For John Morreall, cuteness is an abstract general attribute of infants that causes adults to want to care for them (or which is the reason, or at least important reason, for such solicitousness). I shall try to show, in what follows, that this is, if not an altogether fallacious way of explaining the matter, at least an extremely misleading one. As it stands, in particular, it is too easy to infer from Morreall's line of reasoning 1) that infants in (...) general might conceivably never have developed cuteness, and 2) that infants, because of this deficiency, would then not be cared for as adequately by their parents. An equally wrong further implication, which further helps to express my difficulty with Morreall's formulation of the matter, would be that if baby spiders (for example) had happened to have the abstract general characteristic called 'cuteness', while human children did not have it, then human adults would have been more inclined to care for baby spiders than for baby humans. It is to avoid such oddities as these that, it seems to me, a further consideration of the problem is warranted. (shrink)

This is a more detailed version of my "On 'Cuteness'", which appeared in the British Journal of Aesthetics in April 1992. For John Morreall, cuteness is an abstract general attribute of infants that causes adults to want to care for them (or which is the reason, or at least important reason, for such solicitousness). I shall try to show, in what follows, that this is, if not an altogether fallacious way of explaining the matter, at least an extremely (...) misleading one. As it stands, in particular, it is too easy to infer from Morreall's line of reasoning 1) that infants in general might conceivably never have developed cuteness, and 2) that infants, because of this deficiency, would then not be cared for as adequately by their parents. An equally wrong further implication, which further helps to express my difficulty with Morreall's formulation of the matter, would be that if baby spiders (for example) had happened to have the abstract general characteristic called 'cuteness', while human children did not have it, then human adults would have been more inclined to care for baby spiders than for baby humans. It is to avoid such oddities as these that, it seems to me, a further consideration of the problem is warranted. (shrink)

John Morreall argues that “ . . . cuteness was probably essential in human evolution” because “ . . . our emotional and behavioral response . . . to cute things . . . has had survival value for the human race.” Cuteness, for Morreall, is an abstract general attribute of infants that causes adults to want to care for them (or which is the reason, or at least an important reason, for such solicitousness). I try to show (...) that this is, if not an altogether fallacious way of explaining the matter, at least an extremely misleading one. (shrink)

This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...) values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

Indirect speech reports can be true even if they attribute to the speaker the saying of something weaker than what she in fact expressed, yet not all weakenings of what the speaker expressed yield true reports. For example, if Anna utters ‘Bob and Carla passed the exam’, we can accurately report her as having said that Carla passed the exam, but we can not accurately report her as having said that either it rains or it does not, or that either (...) Carla passed the exam or pandas are cute. This paper offers an analysis of speech reports that distinguishes weakenings of what the speaker expressed that yield true reports from weakenings that do not. According to this analysis, speech reports are not only sensitive to the informational content of what the speaker expressed, but also to the possibilities a speaker raises in making an utterance. As I argue, this analysis has significant advantages over its most promising competitors, including views based on work by Barwise and Perry : 668–691, 1981), views appealing to recent work on the notion of content parthood by Fine :199–226, 2016) and Yablo, and Richard’s : 605–616, 1998) proposal appealing to structured propositions. (shrink)

Daniel Bell and Wang Pei’s recent monograph, Just Hierarchy, seeks to defend hierarchical relationships against more egalitarian alternatives. This paper addresses their argument, offered in one chapter of the book, in favour of a hierarchical relationship between human and nonhuman animals. This relationship, Bell and Pei argue, should conform to what they call “subordination without cruelty:” it is permissible to subordinate and exploit animals for human ends, provided that we do not treat them cruelly. We focus on three aspects of (...) their view: their argument for a hierarchical view; their understanding of cruelty; and their account of the heightened duties they claim we owe to nonhuman animals who are intelligent, domesticated, and/or “cute.” We argue that the reasons that Bell and Pei offer fail to support their conclusions, and that, even if one accepts a hierarchical view, the conclusions that Bell and Pei draw about the permissibility of practices such as killing animals for food do not follow. We conclude by emphasizing philosophers’ responsibility to thoroughly test their arguments and to engage with existing debates, especially when the practices they seek to justify involve harms of great magnitude. (shrink)

In this paper we take an approach in Humanoid Robots are not considered as robots who resembles human beings in a realistic way of appearance and act but as robots who act and react like human that make them more believable by people. Regarding this approach we will study robot characters in animation movies and discuss what makes some of them to be accepted just like a moving body and what makes some other robot characters to be believable as a (...) living human. The goal of this paper is to create a rule set that describes friendly, socially acceptable, kind, cute... robots and in this study we will review example robots in popular animated movies. The extracted rules and features can be used for making real robots more acceptable. (shrink)

What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows for (...) us to see “traditional kitsch” as resting on natural and even healthy impulses, I also argue that an all-too-common political function of traditional kitsch directs it to dangerous ends. (shrink)

"C.E. Emmer’s article addresses the ongoing debates over how to classify and understand kitsch, from the inception of postmodern culture onwards. It is suggested that the lack of clear distinction between fine art and popular culture generates 'approaches to kitsch – what we might call 'deflationary' approaches – that conspire to create the impression that, ultimately, either 'kitsch' should be abandoned as a concept altogether, or we should simply abandon ourselves to enjoying kitschy objects as kitsch.' The author offers critical (...) insight into 'kitschy' items made in response to 9/11 and tries to examine the reception of these products through scrutinizing a selection of remarks posted by the Internet commentators." Editor Justyna Stępień's summary from her introduction to Redefining Kitsch and Camp in Literature and Culture (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), p. 2. The final pages of the chapter analyze the seemingly sweet landscape paintings of Thomas Kinkade to show the spirit of revenge their Christian coding can conceal. (shrink)