In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...) replicating a cultural bias that links an artist to particular mental processes that are unnecessarily exclusive. An experiential account of creativity like the one recently advanced by Bence Nanay not only disadvantages those artists whose lived experiences reflect fewer social opportunities than their counterparts, but also invokes a concept of luck that undermines the role of originality within an artwork's overall aesthetic value. (shrink)

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from (...) his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (shrink)

This paper explores the role of 1980s to early 1990s feminist theory of art within the analytic philosophical tradition of aesthetics starting with a critique of the noncontextual criticism of aesthetics of Jerome Stolnitz and Monroe Beardsley contrasted with contextual feminist theory, informed by contextual theories of Arthur Danto, George Dickie and Marcia Eaton, and concluding that knowledge of external, contextual data is necessarily required to assess a work of art that has been deemed a work of art by means (...) of external, contextual data. Feminist theory is one type of contextual theory available. (shrink)

In this paper, I argue that content externalism and privileged access are compatible, but that one can, in a sense, have privileged access to the world. The supposedly absurd conclusion should be embraced.

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. Annotated (...) bibliography by Joshua Shaw. (shrink)

Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!

Conceptual engineering is to be explained by appeal to the externalist distinction between concepts and conceptions. If concepts are determined by non-conceptual relations to objective properties rather than by associated conceptions (whether individual or communal), then topic preservation through semantic change will be possible. The requisite level of objectivity is guaranteed by the possibility of collective error and does not depend on a stronger level of objectivity, such as mind-independence or independence from linguistic or social practice more generally. This means (...) that the requisite level of objectivity is exhibited not only by natural kinds, but also by a wide range of philosophical kinds, social kinds and artefactual kinds. The alternative externalist accounts of conceptual engineering offered by Herman Cappelen and Derek Ball fall back into a kind of descriptivism which is antithetical to externalism and fails to recognise this basic level of objectivity. (shrink)

This essay is about the history of challenges that women in elite sports have faced with respect to their gender identity within a society that perpetuates misleading aesthetic norms of beauty; it is a history fraught with controversy and injustice. . . . We recommend both the acknowledgment within the realm of elite sport of perceptual sexism based on misleading aesthetic norms of beauty, and a way of correcting such erroneous categorization that allows athletes the autonomy and agency to choose (...) to compete as male or female based on a declaration of their own gender identity. (shrink)

Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist aesthetics" particularly his (...) focus on defiant artworks by female artists who sought to reclaim agency and expression of the female body. He revived interest in the neglected topic of beauty while simultaneously advancing radical political goals within the artworld. His call to arms urged art viewers to experience the new--what he often called "art on the edge and over"--wherein, "The experience of art becomes a moral adventure rather than merely an aesthetic interlude" (in Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s, 1996). (shrink)

What is feminist art? Can an ordinary viewer experience it in a neutral, detached, and objective way? These two questions are the focus of this essay which attempts to bridge a gap between philosophical aesthetics and feminist theorizing about women's art. The first question is purely historical, easily answered by means of a brief overview of the past twenty-five years of feminist art in America. The second question raises philosophical issues squarely within the realm of aesthetics, contingent upon who counts (...) as "an ordinary viewer." Answering this question reveals a divergence of opinion as wide as the range of respondents. [My thanks to the American Studies Center at Warsaw University where an earlier draft of this paper was presented.]. (shrink)

This is the co-authored--with Carolyn Korsmeyer--Introduction to the first published feminist scholarship in The Journal of Aesthetics and Art Criticism (Volume 48, Number 4, Fall 1990). Contributors included Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. All essays were subsequently published in an expanded book version entitled, Feminism and Tradition in Aesthetics by Penn State Press (1995).

I consider what draws us to perceiving beautiful bodies in art and athletics--repeatedly and over time--that is informed by viewers' changing perceptions derived from recent publications in fashion and sport, the philosophy of sport, feminist film theory and aesthetics under the ever-expanding umbrella of somaesthetics. This paper won the American Society for Aesthetics 2023 Somaesthetics Prize.

This essay offers an update on the author's thoughts on the French feminist performance artist ORLAN, analyzing her visual representations as a new category of feminist visual art, namely, virtual hybrid beauty.

Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.

This essay explores the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant (...) use of "obscene." Kuspit's examples of activist art--the work of Jenny Holzer, Barbara Kruger, and Adrian Piper--are presented in light of his charges. I then explore Piper's art in depth in order to outline ways of expanding the notion of aesthetic value beyond its traditional confines. Finally, I suggest moving beyond entrenched, traditional patterns of assessment and invite underrepresented voices to contribute to the emerging discussion of the multiplicity of aesthetic values. (shrink)

Many of our most important goals require months or even years of effort to achieve, and some never get achieved at all. As social psychologists have lately emphasized, success in pursuing such goals requires the capacity for perseverance, or "grit." Philosophers have had little to say about grit, however, insofar as it differs from more familiar notions of willpower or continence. This leaves us ill-equipped to assess the social and moral implications of promoting grit. We propose that grit has an (...) important epistemic component, in that failures of perseverance are often caused by a significant loss of confidence that one will succeed if one continues to try. Correspondingly, successful exercises of grit often involve a kind of epistemic resilience in the face of failure, injury, rejection, and other setbacks that constitute genuine evidence that success is not forthcoming. Given this, we discuss whether and to what extent displays of grit can be epistemically as well as practically rational. We conclude that they can be (although many are not), and that the rationality of grit will depend partly on features of the context the agent normally finds herself in. In particular, grit-friendly norms of deliberation might be irrational to use in contexts of severe material scarcity or oppression. (shrink)

The increasing workplace use of artificially intelligent (AI) technologies has implications for the experience of meaningful human work. Meaningful work refers to the perception that one’s work has worth, significance, or a higher purpose. The development and organisational deployment of AI is accelerating, but the ways in which this will support or diminish opportunities for meaningful work and the ethical implications of these changes remain under-explored. This conceptual paper is positioned at the intersection of the meaningful work and ethical AI (...) literatures and offers a detailed assessment of the ways in which the deployment of AI can enhance or diminish employees’ experiences of meaningful work. We first outline the nature of meaningful work and draw on philosophical and business ethics accounts to establish its ethical importance. We then explore the impacts of three paths of AI deployment (replacing some tasks, ‘tending the machine’, and amplifying human skills) across five dimensions constituting a holistic account of meaningful work, and finally assess the ethical implications. In doing so we help to contextualise the meaningful work literature for the era of AI, extend the ethical AI literature into the workplace, and conclude with a range of practical implications and future research directions. (shrink)

Words change meaning over time. Some meaning shift is accompanied by a corresponding change in subject matter; some meaning shift is not. In this paper I argue that an account of linguistic meaning can accommodate the first kind of case, but that a theory of concepts is required to accommodate the second. Where there is stability of subject matter through linguistic change, it is concepts that provide the stability. The stability provided by concepts allows for genuine disagreement and ameliorative change (...) in the context of conceptual engineering. (shrink)

Suppose some person 'A' sets out to accomplish a difficult, long-term goal such as writing a passable Ph.D. thesis. What should you believe about whether A will succeed? The default answer is that you should believe whatever the total accessible evidence concerning A's abilities, circumstances, capacity for self-discipline, and so forth supports. But could it be that what you should believe depends in part on the relationship you have with A? We argue that it does, in the case where A (...) is yourself. The capacity for "grit" involves a kind of epistemic resilience in the face of evidence suggesting that one might fail, and this makes it rational to respond to the relevant evidence differently when you are the agent in question. We then explore whether similar arguments extend to the case of "believing in" our significant others -- our friends, lovers, family members, colleagues, patients, and students. (shrink)

Abstract In this paper I criticise a recent account of fictional discourse proposed by Nathan Salmon. Salmon invokes abstract artifacts as the referents of fictional names in both object- and meta-fictional discourse alike. He then invokes a theory of pretence to forge the requisite connection between object-fictional sentences and meta-fictional sentences, in virtue of which the latter can be assigned appropriate truth-values. I argue that Salmon's account of pretence renders his appeal to abstract artifacts as the referents of fictional names (...) in object-fictional discourse explanatorily redundant. I further argue that his account is therefore no improvement over those he criticises, thus leaving his own account unmotivated. (shrink)

The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.

This is a contribution to the symposium on Herman Cappelen’s book Fixing Language. Cappelen proposes a metasemantic framework—the “Austerity Framework”—within which to understand the general phenomenon of conceptual engineering. The proposed framework is austere in the sense that it makes no reference to concepts. Conceptual engineering is then given a “worldly” construal according to which conceptual engineering is a process that operates on the world. I argue, contra Cappelen, that an adequate theory of conceptual engineering must make reference to concepts. (...) This is because concepts are required to account for topic continuity, a phenomenon which lies at the heart of projects in conceptual engineering. I argue that Cappelen’s own account of topic continuity is inadequate as a result of the austerity of his metasemantic framework, and that his worldly construal of conceptual engineering is untenable. (shrink)

The term "parody" derives from the ancient Greek word parodia and has come to include a variety of meanings connected with correlative terms such as "pastiche," "quotation," "satire," and "allusion." At the present time, more than a few commentators are eager to discuss contemporary parody as an art form particularly relevant to our era. Most approaches share a basic foundation that treats parody as a complex multilayered type of imitation (sometimes referred to as intertextuality). Only some theorists, however, include a (...) comic element in the defining character of parody. (shrink)

I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake beauty, causally disembodied, (...) based on the effects she intends to create from an imaginative use of combined hybrid imagery. Subverting the familiar philosophical notions of aesthetic distance and aesthetic appreciation, hers is not a monstrous beauty (as some feminist art theorists contend) but rather a fake beauty that still has aesthetic features worth assessing. I suggest the possibility of generational differences in understandings of the term 'feminist', i.e., shifts in meaning from early feminist theory of the 1970s to ever-evolving, twenty-first century notions of the term, all of which add to the confusion. As I negotiate this terrain, I hope to steer both critics and viewers more directly to the words of the artist herself, "I have tried to make my Self-Hybridations as 'human' as possible, like mutant beings, but I still did not think that the confusion could be possible.". (shrink)

These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.

This paper (presented along with others at an APA session with the late Dr. Anita Silvers commenting) explores and engages a mode of defiant challenges to the traditional, able-bodied standard of female beauty evidenced throughout the history of art as portrayed by the controversial photographer, Joel-Peter Witkin. Witkin's images of Ann Millett-Gallant, author of the book, The Disabled Body in Contemporary Art, "visualize disability" as they explore issues in agency, otherness, and the medical body.

This essay offers some thoughts on the editors' (Annette w. Balkema and Henk Slager) project "Exploding Aesthetics" with the goal of extending aesthetics based on a specific type of artistic output. Both artists--Orlan and Morimura--have already expanded the normal parameters of artistic inquiry and the resulting critical discourse. As an aesthetician, I merely offer some elaboration and philosophical backdrop to their creative enterprise. They constitute the paradigm of the avant-garde artist extraordinaire leading us into the uncharted realm of cyberspace and (...) offering us a provocative glimpse of virtual beauty in which artistic insight complements philosophical inquiry. Motivated by their creativity, this essay explores contrasting definitions of real and virtual beauty as well as suggest some reasons why these definitions may prove useful in stimulating discussions about art and the philosophy of art. (shrink)

In this article, we describe the notion of dialogue move intended as the minimal unit for the analysis of dialogues. We propose an approach to discourse analysis based on the pragmatic idea that the joint dialogical intentions are also co-constructed through the individual moves and the higher-order communicative intentions that the interlocutors pursue. In this view, our goal is to bring to light the pragmatic structure of a dialogue as a complex net of dialogical goals, which represent the communicative purposes (...) that the interlocutors intend to achieve through their utterances. Dialogue moves are shown to represent the necessary interpretive link between the general description of the dialogical context or type and the syntactical analysis of the sentences expressed by the individual utterances. In the concluding part of this article, we show how this method can be used and further developed for analyzing various types of real-life dialogues, outlining possible uses and lines of empirical research based thereon. (shrink)

This paper explores the position that moral enhancement interventions could be medically indicated in cases where they provide a remedy for a lack of empathy, when such a deficit is considered pathological. In order to argue this claim, the question as to whether a deficit of empathy could be considered to be pathological is examined, taking into account the difficulty of defining illness and disorder generally, and especially in the case of mental health. Following this, Psychopathy and a fictionalised mental (...) disorder are explored with a view to consider moral enhancement techniques as possible treatments for both conditions. At this juncture, having asserted and defended the position that moral enhancement interventions could, under certain circumstances, be considered medically indicated, this paper then goes on to briefly explore some of the consequences of this assertion. First, it is acknowledged that this broadening of diagnostic criteria in light of new interventions could fall foul of claims of medicalisation. It is then briefly noted that considering moral enhancement technologies to be akin to therapies in certain circumstances could lead to ethical and legal consequences and questions, such as those regarding regulation, access, and even consent. (shrink)

The feminist performance art of the controversial French artist named Orlan is discussed in this interview with the artist.

The history of gender challenges faced by women in elite sports is fraught with controversy and injustice. These athletes' unique physical beauty creates what appears to be a paradox yet is, in fact, scientifically predictable. Intense training for the highest levels of competition leads to unique bodily strength and rare beauty associated with specific anatomic changes, leading top athletes to be singled out as exceptions from their gender and even excluded from competing. Authorities like the IOC and IAF, as well (...) as coaches and fellow athletes, use traditional and sometimes racialized aesthetic norms as the basis for ungrounded judgments of "gender mis-identity." Misjudging the gender identity of elite athletes exemplifies a biased cognitive framework, a form of erroneous and damaging categorical perception that we call "perceptual sexism." We argue that perceptual sexism has a long history within aesthetic and competitive realms and is still perpetuated by popular culture. Correcting this will reduce injustices created by gender identity controversies. (shrink)

This is a defence of the claim that names are predicates with a demonstrative element in their singular use.

Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with Orlan (...) cites her own words and offers commentary and explanation on her complex and conceptual works of art. I offer a concept of "virtual beauty" and locate her aesthetic intentionality within the realm of traditional art history (works by the great "masters" of art) and traditional aesthetics, rejecting any possibility of a viewer's disinterested stance toward Orlan's visual representations. (shrink)

This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ (...) performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago’s The Dinner Party , Witkin’s photos can be judged as potentially offensive. But they are also objects of beauty—both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I’m not sure that everyone will agree. (shrink)

In a series of recent articles, Robin Jeshion has developed a theory of singular thought which she calls ‘cognitivism’. According to Jeshion, cognitivism offers a middle path between acquaintance theories—which she takes to impose too strong a requirement on singular thought, and semantic instrumentalism—which she takes to impose too weak a requirement. In this article, I raise a series of concerns about Jeshion's theory, and suggest that the relevant data can be accommodated by a version of acquaintance theory that distinguishes (...) unsuccessful thoughts of singular form from successful singular thoughts, and in addition allows for ‘trace-based’ acquaintance. (shrink)

Feminism came to the discipline of philosophical aesthetics rather late--approximately 1990--in spite of advances made much earlier in the 1970s by feminist scholars in related fields such as literary theory, art history, art criticism, and film studies. This essay tracks notions of "tradition" within the history of aesthetics and subsequent feminist challenges to patriarchal traditions and existing philosophical practices. No one unitary feminist approach is sought; rather a multiplicity of feminisms have arisen within aesthetics that have brought new focus to (...) discussions of taste, the (beautiful) body, "art," the concept of genius, everyday aesthetics, the environment (including natural beauty), motherhood, and even bioethics. (shrink)

I reconsider the concept of dignity in several ways in this article. My primary aim is to move dignity in a more relational direction, drawing on care ethics to do so. After analyzing the power and perils of dignity and tracing its rhetorical, academic, and historical influence, I discuss three interventions that care ethics can make into the dignity discourse. The first intervention involves an understanding of the ways in which care can be dignifying. The second intervention examines whether the (...) capacity to care should be considered a distinguishing moral power – as rationality often is – in light of which humans have dignity. In the third intervention, I cast dignity as a fundamentally relational concept and argue that relationality is constitutive not only of dignity but also of the wider enterprise of normativity. I understand relationality as the condition of connection in which all human beings stand with some other human beings. A thought experiment involving the last person on earth helps to reframe the normative significance of human relatedness. Dignity emerges as fundamentally grounded in relationality. (shrink)

Traditionally, discussions of moral participation – and in particular moral agency – have focused on fully formed human actors. There has been some interest in the development of morality in humans, as well as interest in cultural differences when it comes to moral practices, commitments, and actions. However, until relatively recently, there has been little focus on the possibility that nonhuman animals have any role to play in morality, save being the objects of moral concern. Moreover, when nonhuman cases are (...) considered as evidence of moral agency or subjecthood, there has been an anthropocentric tendency to focus on those behaviors that inform our attributions of moral agency to humans. For example, some argue that the ability to evaluate the principles upon which a moral norm is grounded is required for full moral agency. Certainly, if a moral agent must understand what makes an action right or wrong, then most nonhuman animals would not qualify (and perhaps some humans too). However, if we are to understand the evolution of moral psychology and moral practice, we need to turn our attention to the foundations of full moral agency. We must first pay attention to the more broadly normative practices of other animals. Here, we begin that project by considering evidence that great apes and cetaceans participate in normative practices. (shrink)

When we define something as a crime, we generally thereby criminalize the attempt to commit that crime. However, it is a vexing puzzle to specify what must be the case in order for a criminal attempt to have occurred, given that the results element of the crime fails to come about. I argue that the philosophy of action can assist the criminal law in clarifying what kinds of events are properly categorized as criminal attempts. A natural thought is that this (...) project should take the form of specifying what it is in general to attempt or try to perform an action, and then to define criminal attempts as attempts to commit crimes. Focusing on Gideon Yaffe's resourceful work in Attempts (Oxford University Press, 2010) as an example of this strategy, I argue that it results in a view that is overly inclusive: one will count as trying to commit a crime even in the far remote preparatory stages that we in fact have good reason not to criminalize. I offer an alternative proposal to distinguish between mere preparations and genuine attempts that has its basis not in trying, but doing: a criminal attempt is underway once what the agent is doing is a crime. Working out the details of this schema turns out to have important implications for action theory. A recently burgeoning view known as Naive Action Theory holds that all action can be explained by appeal to some further thing that the agent is doing, and that that the same explanatory nexus is at work even when we appeal to what the agent is intending, trying, or preparing to do -- these notions do explanatory work because they too refer to actions that are in progress, albeit in their infancy. If this is right, than the notion of 'doing' will also be too inclusive for the purposes of the criminal law. I argue that we should draw the reverse conclusion: the distinctions between pure intending, trying, preparing, and doing serve an important purpose in the criminal law, and this fact lends support to the view that they are genuine metaphysical and explanatory distinctions. (shrink)

In this paper, I argue that an adequate meta-semantic framework capable of accommodating the range of projects currently identified as projects in conceptual engineering must be sensitive to the fact that concepts (and hence projects relating to them) fall into distinct kinds. Concepts can vary, I will argue, with respect to their direction of determination, their modal range, and their temporal range. Acknowledging such variations yields a preliminary taxonomy of concepts and generates a meta-semantic framework that allows us both to (...) accommodate the full range of cases and to identify a proper subset of concepts for special ameliorative consideration. Ignoring such variations, in contrast, leads to a restricted meta-semantic framework that accommodates only a subset of the particular projects while generating implausible accounts of others. (shrink)

Using artificial intelligence (AI) to make decisions in human resource management (HRM) raises questions of how fair employees perceive these decisions to be and whether they experience respectful treatment (i.e., interactional justice). In this experimental survey study with open-ended qualitative questions, we examine decision making in six HRM functions and manipulate the decision maker (AI or human) and decision valence (positive or negative) to determine their impact on individuals’ experiences of interactional justice, trust, dehumanization, and perceptions of decision-maker role appropriate- (...) ness. In terms of decision makers, the use of human decision makers over AIs generally resulted in better perceptions of respectful treatment. In terms of decision valence, people experiencing positive over negative decisions generally resulted in better perceptions of respectful treatment. In instances where these cases conflict, on some indicators people preferred positive AI decisions over negative human decisions. Qualitative responses show how people identify justice concerns with both AI and human decision making. We outline implications for theory, practice, and future research. (shrink)

The psychological contract refers to the implicit and subjective beliefs regarding a reciprocal exchange agreement, predominantly examined between employees and employers. While contemporary contract research is investigating a wider range of exchanges employees may hold, such as with team members and clients, it remains silent on a rapidly emerging form of workplace relationship: employees’ increasing engagement with technically, socially, and emotionally sophisticated forms of artificially intelligent (AI) technologies. In this paper we examine social robots (also termed humanoid robots) as likely (...) future psychological contract partners for human employees, given these entities transform notions of workplace technology from being a tool to being an active partner. We first overview the increasing role of robots in the workplace, particularly through the advent of sociable AI, and synthesize the literature on human–robot interaction. We then develop an account of a human-social robot psychological contract and zoom in on the implications of this exchange for the enactment of reciprocity. Given the future focused nature of our work we utilize a thought experiment, a commonly used form of conceptual and mental model reasoning, to expand on our theorizing. We then outline potential implications of human-social robot psychological contracts and offer a range of pathways for future research. (shrink)

Juhani Yli-Vakkuri has argued that the Twin Earth thought experiments offered in favour of semantic externalism can be replaced by a straightforward deductive argument from premisses widely accepted by both internalists and externalists alike. The deductive argument depends, however, on premisses that, on standard formulations of internalism, cannot be satisfied by a single belief simultaneously. It does not therefore, constitute a proof of externalism. The aim of this article is to explain why.

In this paper, I draw on a recent account of perceptual knowledge according to which knowledge is contrastive. I extend the contrastive account of perceptual knowledge to yield a contrastive account of self-knowledge. Along the way, I develop a contrastive account of the propositional attitudes (beliefs, desires, regrets and so on) and suggest that a contrastive account of the propositional attitudes implies an anti-individualist account of propositional attitude concepts (the concepts of belief, desire, regret, and so on).

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and (...) choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)