Art among Iranian and Islamic philosophers has always been associated with moral, so that many philosophers have considered art to be synonymous with virtue. By examining Farabi's opinions, it is possible to extract his special ideas about art and artist. In Farabi's theory of Virtuous Art, the artist is on the second floor of utopia and carries religious truths and reasonable happiness. Also, the theory of Virtuous Art has all the aesthetic features and artistic creativity, and in fact, (...) all artistic values are the presupposition of being an art of Virtuous Art. By reflecting on Suhrawardi’s numerous works and intellectual foundations, we can also see that he also paid special attention to the virtuous art and the supreme aspects of art; although he did not directly theorize about the basics of art, but by examining his theories, we can infer the basics of Ishraghi's Virtuous Art. Moreover, Suhrawardi has written some of his works in allegorical and artistic language, and this is a manifestation of Suhrawardi’s Illuminating Art. Among contemporary thinkers, Seyyed Hossein Nasr and Titus Burckhardt have presented an approach with the title of Sacred Art, considering the sacred foundations of art and Traditionalism. (shrink)

In this chapter, we examine Iris Murdoch’s views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, Kant, and Freud. We argue that Murdoch’s views about art, though traditionally linked to Plato, are more compatible with Kant’s thought than has been acknowledged—though with his ethics rather than his aesthetics. Murdoch shows Plato’s influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian than (...) Platonic influence in her suggestion that the experience of beauty can be conducive to virtue, and distances herself from Plato in her claim that the enjoyment, as well as the production, of certain kinds of art can be virtuous. We also argue that her view of bad art as self-consoling fantasy is consonant with Freudian thought. Lastly, we question her view of bad art, specifically concerning her identification of bad art as self-consoling fantasy or entertainment, and her separation of the latter and good art. (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

Christian B. Miller has noted a “realism challenge” for virtue ethicists to provide an account of how the character gap between virtuous agents and non-virtuous agents can be bridged. This is precisely one of Han Feizi’s key criticisms against Confucian virtue ethics, as Eric L. Hutton argues, which also cuts across the Aristotelian one: appealing to virtuous agents as ethical models provides the wrong kind of guidance for the development of virtues. Hutton, however, without going into detail, (...) notes that the notion of rituals in the Confucian tradition may be able to sidestep Han Feizi’s criticism. In this essay, I wish to explore not only how the notion of rituals, alongside its corollaries in Xunzi’s Confucian program for ethical cultivation, indeed addresses Han Feizi’s criticism, but also observe that Aristotle’s tragic poetry plays functionally equivalent roles in his own understanding of ethical upbringing. I will begin by considering Han Feizi’s critique of ethical cultivation in virtue ethics as such and how it poses a specific problem for the acquisition of the ‘constitutive reasoning’ shared by Aristotle and Xunzi. I will then briefly note that this problem trades on the synthetic structure of human nature found in both Aristotle and Xunzi (the rational/irrational parts of the soul and the heartmind/five faculties), which grounds the way they understand ethical action and agency. Finally, I will suggest how both Aristotle and Xunzi understand the role of the arts in their extensive programme of ethical cultivation, allowing them to respond to Han Feizi’s attack as too narrow a construal of their respective ethical projects. It is hoped that, through this, we may gain a better sense of how more recent virtue ethicists may similarly draw on aesthetic resources for ethical development. (shrink)

This essay reads Oakeshott’s views on practice, politics, and aesthetics in the manner of the ‘hypothetical history’ of civilization in Rousseau’s Second Discourse. Under conditions of progress in the arts and sciences the future-oriented world of practice suffers under the law of ruin and practical selves become more inept at acting practically over time. This degeneration has a direct impact on the two tasks of civil association: progress favors the accumulation of power with its future-oriented temporality while it undermines the (...) cultivation of authority which is past-orientation. But only authority is the distinct concern of civil association. Consequently, civil association requires from its ruling offices to be increasingly artful in managing the imbalance between the two. Aesthetics with its temporality of presentness may come to their aid as it restores the present world from the oblivion of progressive practice by detaching its components from practical use. The political art thus requires the protection of the voice of poetry from the tendency of practice to overgrow its own boundaries. This dependence of politics on aesthetics is symbolized by the poets who ‘rule’ solely through authority and without any concern for power. In this hypothetical history the survival of civil association hinges not on the refusal to accumulate more power, but on its ever more demanding virtuous use for the sake of poetry. (shrink)

Semantic originalism is a theory of constitutional meaning that aims to disentangle the semantic, legal, and normative strands of debates in constitutional theory about the role of original meaning in constitutional interpretation and construction. This theory affirms four theses: (1) the fixation thesis, (2) the clause meaning thesis, (3) the contribution thesis, and (4) the fidelity thesis. -/- The fixation thesis claims that the semantic content of each constitutional provision is fixed at the time the provision is framed and ratified: (...) subsequent changes in linguistic practice cannot change the semantic content of an utterance. -/- The clause meaning thesis claims that the semantic content is given by the conventional semantic meaning (or original public meaning) of the text with four modifications. The first modification is provided by the publicly available context of constitutional utterance: words and phrases that might be ambiguous in isolation can become clear in light of those circumstances of framing and ratification that could be expected to known to interpreters of the Constitution across time. The second modification is provided by the idea of the division of linguistic labor: some constitutional provisions, such as the natural born citizen clause may be terms of art, the meaning of which are fixed by the usages of experts. The third modification is provided by the idea of constitutional implicature: the constitution may mean things it does not explicitly say. The fourth modification is provided by the idea of constitutional stipulations: the constitution brings into being new terms such as House of Representatives and the meaning of these terms is stipulated by the Constitution itself. -/- The contribution thesis asserts that the semantic content of the Constitution contributes to the law: the most plausible version of the contribution thesis is modest, claiming that the semantic content of the Constitution provides rules of constitutional law, subject to various qualifications. Our constitutional practice provides strong evidence for the modest version of the contribution thesis. -/- The fidelity thesis asserts that we have good reasons to affirm fidelity to constitutional law: virtuous citizens and officials are disposed to act in accord with the Constitution; right acting citizens and officials obey the constitution in normal circumstances; constitutional conformity produces good consequences. Our public political culture affirms the great value of the rule of law. -/- We can summarize semantic originalism as a slogan: The original public meaning of the constitution is the law and for that reason it should be respected and obeyed. The slogan recapitulates each of the claims made by semantic originalism, but it is potentially misleading because it does not clearly distinguish between the semantic claims made by the fixation and clause meaning theses, the legal claim made by the contribution thesis, and the normative claim made by the fidelity thesis. -/- Part I introduces the four theses. Part II is entitled An Opinionated History of Constitutional Originalism, and it provides the context for all that follows. Part III is entitled Semantic Originalism: A Theory of Constitutional Meaning, and it lays out the case for original public meaning as the best nonnormative theory of constitutional content. Part IV is entitled The Normative Implications of Semantic Originalism, and it articulates a variety of normative arguments for originalism. Part V is entitled Conclusion: Semantic Originalism and Living Constitutionalism, and it explores the broad implications of semantic originalism for living constitutionalism and the future of constitutional theory. (shrink)

Over the course of the Twilight series, Bella strives to and eventually succeeds in convincing Edward to turn her into a vampire. Her stated reason for this is that it will allow her to be with Edward forever. In this essay, I consider whether this type of immortality is something that would be good for Bella, or indeed for any of us. I begin by suggesting that Bella's own viewpoint is consonant with that of Leo Tolstoy, who contends that one (...) could not have meaningful life without immortality, because only immortality could allow one to make a permanent difference in the world. I argue that this characterization of a meaningful life is problematic, however, insofar as (1) immortality is neither sufficient nor necessary for having such an impact and (2) there is little reason to think that having such an impact is constitutive of a meaningful life. I go on to consider Edward's fear that vampires lack a soul as it relates to Martha Nussbaum's claim that immortal beings would be less capable of certain paradigmatic human values and virtues such as courage, love, or self-sacrifice. I suggest, contra Nussbaum, that Carlisle provides an example of an immortal who displays recognizably human virtues. However, the possibility of Carlisle's being virtuous in this way depends on the existence of other creatures who are mortal. -/- I close by considering the problem of boredom, as articulated by Bernard Williams. According to Williams, a meaningful human life is constituted by certain categorical desires such as the desire to raise children or to create art. The projects aimed at accomplishing these desires are necessarily finite in length, and cannot be repeated indefinitely without losing their value. I argue that many, though perhaps not all, of the immortals described in the series suffer from such boredom. For example, Edward and Rosalie struggle to find meaning in their lives and most werewolves choose to age and die normally after a certain time. Perhaps more significantly, many of the non-"vegetarian" vampires seem to have become entirely divorced from any recognizably human projects or values, and have become focused entirely on satisfying their immediate desires. These examples provide some reason to think that many of Bella's reasons for living, which are essentially tied to her mortality, are not likely to be met by becoming immortal. While this does not show that her choice to become a vampire will leave her ultimately unhappy, it does suggest that her doing so represents a considerable sacrifice. (shrink)

Abu Nasr Muhammad Alfarabi, the medieval Muslim philosopher and the founder of Islamic Neoplatonism, is best known for his political treatise, Mabadi ara ahl al-madina al- fadhila (Principles of the Opinions of the Inhabitants of the Virtuous City), in which he proposes a theory of utopian virtuous city. Prominent scholars argue for the Platonic nature of Alfarabi’s political philosophy and relate the political treatise to Plato’s Republic. One of the most striking similarities between Alfarabi’s Mabadi ara ahl al-madina (...) al- fadhila and Plato’s Republic is that in both works the theory of virtuous city is accompanied by a theory of soul. It is true that Alfarabi’s theory of soul differ considerably from that of Plato’s Republic. However, we propose that notwithstanding the differences, the two theories of soul do play an identically important role in the respective theory of virtuous city. The present article explores the relationship between the soul and the city in Plato’s Republic and Alfarabi’s Mabadi ara ahl al-madina al- fadhila, and intends to show that in both works the coexistence of the theory of soul and the city is neither coincidental nor a casual concurrence of two themes. Rather, the concept of soul serves as a foundation on which Plato and Alfarabi erect their respective theory of perfect association. Thus, Alfarabi’s treatise resembles Plato’s Republic not only in the coexistence of the theory of soul and the city, but also in the important role of the concept of soul in the theory of virtuous city. (shrink)

Contemporary philosopher Jacques Rancière has been criticized for a conception of “politics” that is insensitive to the diminished agency of the corporeally oppressed. In a recent article, Dana Mills locates a solution to this alleged problem in Rancière most recent book translated into English, Aisthesis, in its chapter on Mallarmé’s writings on modern dancer Loïe Fuller. My first section argues that Mills’ reading exacerbates an “homonymy” (Rancière’s term) in Rancière’s use of the word “inscription,” which means for him either a (...) vicious literal carving on living bodies, or else a virtuous figurative carving on nonliving bodies. The former, I call “bodily carving,” while the latter is the “corporeal writing” that I take Mallarmé to affirm in Fuller. My second section observes that Rancière himself misses a homonymy in Mallarmé on Fuller, namely “dance,” meaning either “ballet” or dance in general (including Fuller’s). My third section concludes that Rancière’s chapter on Fuller includes another “dance” homonymy, meaning either “concert dance” or what I term a new “art of meta-movement” in Fuller. The latter art, I conclude, is equivalent to Mallarmé’s “corporeal writing,” and can be understood as a new form of dance education, in pursuit of a new utopia of worker-dancers. (shrink)

Two ancient sages show how even the most salacious fiction can be spiritually beneficial, for it shows our need for virtue and for grace. The first is the Roman philosopher Plutarch. Among ancient moral philosophers who were concerned with the effects of bad behavior in fiction, Plutarch distinguishes himself by showing how we can benefit morally from such stories. To do so we must approach them with a critical mind and from the right perspective; only then will we have the (...) discernment to separate the good from the bad, to learn to embrace and imitate virtue but flee from vice. The second is Augustine. A comparison of his writings with Plutarch’s produces not only a valuable theological extension of Plutarch’s thought, but also a valuable Christian perspective on the arts. According to Augustine, the pursuit of virtue only gets us so far, and on its own it cannot get us to a happy life. In particular, fiction such as this shows us that we need virtue; but it also shows us that we are not virtuous; so it also shows us that we need grace. -/- I first expound the concerns of ancient philosophers with the epic fiction of their own day. Then I consider Plutarch’s advice on how to benefit from bad behavior portrayed in fiction. Next, I apply his advice to the reimagined Battlestar Galactica. Finally, I show that Galactica illustrates Augustine’s argument in The City of God that happiness cannot be found in this life and how it thus points to our need for grace. -/- Note: The attached file does not have the same pagination as the published article. If you need to cite this article by page number, please consult Volume 2, Issue 1 of Imaginatio et Ratio. (shrink)

The topic of discourse titled “Advancement of Global Peace Building from the Periscope of Kant‟s Philosophy of Perpetual Peace” is centered on the clarion call for the placement of the study of Arts and Humanities at the forefront of human existential candescence. Global peace is a phenomenal thrust in Arts and Humanities, which if jettisoned could affect our existence. Within this frame of conception, Kant‟s Philosophy of perpetual is examined in Arts and Humanities to proffer to solution to man. Kant‟s (...) perpetual peace as an expository and critical adumbration reveals the indispensability of Arts and Humanities in all facets of man‟s endevours. Kant‟s indulgences in the philosophy of perpetual peace was a call for nations and individuals to pursue peace and build on it for existential benefits and global peace. His insistence on “love, virtuous duty to others and respect” where founded on dignity on man. The objective of the work is to reemphasis that within the ambience of Kant‟s philosophy of peace adequate interest into ought to be placed to the study of Arts and Humanities. Contemporaneously, man has experienced terrorism, kidnappings, wars and other forms of conflicts which has impeded peace building and universal harmony. The critical and analytical methods of philosophy as reflected in this work educe that through the instrumentality of Arts and Humanities, advancement of global peace is a possibility through Kant‟s perpetual peace. Man therefore needs and desire peace, build on peace for continuous enjoyment of nature‟s beneficence. (shrink)

This essay aims to appreciate the influence of the use of aesthetics on the process of confectioning the ἦθος (éthos: “character”) in the civilizations of the Ancient Mediterranean. An anthropological approach of the premeditated use of different types of arts or techniques, aiming to provide to the individual an ideal image to be emulated allows the keys to the analytical comprehension of how those societies discovered that the several faculties of the human condition interact with its sensitivity. Printing symbols of (...) the ψυχή (psyché) on the image technically elaborated – the so-called technical virtuosity, being plastically or virtually, as happens in the poets’ action – consists in a normative use of these arts, with the pedagogical intention that virtuous examples can be assimilated by the process of μίμησις (mímesis: “emulation”). The formative potential of these arts is felt indefinitely in time, provoking the same process in individuals which are inside cultural and temporal contexts entirely different from those who conceived them. (shrink)

This dissertation explores the question of whether we bear moral responsibility for our beliefs and how this responsibility is possible. Since we cannot directly choose our convictions, some have argued that we have no obligations concerning what we believe. However, we frequently hold each other accountable for our beliefs. Philosophers have responded to the argument against ‘belief duties’ in various ways. One response is that we are responsible for how we influence our beliefs. Another argues that moral responsibility does not (...) require the ability to choose. A third response claims that we, in fact, do have the ability to choose our beliefs. A fourth suggests that whether we have the freedom to choose our beliefs depends on how ‘belief’ is defined. The central claim of this dissertation is that the first response is incomplete, the second is mistaken, and that the third and fourth are the most promising. This book investigates in depth what ‘belief’ entails. If we understand belief as placing trust in a possible truth in our practical reasoning, rather than having convictions, then we can have both doxastic voluntary control and belief-related obligations. What we believe is crucial to our actions, and therefore, the ethics of belief is deeply connected with the ethics of action. (shrink)

Sometimes, in the Nicomachean Ethics (NE), Aristotle describes virtuous actions as the sorts of actions that are ends; it is important for Aristotle to do so if he wants to maintain, as he seems to at least until NE 10.7-8, that virtuous actions are a constituent of eudaimonia. At other times, he claims that virtuous actions are the sorts of actions that are for the sake of ends beyond themselves; after all, no one would choose to go (...) into battle or give away a significant portion of their wealth if it did not realize some good end. In this paper, I review the familiar problem raised by Aristotle's discussion of the nature of virtuous actions, propose a solution to this problem by appealing to a distinction between virtuous actions and 'acting virtuously', and sketch the significance of this solution for understanding the relationship between virtue and human happiness. (shrink)

Insight often strikes us blind; when we aren’t expecting it, we suddenly see a connection that previously eluded us—a kind of ‘Aha!’ experience. People with a propensity to such experiences are regarded as insightful, and insightfulness is a paradigmatic intellectual virtue. What’s not clear, however, is just what it is in virtue of which being such that these experiences tend to happen to one renders one intellectually virtuous. This paper draws from both virtue epistemology as well as empirical work (...) on the psychology of problem solving and creativity to make some inroads in accounting for insightfulness as an intellectual virtue. Important to the view advanced is that virtuously insightful individuals manifest certain skills which both cultivate insight experiences (even if not by directly bringing them about) and enable such individuals to move in an epistemically responsible way from insight experience to epistemic endorsement. (shrink)

In a number of passages in the Nicomachean Ethics [NE], Aristotle seems to suggest that ethically virtuous actions are an instrumental means to contemplation. But, as many scholars have worried, this view appears to be both implausible on its face, and in tension with other commitments Aristotle has. The difficulty in understanding the relationship between virtuous actions and contemplation is part of a larger puzzle about the structure of value in Aristotle’s ethical theory. Does Aristotle countenance a plurality (...) of independently valuable ends for human beings? Or, is the value of all other ends for human beings ultimately reducible to the value of the highest human good? In this paper, I explore what it would mean to accept the face value reading: virtuous actions really are ‘for the sake of’ contemplation because they instrumentally promote contemplation. Specifically, I argue, virtuous actions are for the sake of the noble insofar as they promote conditions of peace, security and freedom from necessity, and these are precisely the conditions under which contemplation is possible. On the interpretation I defend, we find in Aristotle a sophisticated theory of value that demonstrates the possibility of being a pluralist while still maintaining that every good is hierarchically organized around some one highest good. (shrink)

Virtue ethics has many times been suggested as a promising recipe for the construction of artificial moral agents due to its emphasis on moral character and learning. However, given the complex nature of the theory, hardly any work has de facto attempted to implement the core tenets of virtue ethics in moral machines. The main goal of this paper is to demonstrate how virtue ethics can be taken all the way from theory to machine implementation. To achieve this goal, we (...) critically explore the possibilities and challenges for virtue ethics from a computational perspective. Drawing on previous conceptual and technical work, we outline a version of artificial virtue based on moral functionalism, connectionist bottom–up learning, and eudaimonic reward. We then describe how core features of the outlined theory can be interpreted in terms of functionality, which in turn informs the design of components necessary for virtuous cognition. Finally, we present a comprehensive framework for the technical development of artificial virtuous agents and discuss how they can be implemented in moral environments. (shrink)

Although virtue ethics has repeatedly been proposed as a suitable framework for the development of artificial moral agents, it has been proven difficult to approach from a computational perspective. In this work, we present the first technical implementation of artificial virtuous agents in moral simulations. First, we review previous conceptual and technical work in artificial virtue ethics and describe a functionalistic path to AVAs based on dispositional virtues, bottom-up learning, and top-down eudaimonic reward. We then provide the details of (...) a technical implementation in a moral simulation based on a tragedy of the commons scenario. The experimental results show how the AVAs learn to tackle cooperation problems while exhibiting core features of their theoretical counterpart, including moral character, dispositional virtues, learning from experience, and the pursuit of eudaimonia. Ultimately, we argue that virtue ethics provides a compelling path toward morally excellent machines and that our work provides an important starting point for such endeavors. (shrink)

Many anglophone scholars take the early Confucians to be virtue ethicists of one kind or another. A common virtue ethical reading of one of the most influential early Confucians, namely Mengzi, ascribes to him the view that moral actions are partly (or entirely) moral because of the state from which they are performed, be it the agent’s motives, emotions, or their character traits. I consider whether such a reading of the Mengzi is justified and I argue that it is not. (...) I argue that there is no reason to believe that Mengzi distinguishes the moral value of actions that are performed from virtuous and non-virtuous states. Given this, virtue (as a feature of agents) is normatively posterior to virtuous actions. I conclude, first, that this poses a challenge to a wide range of common interpretations of the Mengzi, be they virtue ethical or otherwise, and second, that there might be conceptual space for an account of virtue ethics that rejects the normative priority of virtue over virtuous actions. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

***This paper was published along with Professor Amy Coplan's commentary, "Response to 'Empathy, Timeliness, and Virtuous Hearing'." ** This paper aims to demonstrate how the notion of timeliness enriches our understanding of empathy and its associated virtuous hearing as discussed in liberatory virtue epistemology. I begin by showing how timeliness is relevant to empathy. Next, I apply this insight to the idea of virtuous hearing, in which empathy plays a significant role. I thus broaden the liberatory-epistemological conception (...) of virtuous hearing as a corrective to timing-related injustice. Finally, I connect virtuous hearing with the ancient Greek concept of kairos, clarifying the conditions under which virtuous hearers must be sensitive to another’s opportune timing to testify. (shrink)

Virtue epistemology has been divided into two camps: reliabilists and responsibilists. This division has been attributed in part to a focus on different types of virtues, viz., faculty virtues and character virtues. I will argue that this distinction is unhelpful, and that we should carve up the theoretical terrain differently. Making several better distinctions among virtues will show us two important things. First, that responsibilists and reliabilists are actually engaged in different, complementary projects; and second, that certain responsibilist critiques of (...) reliabilism miss the mark. With these distinctions on the table, we can see that the virtue reliabilist project is in some ways more fundamental than the responsibilist project, since the latter importantly depends on the former. I argue that the distinctively epistemic value of the responsibilist’s character virtues is derived from their connections to the reliabilist’s constitutive virtues. While this will give us a unified account of the epistemic value of intellectual virtues, it is not a reduction of the responsibilist project to the reliabilist one; rather, it as a way of securing the separate importance of each project by clarifying how they relate to one another. (shrink)

In this paper I describe and defend an account of virtuous motivation that differs from what we might call ordinary moral motivation. It is possible to be morally motivated without being virtuously motivated. In the first half of the essay, I explore different senses of moral motivation and the philosophical puzzles and problems it poses. In the second half, I give an account of virtuous motivation that, unlike ordinary moral motivation, requires the motivational structure characteristic of a fully (...) virtuous person. I draw on Aristotle's account of virtuous action to argue that a fully virtuous agent's judgment reflects a robust form of moral knowledge about what features of an action render it virtuous and hence, choiceworthy. Virtuously motivated actions are chosen in light of those features and are accompanied by the affective state appropriate to the overall moral landscape in which the judgment is made. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Throughout the past century, technology integration into the human body has experienced remarkable growth, finding its expression through specific artistic movements that have acted as catalysts for acceptance and societal transformation. This article delves into the examination of three paradigm shifts that underpin this profound evolution. The first shift marks a departure from curative treatments for disabilities, shifting towards a focus on augmentative improvements. Subsequently, the second shift propelled the enhancement of healthy bodies, driven by the visionary concept of posthumanism, (...) which envisions transcending the limits of our species through technology. Today, we find ourselves amidst the third paradigm shift, characterized by the practical cyborgization of society, made possible by the emergence of new cyborgs. By critically reflecting on the practices of these cyborgs, we gain valuable insights into the potential challenges and implications that technology may pose in the future. Crucially, this research highlights the indispensable role that art and aesthetics have played in shaping the social perception of technology integrated into the human body. Art, serving as a safer avenue for experimentation than scientific research, has become instrumental in presenting and normalizing these groundbreaking ideas within the public imagination. By exploring the intersections of art, technology, and human bodies, we can navigate the complex terrain of our ever-evolving relationship with technology and anticipate the profound implications it holds. (shrink)

There is a tendency among scholars to identify Alfarabi’s political philosophy in general and his theory of the state in particular with that of Plato’s The Republic. Undoubtedly Alfarabi was well versed in the philosophy of Plato and was greatly influenced by it. He borrows the Platonic concept of the philosopher king and uses it in his theory of the state. However, we argue that the identification of Alfarabi’s virtuous city with that of Plato’s The Republic is an inaccurate (...) assessment as it involves overlooking Alfarabi’s unique religiopolitical context. Alfarabi was a Muslim political philosopher, and the present article intends to understand Alfarabi’s theory of the state in light of his historical context. The article shows that, viewed through the prism of Islamic religion and political history, Alfarabi’s virtuous city seems distinct from that of Plato’s The Republic. (shrink)

This paper has two parts. In the ,rst part, I discuss aspects of Félix Duque’s philosophy of contemporary art. In the second part, I brie-y show that Duque’s arguments about art can be adopted to capture cultural traits of jazz as a performative and improvisatory practice.

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

Gianni Vattimo ha elaborato l’estetica e la teoria dell’arte del «pensiero debole» soprattutto in alcuni articoli pubblicati nella «Rivista di Estetica» (della quale è stato direttore). Parte di questi saggi è stata poi raccolta nella seconda sezione di una delle sue opere centrali, La fine della modernità, sezione intitolata, significativamente, La verità dell’arte. Le diverse questioni discusse da Vattimo sono infatti attraversate dal filo conduttore del problema della verità dell’arte, nell’epoca del nichilismo, della fine della storia e del mondo estetizzato (...) dei mass media. Attraverso una lettura teoreticamente produttiva di M. Heidegger e F. Nietzsche, ma anche – come si vedrà – di certe pagine kantiane, e al contempo “indebolendo” l’ermeneutica di H.-G. Gadamer (ma anche quella di L. Pareyson),Vattimo affronta la questione dell’arte, della sua verità, del suo significato, del suo statuto ontologico, mettendo anzitutto in questione la domanda “che cos’è l’arte?” che molti studiosi, sia in ambito “analitico”, sia in ambito “continentale”, pongono al centro della riflessione estetica. Ha infatti senso, oggi, chiedersi «che cos’è l’arte?», cercando di fornire una definizione che restituisca l’ontos on, l’essenza dell’arte? O è proprio il fatto di presumere la possibilità di offrire una definizione a costituire il vero problema, in quanto tale assunzione presuppone già un determinato modo di pensare il mondo, modo di pensare che, storicamente, si è costituito come la metafisica occidentale? E se nel post-moderno la metafisica occidentale viene decostruita da un pensiero e da prassi vitali che ne mettono in crisi le griglie concettuali, ne sovvertono gli ordini e le tassonomie, esibendone così l’infondatezza, com’è possibile definire, pensare e praticare l’arte e l’estetica, che sono categorie impiantate solidamente nelle strutture della metafisica? (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

Este trabajo presenta una propuesta biologizada del arte y la Filosofía Indígena desde el pueblo kichwa Saraguro, con el fin de discutir especialmente los fundamentos de los derechos de la naturaleza. Aunque, hay que resaltar que, el sitio de enunciación no es estrictamente el lugar descrito; porque la matriz de discusión es el Sumak Kawsay que involucra a Latinoamérica en general. La metodología que se usa es la transdisciplinar. El orden de desarrollo está enmarcado en una primera parte que desarrolla (...) a modo teórico la presencia del arte y la estética en el mundo indígena. Luego, se presenta un breve análisis de campo, específicamente una discusión con el artista kichwa Saraguro Luis Antonio Lozano. Se concluye que existe un contenido religioso, espiritual o Trascendental en el arte y la estética kichwa Saraguro, que puede aportar para el desarrollo del fundamento filosófico de los derechos de la naturaleza y el Sumak Kawsay. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

People tend to show greater liking for expressions of sadness when these expressions are described as art. Why does this effect arise? One obvious hypothesis would be that describing something as art makes people more likely to regard it as fictional, and people prefer expressions of sadness that are not real. We contrast this obvious hypothesis with a hypothesis derived from the philosophical literature. On this alternative hypothesis, describing something as art makes people more inclined to appropriate it, i.e., to (...) see it as an expression of their own sadness. Study 1 found that describing the exact same sad text as art (e.g., a monologue) as opposed to not-art (e.g., a diary entry) led to increased liking for the work. Study 2 showed that this effect is not mediated by fictionality. Study 3 showed that the effect is mediated by appropriation. Study 4 looked at the impact of a manipulation of fictionality. Describing a work as fictional did lead to increased liking, but this effect was completely mediated by appropriation. These results provide at least some initial support for the appropriation hypothesis. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

We propose that virtue ethics can be used to address ethical issues central to discussions about sex robots. In particular, we argue virtue ethics is well equipped to focus on the implications of sex robots for human moral character. Our evaluation develops in four steps. First, we present virtue ethics as a suitable framework for the evaluation of human–robot relationships. Second, we show the advantages of our virtue ethical account of sex robots by comparing it to current instrumentalist approaches, showing (...) how the former better captures the reciprocal interaction between robots and their users. Third, we examine how a virtue ethical analysis of intimate human–robot relationships could inspire the design of robots that support the cultivation of virtues. We suggest that a sex robot which is equipped with a consent-module could support the cultivation of compassion when used in supervised, therapeutic scenarios. Fourth, we discuss the ethical implications of our analysis for user autonomy and responsibility. (shrink)

This chapter presents an account of an angrily virtuous, or patient, person informed by research on emotion in empirical and philosophical psychology. It is argued that virtue for anger is determined by excellence and deficiency with respect to all three of anger’s psychological functions: appraisal, motivation, and communication. Many competing accounts of virtue for anger assess it by attention to just one function; it is argued that singular evaluations of a person’s anger will ignore important dimensions of anger that (...) bear on virtue and vice. Thus, possessing excellence with respect to only one function of anger is insufficient for virtue. The account is also extended to the characteristic vices of anger: wrath and meekness. (shrink)

According to Grossmann, the high levels of cooperation seen in humans are the result of a “virtuous caring cycle” on which the increased care that more fearful children receive brings increased cooperative tendencies in those children. But this proposal overlooks an equally well supported alternative on which children's anxiety – not a virtuous caring cycle – explains the cooperative tendencies of humans.

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

The primary explanatory items of Nietzsche’s philosophical psychology are the drives. Such drives, he holds, are arranged hierarchically in virtue of their entering dominance-obedience relations analogous to those obtaining in human societies. This view is puzzling for two reasons. First, Nietzsche’s idea of a hierarchical order among the drives is far from clear. Second, as it postulates relations among subpersonal items that mimic those among persons, Nietzsche’s view seems to trade on the homunculus fallacy. In this paper, I argue that (...) a Hume-inspired dispositional reading of the drives’ order successfully addresses these two problematic issues. Moreover, I argue that my reading is superior to the two main competing interpretations, which I call the vitalistic reading and the normative reading, for these ascribe to Nietzsche a view committed to the homunculus fallacy. (shrink)

We discuss two models of virtue cultivation that are present throughout the Republic: the self-mastery model and the harmony model. Schultz (2013) discusses them at length in her recent book, Plato’s Socrates as Narrator: A Philosophical Muse. We bring this Socratic distinction into conversation with two modes of intentional regulation strategies articulated by James J. Gross. These strategies are expressive suppression and cognitive reappraisal. We argue that that the Socratic distinction helps us see the value in cognitive reappraisal and that (...) the contemporary neurological research supports the wide range of attitudes toward the value of emotional experience that mirror those found in the Republic. (shrink)

Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...) to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming. (shrink)

There are different narratives on mathematics as part of our world, some of which are more appropriate than others. Such narratives might be of the form ‘Mathematics is useful’, ‘Mathematics is beautiful’, or ‘Mathematicians aim at theorem-credit’. These narratives play a crucial role in mathematics education and in society as they are influencing people’s willingness to engage with the subject or the way they interpret mathematical results in relation to real-world questions; the latter yielding important normative considerations. Our strategy is (...) to frame current narratives of mathematics from a virtue-theoretic perspective. We identify the practice of mathematizing, put forward by Freudenthal’s ‘Realistic mathematics education’, as virtuous and use it to evaluate different narratives. We show that this can help to render the narratives more adequately, and to provide implications for societal organization. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...) is bad for us. Accordingly, we may rightly wonder if it rational for people to watch melodramas or to listen to love songs. One might think that we should generally avoid unpleasant works of art. This implication flirts with absurdity. I show how it can be avoided by making a distinction between well-being and worth. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

This study investigates motive factors attracting people to community-based festivals characterized by culinary activities and underscore its contribution to sustaining tourism activities in the study area. Multistage sampling technique was adopted for sample selection. Kayo-Kayo Festival in the Epe area of Lagos State was purposively selected, purposive and availability sampling technique was used to select household head and one additional adult from 25 households respectively within the host community. Convenience sampling method was further used to select 100 festivals attendees, making (...) a total of 150 respondents and a structured close-ended questionnaire was administered for data gathering. Analysis was done through the use of simple percentages, weighted mean, standard deviation and correlation analysis. Majority (79.3%) of the respondents were attracted to community-based festival because of their interest in supporting preservation of cultural heritage (M=2.63; SD=0.85). 48.6% were highly attracted by Culinary arts competition during the festival activities (M=2.41; SD=0.87). Also, most respondents opines that the festival has positive effects on the socio-cultural (M=2.45; SD=1.33) economy (M=2.43; SD= 1.49) and environment (M=3.35; SD=132) of the host community. The study found that there is a positive correlation (r= 0.356) between culinary arts and factors that motivate festival attendance. The study concludes that culinary arts motivates peoples’ attendance at festivals and therefore recommends sustaining the inclusion of culinary activities in other community-based festivals to promote attendance for the progress of the festivals and its sustainability. (shrink)

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

The study of the arts in philosophy has often concentrated on the role that emotions (and affective responses more generally) play in art’s creation and value. Philosophical theories of art have sometimes even defined art in terms of its capacity to elicit or express emotions. Philosophers have debated such questions as what it is to express an emotion in art; whether emotions form part of the value of an artwork; whether the emotions involved in art appreciation are of the same (...) kind as those that we experience in real life, or of a different, even sui generis kind (i.e., aesthetic emotions); whether it is rational or appropriate to experience emotions in response to art; and what value, if any, there is in art that evokes unpleasant emotions. Although the focus here will be on what, to a first approximation, can be characterized as the “Western mainstream philosophical tradition,” discussion of the role of emotions in art can also be found in different approaches and traditions of thought: from Indian philosophy to cognitive science, to so-called Continental philosophy. (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)

Self-determination theory, like other psychological theories that study eudaimomia, focuses on general processes of growth and self-realization. An aspect that tends to be sidelined in the relevant literature is virtue. We propose that special focus needs to be placed on moral virtue and its development. We review different types of moral motivation and argue that morally virtuous behavior is regulated through integrated regulation. We describe the process of moral integration and how it relates to the development of moral virtue. (...) We then discuss what morally virtuous individuals are like, what shape their internal moral system is expected to take and introduce moral self-concordance. We consider why morally virtuous individuals are expected to experience eudaimonic well-being. Finally, we address the current gap in self-determination theory research on eudaimonia. (shrink)