic and provide reason to think pluralistic methodologies are explanatorily and ethically preferable.

How should we pursue aesthetic value, or incorporate it into our lives, if we want to? Is there an ideal of aesthetic life? Philosophers have proposed numerous answers to the analogous question in moral philosophy, but the aesthetic question has received relatively little attention. There is, in essence, a single view, which is that one should develop a sensibility that would give one sweeping access to aesthetic value. I challenge this view on two grounds. First, it threatens to undermine our (...) "aesthetic love", or the meaningful attachments we form with aesthetic items, e.g., poems, paintings, songs, or items of design and dress. Second, it fails to accommodate the motivational character of our encounter with beauty, which can diminish our desire to pursue the wider world of aesthetic value. I conclude that whatever the aesthetic ideal is, it must reconcile our desire to broaden our access to aesthetic value with our desire to maintain and cultivate our meaningful aesthetic attachments. I motivate the alternative thought that having style is the aesthetic ideal. (shrink)

I consider the metaphysical consequences of the view that propositional attitudes have essential normative properties. I argue that realism should take a weak rather than a strong form. I argue that expressivism cannot get off the ground. And I argue that eliminativism is self-refuting.

Subjects of ectogenesis—human beings that are developing in artificial wombs (AWs)—share the same moral status as newborns. To demonstrate this, I defend two claims. First, subjects of partial ectogenesis—those that develop in utero for a time before being transferred to AWs—are newborns (in the full sense of the word). Second, subjects of complete ectogenesis—those who develop in AWs entirely—share the same moral status as newborns. To defend the first claim, I rely on Elizabeth Chloe Romanis’s distinctions between fetuses, newborns and (...) subjects of ectogenesis. For Romanis, the subject of partial ectogenesis ‘is neither a fetus nor a baby’ but is, instead, a ‘new product of human reproduction’. In this essay, I begin by, expanding upon Romanis’s argument that subjects of partial ectogenesis are not fetuses while arguing that those subjects are newborns. Next, I show that the distinction that Romanis draws between subjects of partial ectogenesis and newborns needs to be revised. The former is a kind of the latter. This leads us to an argument that shows why different moral statuses cannot be justifiably assigned to subjects of partial ectogenesis and subjects of complete ectogenesis, respectively. As subjects of partial ectogenesis share the same moral status as newborns, it follows that subjects of complete ectogenesis share the same moral status as newborns as well. I conclude by considering implications that this essay may have for the research and development of AW technology and conceptual links between a subject’s moral status and birth. (shrink)

Contemporary philosophical attitudes toward beauty are hard to reconcile with its importance in the history of philosophy. Philosophers used to allow it a starring role in their theories of autonomy, morality, or the good life. But today, if beauty is discussed at all, it is often explicitly denied any such importance. This is due, in part, to the thought that beauty is the object of “disinterested pleasure”. In this paper I clarify the notion of disinterest and develop two general strategies (...) for resisting the emphasis on it, in the hopes of getting a clearer view of beauty’s significance. I present and discuss several literary depictions of the encounter with beauty that motivate both strategies. These depictions illustrate the ways in which aesthetic experience can be personally transformative. I argue that they present difficulties for disinterest theories and suggest we abandon the concept of disinterest to focus instead on the special kind of interest beauty fuels. I propose a closer look at the Platonic thought that beauty is the object of love. (shrink)

What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...) defends the account against four objections. Imagining and remembering seem to differ in whether they are active or passive, in the forms of singular content they involve, in their relations to observation and in their relations to belief. I argue that these differences can be accommodated, and some even explained, once we flesh out what else is involved in episodic memory, in addition to imagining the past. (shrink)

Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so very much (...) better off? The film uses the failures of Leonard’s system to raise doubts about the effectiveness of our own psychological capacities for grasping the past. However, memory does more than allow us to retain information. As Richard Wollheim showed, it also enables the past to control our present, by perpetuating, while modifying, its affective hold over us. This is something wholly denied Leonard. By implicitly contrasting his position with ours in this respect, the film also explores this second role that memory plays in our lives. (shrink)

This is an opinionated guide to the literature on epistemic dilemmas. It discusses seven kinds of situations where epistemic dilemmas appear to arise; dilemmic, dilemmish, and non-dilemmic takes on them; and objections to dilemmic views along with dilemmist’s replies to them.

Philosophers often characterize discourse in general as aiming at some sort of convergence (in beliefs, plans, dispositions, feelings, etc.), and many views about aesthetic discourse in particular affirm this thought. I argue that a convergence norm does not govern aesthetic discourse. The conversational dynamics of aesthetic discourse suggest that typical aesthetic claims have directive force. I distinguish between dynamic and illocutionary force and develop related theories of each for aesthetic discourse. I argue that the illocutionary force of aesthetic utterances is (...) typically invitational because its dynamic force is influenced by a ‘communal’ norm. I draw on dynamic pragmatics to develop a formal account of this dynamic force that explains why invitation has pride of place in aesthetic conversation. It turns out that the end of aesthetic discourse is not convergence but a distinctive form of community, a kind of harmony of individuality, that is compatible with aesthetic disagreement. If this is right, then convergence theories of aesthetic and normative discourse, and of conversation in general, need to be revised. (shrink)

What are the legitimate sources of aesthetic belief? Which methods for forming aesthetic belief are acceptable? Although the question is rarely framed explicitly, it is a familiar idea that there is something distinctive about aesthetic matters in this respect. Crudely, the thought is that the legitimate routes to belief are rather more limited in the aesthetic case than elsewhere. If so, this might tell us something about the sorts of facts that aesthetic beliefs describe, about the nature of our aesthetic (...) judgements, or about the responses that ground them. Getting the epistemology right here may help with the metaphysics, the semantics or the philosophical psychology. Investigating the legitimate sources of aesthetic belief may thus teach us something important about the aesthetic realm. (shrink)

The essentialist approach to word meaning has been used to undermine the fundamental assumptions of the cognitive psychology of concepts. Essentialism assumes that a word refers to a natural kind category in virtue of category members possessing essential properties. In support of this thesis, Kripke and Putnam deploy various intuitions concerning word use under circumstances in which discoveries about natural kinds are made. Although some studies employing counterfactual discoveries and related transformations appear to vindicate essentialism, we argue that the intuitions (...) have not been investigated exhaustively. In particular, we argue that discoveries concerning the essential properties of whole categories (rather than simply of particular category members) are critical to the essentialist intuitions. The studies reported here examine such discovery contexts, and demonstrate that words and concepts are not used in accordance with essentialism. The results are, however, consistent with "representational change" views of concepts, which are broadly Fregean in their motivation. We conclude that since essentialism is not vindicated by ordinary word use, it fails to undermine the cognitive psychology of concepts. (shrink)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can that (...) seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

Prior research found correlations between reflection test performance and philosophical tendencies among laypeople. In two large studies (total N = 1299)—one pre-registered—many of these correlations were replicated in a sample that included both laypeople and philosophers. For example, reflection test performance predicted preferring atheism over theism and instrumental harm over harm avoidance on the trolley problem. However, most reflection-philosophy correlations were undetected when controlling for other factors such as numeracy, preferences for open-minded thinking, personality, philosophical training, age, and gender. Nonetheless, (...) some correlations between reflection and philosophical views survived this multivariate analysis and were only partially confounded with either education or self-reported reasoning preferences. Unreflective thinking still predicted believing in God whereas reflective thinking still predicted believing that (a) proper names like ‘Santa’ do not necessarily refer to entities that actually exist and (b) science does reveal the fundamental nature of the world. So some robust relationships between reflection and philosophical tendencies were detected even among philosophers, and yet there was clearly more to the link between reflection and philosophy. To this end, demographic and metaphilosophical hypotheses are considered. (shrink)

Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...) great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)

Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...) this question. The notable exception is M.G.F.Martin’s account of pictures in terms of an ‘image’, a pure visibile that presents the represented object and its features without exemplifying them. In order to interpret Martin’s view so as to bring out its plausibility, I relate it to the somewhat similar position advocated by Lambert Wiesing’s account of pictures and our experience of them. That done, I ask whether a position drawing on both these positions can justify drawing a fundamental distinction between the ways in which pictures and sculptures present what they represent. (shrink)

Non-representational approaches to cognition have struggled to provide accounts of long-term planning that forgo the use of representations. An explanation comes easier for cognitivist accounts, which hold that we concoct and use contentful mental representations as guides to coordinate a series of actions towards an end state. One non-representational approach, ecological-enactivism, has recently seen several proposals that account for “high-level” or “representation-hungry” capacities, including long-term planning and action coordination. In this paper, we demonstrate the explanatory gap in these accounts that (...) stems from avoiding the incorporation of long-term intentions, as they play an important role both in action coordination and perception on the ecological account. Using recent enactive accounts of language, we argue for a non-representational conception of intentions, their formation, and their role in coordinating pre-reflective action. We provide an account for the coordination of our present actions towards a distant goal, a skill we call distal engagement. Rather than positing intentions as an actual cognitive entity in need of explanation, we argue that we take them up in this way as a practice due to linguistically scaffolded attitudes towards language use. (shrink)

Philosophy is a reflective activity. So perhaps it is unsurprising that many philosophers have claimed that reflection plays an important role in shaping and even improving our philosophical thinking. This hypothesis seems plausible given that training in philosophy has correlated with better performance on tests of reflection and reflective reasoning has correlated with demonstrably better judgments in a variety of domains. This article reviews the hypothesized roles of reflection in philosophical thinking as well as the empirical evidence for these roles. (...) This reveals that although there are fairly reliable links between reflection and philosophical judgment among both laypeople and philosophers, the role of reflection in philosophical thinking may nonetheless depend in part on other factors, some of which have yet to be determined. So progress in research on reflection in philosophy may require further innovation in experimental methods and psychometric validation of philosophical measures. (shrink)

A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or making music together. This article argues that (...) we should understand aesthetic value in a way that centers these social forms of aesthetic engagement. To this end, the article argues that there is a social practice of aesthetic valuing, characterized as a participatory practice governed by the value of aesthetic community, which engages us in the social development of our capacities for discretionary valuing and volitional openness. Current theories of aesthetic value have trouble capturing the character of the practice of aesthetic valuing, and this motivates a novel communitarian theory of aesthetic value: aesthetic value is what is worthy of engagement in the social practice of aesthetic valuing. (shrink)

How do adults acquire the right to parent a child? Luara Ferracioli says adults get this right by morally committing to a particular child. In Ferracioli's defense of this view, she claims it can accommodate worries about whether ambivalent gestating parents count as moral parents (they should) and whether it licenses parental proliferation (it should not). Here, I argue these worries are more worrisome than Ferracioli lets on.

In the wake of the spectacular success of Miranda Fricker's Epistemic Injustice, philosophers have paid a great deal of attention to testimonial injustice. Testimonial injustice occurs when recipients of testimony discount it in virtue of its source: usually, their social identity. The remedy for epistemic injustice is almost always listening better and giving greater weight to the testimony we hear, on most philosophers' implicit or explicit view. But Fricker identifies another kind of epistemic injustice: hermeneutical injustice. This kind of injustice (...) occurs when someone can't articulate their own experience or understand their situation for lack of the hermeneutical tools. There is a possible tension between these kinds of injustice, we suggest: sincere testimony may be misleading (may fail to identify significant harms the testfier is subject, or may fail to register its magnitude, or to categorize it as the kind of harm it is) in virtue of a lack of hermeneutical resources. This tension raises the possibility that there are situations in which experts - those who possess hermeneutical tools - may be able to correct the testimony of those who experience harms in virtue of their identity. In this paper, we identify possible cases in which epistemic injustice might be reduced through such correction: in which an increase in testimonial injustice might serve to decrease it in the longer run, for example. We also suggest how the obvious dangers of a too great readiness to see testimony as in need of expert correction might be mitigated, and how the expert might suggest corrections without ceasing to listen. (shrink)

I argue that evidentialism should be rejected because it cannot be reconciled with empirical work on bias in cognitive and social psychology.

This paper details the ways that gender structures our senses of agency on an enactive framework. While it is common to discuss how gender influences higher, narrative levels of cognition, as with the formulation of goals and in considerations about our identities, it is less clear how gender structures our more immediate, embodied processes, such as the minimal sense of agency. While enactivists often acknowledge that gender and other aspects of our socio-cultural situatedness shape our cognitive processes, there is little (...) work on how this shaping takes place. In order to provide such an account, I will first look at the minimal and narrative senses of agency (Gallagher 2012), a distinction that draws from work on minimal and narrative selves (Zahavi 2010). Next I will explain the influence of the narrative sense of agency on the minimal sense of agency through work on intention-formation (Pacherie 2007). After a discussion of the role of gender in the narrative sense of agency, I’ll expand on work by Haslanger (2012) and Young (1980) to offer three ways in which gender influences the minimal sense of agency, showing the effect that gender has on how we perceive our possibilities for interaction in a phenomenologically immediate, pre-reflective manner. (shrink)

Episodic memory is sometimes described as mental time travel. This suggests three ideas: that episodic memory offers us access to the past that is quasi-experiential, that it is a source of knowledge of the past, and that it is, at root, passive. I offer an account of episodic memory that rejects all three ideas. The account claims that remembering is a matter of representing the past to oneself, in a way suitably responsive to how one experienced the remembered episode to (...) be. I argue that episodic memory is active, in the way this view suggests. I clarify the idea that it is, as the view also implies, not a source of knowledge but an expression of knowledge the subject already has. And I suggest the view need not limit memories to states that are in any way experience-like. This position offers a way to articulate the relations between episodic memory and related phenomena: factual memory, generic memory, remembering-how and anticipation. And it allows us to explain how we know which aspects of our episodic memory states to take seriously and which (such as the shift to an observer perspective on the remembered events) to treat as merely incidental. (shrink)

What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper question: (...) what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)

The notion of more truth, or of more truth and less falsehood, is central to epistemology. Yet, I argue, we have no idea what this consists in, as the most natural or obvious thing to say—that more truth is a matter of a greater number of truths, and less falsehood is a matter of a lesser number of falsehoods—is ultimately implausible. The issue is important not merely because the notion of more truth and less falsehood is central to epistemology, but (...) because an implicit, false picture of what this consists in underpins and gives shape to much contemporary epistemology. (shrink)

Psychoanalysis provides the best explanation of a range of empirical phenomena; epistemic criics do not take this fully into account.

Some philosophers take Perky's experiments to show that perceiving can be mistaken for visualizing and so that the two sometimes match in phenomenology. On Segal’s alternative interpretation Perky’s subjects did not consciously perceive the stimuli at all. I argue that even setting this alternative aside, Perky's results do not prove what the philosophers think. She showed her subjects, not the objects they were asked to visualise, but pictures of them. What they mistook for visualizing was not perceptual consciousness of stimuli, (...) but pictorial consciousness. Once clear about the nature of the latter, we can see that Perky's results reveal nothing very surprising. (shrink)

"Ethical thought has no chance of being everything it seems." Bernard Williams offered this cryptic remark in Ethics and the Limits of Philosophy, and in this chapter I argue that understanding it is the key to understanding Williams' skepticism about moral theory and about systematization in ethics. The difficulty for moral philosophy, Williams believed, is that ethics looks one way to embodied, active agents, but looks entirely different when considered from the standpoint of theory. This, in turn, means that following (...) a moral theory is a sure route to practical alienation. I argue that once we see it for what it is, we can see that Williams own skepticism undermines his later attempts to vindicate Truthfulness. Moreover, given the pervasiveness of reflective practical alienation in ordinary life, it leaves us with a difficult question: what would a non-alienated ethical existence even look like for us? (shrink)

James Hopkins; IX*—Wittgenstein and Physicalism, Proceedings of the Aristotelian Society, Volume 75, Issue 1, 1 June 1975, Pages 121–146, https://doi.org/10.109.

I argue against inferentialism about logic. First, I argue against an analogy between logic and chess, before considering a more basic objection to stipulating inference rules as a way of establishing the meaning of logical constants. The objectionthe Mushroom Omelette Objectionis that stipulative acts are partly constituted by logical notions, and therefore cannot be used to explain logical thought. I then argue that the same problem also attaches to following existing conventional rules, since either those rules have logical contents, or (...) following those conventional rules is done for logical reasons. Lastly, I compare this argument with other arguments found in Quine’s early work, and consider two attempts to reply to Quine. (shrink)

Are interpersonal affordances a distinct type of affordance, and if so, what is it that differentiates them from other kinds of affordances? In this paper, I show that a hard distinction between interpersonal affordances and other affordances is warranted and ethically important. The enactivist theory of participatory sense-making demonstrates that there is a difference in coupling between agent-environment and agent-agent interactions, and these differences in coupling provide a basis for distinguishing between the perception of environmental and interpersonal affordances. Building further (...) on this foundation for understanding interpersonal affordances, I argue that in line with some enactivist work on social cognition, interpersonal affordances ought to be considered as those that are afforded by agents and are recognized as such. Given this distinction, I also make the point that because our social conventions establish persons as more than mere agents, the direct perception of interpersonal affordances may also involve seeing others as embodied selves. Distinguishing between types of affordances thus also matters ethically: there can be harms done when an agent is not perceived as an agent, and there can be harms done when an agent is not perceived as a self. (shrink)

Accounts of aesthetic valuing emphasize two constraints on the formation of aesthetic belief. We must form our own aesthetic beliefs by engaging with aesthetic value first-hand (the acquaintance principle) and by using our own capacities (the autonomy principle). But why? C. Thi Nguyen’s proposal is that aesthetic valuing has an inverted structure. We often care about inquiry and engagement for the sake of having true beliefs, but in aesthetic engagement this is flipped: we care about arriving at good aesthetic beliefs (...) for the sake of the values that arise in the process of doing so. The engagement is the point, so we must use our own capacities in first-hand encounters. Here I challenge Nguyen’s account. I argue that it misconstrues the value of aesthetic belief; it conflicts with restrictions on aesthetic testimony; and it has trouble harnessing engagement-value for a theory of aesthetic value. A better approach emphasizes the social character of aesthetic valuing. On this view, aesthetic valuing is a social practice structured around the collaborative exercise and improvement of certain special capacities. The autonomy and acquaintance principles tell us to engage these capacities in forming our aesthetic beliefs. Understood aright, and contrary to consensus, these rules are identical. (shrink)

I develop a broadly reliabilist theory of non-ideal epistemic rationality and argue that if it is correct we should reject the recently popular idea that the standards of non-ideal epistemic rationality are mere social conventions.

I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it is not always (...) in virtue of its challenging the co-opting of public space by commercial art. (shrink)

An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how more precisely (...) does it operate? I show how to use the notion of experienced resemblance in outline shape to analyse depiction in such a way as to answer this question, and to explain the six key features above. (shrink)

Recently, I argued that human subjects in artificial wombs ‘share the same moral status as newborns’ and so, deserve the same treatment and protections as newborns. This thesis rests on two claims: subjects of partial ectogenesis—those that develop in utero for at time before being transferred to AWs—are newborns and subjects of complete ectogenesis—those who develop in AWs entirely—share the same moral status as newborns. In response, Elizabeth Chloe Romanis argued that the subject in an AW is ‘a unique human (...) entity…rather than a fetus or a newborn’. She provides four lines of response to my essay. First, she argues that I have ‘misconstrued’ what birth is. Once we correct that error, it becomes clear that subjects of partial ectogenesis have not been born. Second, she argues that my claims imply that non-implanted embryos ‘would also be “born”’. But that is absurd. Third, she claims I fail to ‘meaningfully respond’ to distinctions she draws between subjects of ectogenesis and neonates. Finally, she criticises my essay for focusing on subjects of AWs rather than focusing on pregnant persons. I respond to each of these charges. In doing so, I reaffirm that some subjects of ectogenesis are newborns and all subjects of ectogenesis—even those that have not been born—share the same moral status as newborns. (shrink)