When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral (...) beauty in addition to those that have tended to be focused on to date: one which is connected to imagining a deep location for the goodness concerned, and another which is connected to imagining that the goodness stems from capacities which are essential to the person. (shrink)

Why are moral actions beautiful, when indeed they are? This paper assesses the view, found most notably in Schiller, that moral actions are beautiful just when they present the appearance of freedom by appearing to be the result of internal harmony (the Schillerian Internal Harmony Thesis). I argue that while this thesis can accommodate some of the beauty involved in contrasts of the ‘continent’ and the ‘fully’ virtuous, it cannot account for all of the beauty in (...) such contrasts, and so needs to be weakened considerably (to the Internal Harmony Thesis). To account for the remaining beauty that cannot be fully accommodated even by this revised thesis, as well as the beauty contained in contrasts that involve agents who experience internal conflict as a result of being sensitive to different sources of moral value to an appropriate extent, a number of further theses need to be posited: namely, that the beauty of some moral actions is to be accommodated in terms of internal disharmony (the Internal Disharmony Thesis), and in terms of a felt harmony between the appreciator of the action and the executor of the action (the Affective Harmony Thesis). As such, in contrast to Schiller, I suggest that we need to take a pluralist and context-sensitive approach to accommodating the beauty of moral actions. (shrink)

In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness (...) are on the outside as well. (shrink)

Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion— ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that (...) moral virtues are partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. (shrink)

This article analyzes Mencius 7B.23, a concise passage that offers complex ethical dilemmas. It provides a close reading of the passage, along with relevant passages elsewhere in the text and, occasionally, in other texts. The narrow goal of the article is to present a coherent reading of the passage within the context of the Mencius as a whole. This reading suggests that while the passage touches upon a wide range of topics, including personal credibility and political responsibility, the overarching concern (...) is on being a morally superior person, on the difficult dilemmas such people may face, and on how they would respond to them. More broadly, the article shows that while the philosophical practice of "weighing circumstances" (quan 權) allows moral agents in exceptional cases to break certain moral or ritual rules, Mencius seems unwilling to apply this discretion when morality as a whole, or the integrity of the person who embodies it (shi 士), are involved. (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)

Kant uses the concept of the symbol to show the complicated relationship between the autonomy of beauty and its systematic function as a transition from nature to freedom, which are the two most important topics in the third Critique. Beauty’s symbolism of morality lies in the analog between aesthetic reflection and moral disposition; concretely, it lies in the purity or disinterestedness and self-legislation as negative and positive freedom in both subjective states of mind. In this scenario, (...) class='Hi'>beauty’s symbolism does not refer to aesthetic ideas that either involve intelligent interests (in the beauty of nature) or presuppose an end (in the beauty of art); it also cannot be grounded in the supersensible substrate, which is an elevated and metaphysical principle of the judgment of taste given in the Dialectic but not the original principle of subjective purposiveness in the Analytic. With this formal relationship, beauty and morality accelerate each other in the empirical-anthological sense—but they are also not a sufficient or necessary condition for each other. Furthermore, through symbolism, taste looks toward the intelligible and serves as a transition from nature to freedom from the transcendental perspective. (shrink)

This paper offers an intellectualist interpretation of Diotima’s speech in Plato’s Symposium. Diotima’s purpose, in discussing the lower lovers, is to critique their erōs as aimed at a goal it can never secure, immortality, and as focused on an inferior object, themselves. By contrast, in loving beauty, the philosopher gains a mortal sort of completion; in turning outside of himself, he also ceases to be preoccupied by his own incompleteness.

This paper defends an intellectualist interpretation of Diotima’s speech in Plato’s Symposium. I argue that Diotima’s purpose, in discussing the lower lovers, is to critique their erōs as aimed at a goal it can never secure, immortality, and as focused on an inferior object, themselves. By contrast, in loving the form of beauty, the philosopher gains a mortal sort of completion; in turning outside of himself, he also ceases to be preoccupied by his own incompleteness.

This article addresses the following meta-ethical question: do moral values have a special position among other values? According to Robert Adams, moral values do have a special position and are of overriding importance. I argue that the "overridingness" thesis is inconsistent with Adams’s value theory that only God has value in himself and all other things are valuable to the extent that they resemble God. I consider some possible ways of integrating the overridingness thesis that are latent in (...) Adams’s work and argue that none succeeds. My main contribution is to propose a solution to the inconsistency in Adams’s theory. I argue that a theological account of beauty gives us reason to reject the overridingness thesis. Morality overrides some other concerns, but not all other concerns. (shrink)

A well-documented “beauty is good” stereotype is expressed in the expectation that physically attractive people have more positive characteristics. Recent evidence has also found that unattractive faces are associated with negative character inferences. Is what is good (bad) also beautiful (ugly)? Whether this conflation of aesthetic and moral values is bidirectional is not known. This study tested the hypothesis that complementary “good is beautiful” and “bad is ugly” stereotypes bias aesthetic judgments. Using highly controlled face stimuli, this preregistered (...) study examined whether moral character influences perceptions of attractiveness for different ages and sexes of faces. Compared to faces paired with nonmoral vignettes, those paired with prosocial vignettes were rated significantly more attractive, confident, and friendlier. The opposite pattern characterized faces paired with antisocial vignettes. A significant interaction between vignette type and the age of the face was detected for attractiveness. Moral transgressions affected attractiveness more negatively for younger than older faces. Sex-related differences were not detected. These results suggest information about moral character affects our judgments about facial attractiveness. Better (worse) people are considered more (less) attractive. These findings suggest that beliefs about moral goodness and physical beauty influence each other bidirectionally. (shrink)

Whether truth, morality, and beauty have an objective basis has been a perennial question for philosophy, ethics, and aesthetics, while for a great many relativists and skeptics it poses a problem without a solution. In this essay, the author proposes an innovative approach that shows how cognitive intelligence, moral intelligence, and aesthetic intelligence provide the basis needed for objective judgments about truth, morality, and beauty.

Do the ethical features of an artwork bear on its aesthetic value? This movie endorses misogyny, that song is a civil rights anthem, the clay constituting this statue was extracted with underpaid labor—are facts like these the proper bases for aesthetic evaluation? I argue that this debate has suffered from a false presupposition: that if the answer is yes (for at least some such ethical features), such considerations feature as pro tanto contributions to an artwork's overall aesthetic value, i.e., as (...) merits or flaws which make something have more or less overall aesthetic value. As the case of ethically laden, aesthetic evaluation makes clear, however, good aesthetic judgement is irreducibly multi-dimensional, e.g., "the movie has an engaging soundtrack, tasteful camera work, and takes a misogynistically prurient perspective on its female lead.'' Such a "non-summative" judgement refuses to reduce those various dimensions of aesthetic value to a single aggregate aesthetic evaluation, like "it's a 6/10" or "it's a pretty good movie!" I defend both the modest claim that such non-summative evaluations are not mistaken and the extremist claim that summative (i.e., unidimensional) aesthetic evaluation is defective by considering other domains of normative assessment in which summing seems inappropriate, notably including evaluations of people's character. (shrink)

Literary beauty was once understood as intertwining sensations and ideas, and thus as providing subjective and objective reasons for literary appreciation. However, as theory and philosophy developed, the inevitable claims and counterclaims led to the view that subjective experience was not a reliable guide to literary merit. Literary theory then replaced aesthetics as did philosophy’s focus on literary truth. Along with the demise of the relevance of sensations, literary form also took a back seat. This suggested to some that (...) either literature communicated truth like any other literal form of communication or it was a mere diversion: a springboard to harmless reverie or daydreaming. Neither response satisfactorily captured what was distinctive about literature: the love readers can have for literary texts and the edification or insight claimed of works within each culture’s respective catalogue of classics. However, a concept of literary beauty has again become viable due to developments in theories of pleasure and imagination. If the defining aspect of literature is the imaginative engagement it occasions, and if this imagining is constrained by plausibility and endorsed as effective relative to our goals, ideals, and interests, then literature is not reduced to either mere fact or wish fulfillment. An account of literary beauty is available which defines literature accordingly and explains how subjective and objective reasons for appreciation intertwine to evoke pleasure and insight. (shrink)

People can come to seem to us more beautiful the better we get to know their personalities. Some have taken this to show there is a moral kind of beauty. According to the moral beauty view, moral personality traits realise moral beauty in people. Here I present a problem for the standard articulation of the moral beauty view, namely that it is not a logical truth that people inherit the beauty (...) of their virtues. I call this the ‘inheritance problem’. I present an alternative articulation of the moral beauty view that does not give rise to the problem. On this alternative articulation, the moral beauty view is not as revisionary as it is standardly taken to be. (shrink)

One important but infrequently discussed difficulty with expressivism is the attitude type individuation problem.1 Expressivist theories purport to provide a unified account of normative states. Judgments of moral goodness, beauty, humor, prudence, and the like, are all explicated in the same way: as expressions of attitudes, what Allan Gibbard calls “states of norm-acceptance”. However, expressivism also needs to explain the difference between these different sorts of attitude. It is possible to judge that a thing is both aesthetically good (...) and morally bad. While the realist can explain the difference by suggesting that each judgment makes reference to a different property (or set of properties), the expressivist cannot. She must show that what is expressed by the speaker is different in each case. This has proven to be difficult to do. (shrink)

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

In Poetics 13, Aristotle claims that the protagonist in the most beautiful tragedies comes to ruin through some kind of ‘failure’—in Greek, hamartia. There has been notorious disagreement among scholars about the moral responsibility involved in hamartia. This article defends the old reading of hamartia as a character flaw, but with an important modification: rather than explaining the hero's weakness as general weakness of will (akrasia), it argues that the tragic hero is blinded by temper (thumos) or by a (...) pursuit for fine, good and desirable things—that is, by what may be labelled ‘qualified’ weakness of will. The upshot is that hamartia ends up as being less blameworthy than ‘proper’ akrasia, but still explains why morally outstanding people are unsuitable for the most beautiful tragedies. (shrink)

According to a number of contemporary theorists, aesthetic reasons can invite or entice us but never compel us. In this paper, I develop a Kantian account of the normative force of aesthetic reasons. While Kant would likely agree that aesthetic reasons do not give rise to obligations, his account nevertheless gives us the resources for explaining how aesthetic reasons can still have more force than merely enticing reasons. This account appeals to the distinct normativity of aesthetic judgments on Kant's theory (...) and the way in which this kind of normativity structures aesthetic exchanges with other judging subjects. I argue that, in addition to the moral reasons we have for appreciating and preserving beauty, Kant’s account can accommodate distinctly aesthetic reasons for doing so that stem from our membership in aesthetic communities. (shrink)

The paper argued for the obligation of architects to make buildings buildings that people will find 'beautiful'. Whilst an obligation to accessible beauty is universal to humanity, its satsfaction can be local for a ny culture. Four objections to the thesis are discussed, but the conclusion is that, amongst the several moral obligations architects are faced with, that to provide accessible beauty is a fundamental obligation.

Discusses the question of the objectivity or subjectivity of moral judgments, hoping to illuminate it by contrasting moral and aesthetic judgments. In her critical assessment of the nature of moral judgments, Foot concludes that some such judgments (as e.g. that Nazism was evil) are definitely objective. The concept of morality here supplies criteria independent of local standards, which function as fixed starting points in arguments across local boundaries, whereas, by contrast, aesthetic truths can ultimately depend on locally (...) determined criteria. More problematic is the apparently different relation of moral and of aesthetic judgments to rational choice. Individuals may have no reason to choose what is beautiful, but we think that they must always have reason to choose what is morally right, which raises one of the most difficult problems in moral philosophy. (shrink)

Are people with flawed faces regarded as having flawed moral characters? An “anomalous-is-bad” stereotype is hypothesized to facilitate negative biases against people with facial anomalies (e.g., scars), but whether and how these biases affect behavior and brain functioning remain open questions. We examined responses to anomalous faces in the brain (using a visual oddball paradigm), behavior (in economic games), and attitudes. At the level of the brain, the amygdala demonstrated a specific neural response to anomalous faces—sensitive to disgust and (...) a lack of beauty but independent of responses to salience or arousal. At the level of behavior, people with anomalous faces were subjected to less prosociality from participants highest in socioeconomic status. At the level of attitudes, we replicated previously reported negative character evaluations made about individuals with facial anomalies, and further identified explicit biases directed against them as a group. Across these levels of organization, the specific amygdala response to facial anomalies correlated with stronger just-world beliefs (i.e., people get what they deserve), less dispositional empathic concern, and less prosociality toward people with facial anomalies. Characterizing the “anomalous-is-bad” stereotype at multiple levels of organization can reveal underappreciated psychological burdens shouldered by people who look different. (shrink)

Despite confident assertions by science and religion, no one can be absolutely certain what is going on in this drama we call existence. We are haunted by the realization that we are finite, vulnerable, mortal, and perhaps meaningless creatures. The ambiguity in all experience leaves us in a state of fundamental uncertainty, with a buried anxiety underlined by fear of mortality. However, the ability to consider consciousness as a personal creation enables us to appreciate experience for its own sake, despite (...) uncertainty and anxiety. It is the basis of art, and also of tolerance, epistemic responsibility, and the creative ability to think, perceive, and act outside the box. (shrink)

Beauty is truth, truth beauty.If this epigraph only rarely escapes English class, something like it has fascinated philosophers for a long time. Iris Murdoch remembers that "Kant said that beauty was an analogon of good, Plato said it was the nearest clue."2 I want to go further and posit that our means of perception of the aesthetic and the ethical share an organic connection, an understanding of which will help elucidate moral perception, a critical component of (...) moral education.Or moral education as it should be. But what currently counts as such is, directly or almost directly, simple instruction. I ask why this does not work. I ask why Jane Austen said, "We all love to instruct, though we can teach only what is... (shrink)

Michael B. Gill’s A Philosophy of Beauty: Shaftesbury on Nature, Virtue, and Art focuses on Shaftesbury’s thinking about nature, religion, morality, and art. This beautifully and engagingly written book is insightful for scholars and general readers alike, and invites readers to explore the philosophical issues that arise from Shaftesbury’s philosophy. Gill not only shows how Shaftesbury’s ideas were revolutionary at the turn of the eighteenth century but also how they remain relevant today. Shaftesbury’s major work, Characteristicks of Men, Manners, (...) Opinions, Times, was one of the most influential books published during the first half of the eighteenth century. According to Gill, “[i]t played a momentous role in turning European thought away from the negative and toward the positive—in nature, religion, morality, and art” (1). Although Characteristicks serves as a major source, Gill also engages with numerous other published and unpublished writings by Shaftesbury. A Philosophy of Beauty is divided into five chapters which focus respectively on nature and God, virtue, art, painting, and writing. (shrink)

This paper examines the narrative techniques; setting, focalization and flashback, employed by Adekunle Mamudu and Sophia Akhuemokhan in The Beauty of Madness and Changing Colors respectively, to arouse deep meanings and intense emotions. These techniques contribute to the message the writers intend to pass across to the readers. While Akhuemokhan uses these techniques in Changing Colors to teach morals and promote ethnic principles, Mamudu’s aim in The Beauty of Madness is to expose some ills revolving in the society (...) and launch sanity back to the society. (shrink)

Three of the great sources of meaning in life are the good, the true, and the beautiful, and I aim to make headway on the grand Enlightenment project of ascertaining what, if anything, they have in common. Concretely, if we take a (stereotypical) Mother Teresa, Mandela, Darwin, Einstein, Dostoyevsky, and Picasso, what might they share that makes it apt to deem their lives to have truly mattered? I provide reason to doubt two influential answers, noting a common flaw that supernaturalism (...) and consequentialism share. I instead develop their most plausible rival, a naturalist and non-consequentialist account of what enables moral achievement, intellectual reflection, and aesthetic creation to confer great meaning on a person's life, namely, the idea that they do so insofar as a person transcends an aspect of herself in some substantial way. I criticize several self-transcendence theories that contemporary philosophers have advanced, before presenting a new self-transcendence view and defending it as the most promising. (shrink)

Philosophers have predominantly regarded morality and aesthetics judgments as fundamentally different. However, whether this claim is empirically founded has remained unclear. In a novel task, we measured brain activity of participants judging the aesthetic beauty of artwork or the moral goodness of actions depicted. To control for the content of judgments, participants assessed the age of the artworks and the speed of depicted actions. Univariate analyses revealed whole-brain corrected, content-controlled common activation for aesthetics and morality judgments in frontopolar, (...) dorsomedial and ventrolateral prefrontal cortex. Temporoparietal cortex showed activation specific for morality judgments, occipital cortex for aesthetics judgments. Multivariate analyses revealed both common and distinct whole-brain corrected representations for morality and aesthetics judgments in temporoparietal and prefrontal regions. Overall, neural commonalities are more pronounced than predominant philosophical views would predict. They are compatible with minority accounts that stress commonalities between aesthetics and morality judgments, such as sentimentalism and a valuation framework. (shrink)

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...) dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

In her article, "Thinking and Moral Considerations," Hannah Arendt provides a provocative approach to the question of evil by suggesting that banal evil-the most common kind-may arise directly from thoughtlessness. If that is so, thinking may provide an antidote to evil. Learning to think would then offer the individual and society protection against the dangers of thoughtless evil. She further suggests that thinking may clear the way for a form of judging that "when the chips are down" may turn (...) people toward right rather than wrong, beauty rather than ugliness. In this essay I address her claim by noting an example of apparently thoughtless evil, the murder of Duncan by Macbeth, and by showing how this event clarifies Arendt's thesis, including both its weaknesses and its strengths. The use of Macbeth will amount to a sketch of certain features of the play particularly relevant to this ethical issue, followed by an analysis of ways Arendt's thesis connects with the murder of Duncan. (shrink)

Classical presentations of the Buddhist path prescribe the cultivation of various good qualities that are necessary for spiritual progress, from mindfulness and loving-kindness to faith and wisdom. Examining the way in which such qualities are described and classified in early Buddhism—with special reference to their treatment in the Visuddhimagga by the fifth-century Buddhist thinker Buddhaghosa—the present article employs a comparative method in order to identify the Buddhist catalog of virtues. The first part sketches the characteristics of virtue as analyzed by (...) neo-Aristotelian theories. Relying on these accounts, the second part considers three lists from early Buddhism as possible catalogs of virtue: the components of ethical conduct, the 37 factors that contribute to awakening, and the wholesome or beautiful mental factors. I then raise the question of why the Buddhist tradition developed several classifications of virtue, whereas the Western tradition of virtue ethics used a single category. Appealing to the connection between the virtues and living well in the eudaimonistic version of virtue ethics, I propose that one of the reasons why Buddhism developed multiple lists of virtues is its pluralistic acceptance of different modalities of living well and associated practices, in MacIntyre’s sense of the term. These modalities and practices are not equal, but are ordered hierarchically. Accordingly, I conclude that Buddhist ethics ought to be seen as a pluralist-gradualist system rather than a universalist theory. (shrink)

Kant has traditionally been viewed as an unhelpful resource for environmental concerns, despite his immensely influential moral and political philosophy. This paper shows that Kant’s Critique of Judgment can be a valuable resource for environmental ethics, with methodological implications for political action and environmental policy. I argue that Kant’s Analytic of the Beautiful and Critique of Teleological Judgment provide philosophical tools for valuing nature aside from interest and for developing forms of environmental protectionism. My approach differs from other Kantian (...) accounts that discuss our moral relations to nonrational nature, since these usually rely on Kant’s limited statements about flora and fauna in his Lectures on Ethics, Metaphysics of Morals, and the Analytic of the Beautiful. Though we can defend indirect duties toward animals and beautiful plants, as these accounts convincingly show, they rarely engage with the possibility of us having moral views of ecosystems. Moral views of nature can be useful as methodological heuristics for mobilizing and instituting environmental policies regarding climate change such as biodiversity loss, and this paper will provide a defense of a Kantian moral view of nature from which subsequent climate-related actions can be motivated. (shrink)

Kant and the Feeling of Life positions Kant's concept of life as a guiding thread for understanding not only Kant's approach to aesthetics and teleology but the underlying unity of the Critique of Judgment itself. The "feeling of life," which Kant describes as affecting us in various ways--as animating, enlivening, and quickening the mind--lies at the heart of Kant's philosophical project, but it has remained understudied for a theme of such centrality. This volume brings together, for the first time, essays (...) focused on the topic of life in Kant's work, providing a wealth of perspectives and analyses ranging from the Critique of Judgment to Kant's early aesthetics, his social and political philosophy, his work connected to the body and health, and his moral theory. (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)

Although we cannot find any Aesthetics system in the works of NISHIDA Kitarõ (1870-1945), the most significant and influential Japanese philosopher of the twentieth-century, one of his central themes is the role of art and aesthetics in relation with morality and religion. His aesthetics approaches are magnificent examples of his aim to overcome the innate dualism that sustains modern epistemology and a door, apparently hidden, to a better understanding of all his speculative scheme of philosophy. This paper attempts to throw (...) light to the importance of the first aesthetic approximation developed by Nishida eleven years before the publication of Zen no Kenkyû [ 善 の?究 ] (An Inquiry into the Good) (1911) and twenty-three years before the publication of the more accurate system of aesthetics that we read in Geijutsu to dôtoku [芸術 と 道? ] (Art and Morality) (1923). We will analyze the small essay entitled "Bi no Setsumei" [美 の?明] ("An explanation of Beauty") (1900) and Nishida's first definition of beauty as muga [無我] (self-effacement or ecstasy). (shrink)

Matthews discusses the role of our ability to make a judgment of taste (judgment of beauty) within Kant's notion of the structure of the mind. In doing this she does not simply rely upon what we can learn from the first part of the third critique, the 'Critique of Aesthetic Judgment', but draws upon Kant's philosophy as a whole, including the first two critiques and the second part of The Critique of Judgment, the 'Critique of Teleological Judgment'. She looks (...) at how the ability to judge beauty links to other aspects of the mind: in particular to our ability to make moral judgments and to our ability to cognize experience, the latter involving a selection of those aspects of nature which lend themselves to the kind of ordering of which our minds are predisposed. Matthews identifies a link in Kant's thinking between creativity and aesthetic judgment. That is, she understands Kant to be saying that aesthetic judgment makes revolutionary ways of thinking possible (p.71). However, in her introduction she writes 'Beauty need not lead to knowledge or moral activity in order to have value in our lives' (p.1). Matthews points out that her aim in this book is to show that the feeling of beauty serves a larger purpose for Kant. The relevant feature of the experience of beauty is its 'ability to orient rational beings in a sensible world'. Her book is dedicated to explaining how the experience of beauty does this. The feeling of beauty, she writes, 'acts as a mediating link between theoretical and practical reason' (p.1). (shrink)

In the framework of his transcendental philosophy, Kant strictly separates morality from aesthetics. The pleasure in the good and the pleasure in the beautiful are two different kinds of pleasure (Arten des Wohlgefallens). As a consequence, a moral act as such cannot be beautiful. It is only in a second step that Kant indicates possible connections, in his comments on aesthetic ideas, symbolism, the sensus communis, and education in general. In Confucius on the other hand we do not find (...) such a radical separation between beauty and morality. Ritual is a source of both. Moral acts can be beautiful. One might wonder whether Confucius missed a point, or whether Kant overdid the separation. Or is it that their conceptions are so fundamentally different that they cannot easily be translated and identified across different philosophical traditions? (shrink)

One of the most oft-cited parts of Francis Hutcheson’s Illustrations upon the Moral Sense (1728) is his discussion of “exciting reasons.” In this paper I address the question: What is the function of that discussion? In particular, what is its relation to Hutcheson’s attempt to show that the rationalists’ normative thesis ultimately implies, contrary to their moral epistemology, that moral ideas spring from a sense? Despite first appearances, Hutcheson’s discussion of exciting reasons is not part of that (...) attempt. Mainly, it is part of Hutcheson’s comeback to Gilbert Burnet’s objections to Hutcheson’s Inquiry into the Original of Our Ideas of Beauty and Virtue (1725). (shrink)

In this chapter, we discuss a selection of current views of the neural correlates of consciousness (NCC). We focus on the different predictions they make, in particular with respect to the role of prefrontal cortex (PFC) during visual experiences, which is an area of critical interest and some source of contention. Our discussion of these views focuses on the level of functional anatomy, rather than at the neuronal circuitry level. We take this approach because we currently understand more about experimental (...) evidence at this coarse level and because these results are appropriate for arbitrating between current theoretical frameworks. We discuss the Two-Visual-Systems Hypothesis (Milner & Goodale 1995; 2006), Local Recurrency (Lamme 2010; Lamme 2006), Higher Order (Lau 2008; Lau & Rosenthal 2011) and Global Workspace theories (Baars 1997; Baars 2005; Dehaene & Naccache 2001; Dehaene 2014). Despite the apparent stark differences between conscious and unconscious perceptual processing, available evidence suggests that their neural substrates must be largely shared. This indicates that the difference in neural activity between conscious and unconscious perceptual processing is likely to be subtle and highly specialized. We argue that current experimental evidence about the involvement of specific activity in prefrontal cortex supports the higher order neural theory of consciousness. In consequence, imaging techniques that focus only on marked differences between conscious and unconscious level of activity are likely to be insensitive to the relevant neural activity patterns that underlie conscious experiences. Finally, it follows from the evidence we discuss that the functional advantages of conscious over unconscious perceptual processing may be more limited than commonly thought. (shrink)

If a reliable testifier tells you that a song is beautiful or that an act is wrong, do you thereby have a reason to approve of the painting and disapprove of the agent's action? Many insist that we don’t: normative testimony does not give us reasons for affective attitudes like approval. This answer is often treated as a datum in the literatures on moral and aesthetic testimony. I argue that once we correct for a common methodological mistake in these (...) literatures, the answer must be Yes. I then show why this matters for the broader discussion of the puzzle(s) posed by deference to moral and aesthetic testimony. (shrink)

When a circular coin is rotated in depth, is there any sense in which it comes to resemble an ellipse? While this question is at the center of a rich and divided philosophical tradition (with some scholars answering affirmatively and some negatively), Morales et al. (2020, 2021) took an empirical approach, reporting 10 experiments whose results favor such perspectival similarity. Recently, Burge and Burge (2022) offered a vigorous critique of this work, objecting to its approach and conclusions on both philosophical (...) and empirical grounds. Here, we answer these objections on both fronts. We show that Burge and Burge’s critique rests on misunderstandings of Morales et al.’s claims; of the relation between the data and conclusions; and of the philosophical context in which the work appears. Specifically, Burge and Burge attribute to us a much stronger (and stranger) view than we hold, involving the introduction of “a new entity” located “in some intermediate position(s) between the distal shape and the retinal image.” We do not hold this view. Indeed, once properly understood, most of Burge and Burge’s objections favor Morales et al.’s claims rather than oppose them. Finally, we discuss several questions that remain unanswered, and reflect on a productive path forward on these issues of foundational scientific and philosophical interest. (shrink)

All of the South Plains archetypes listed above are all drawn from real flesh-and- bones type of individuals. Moreover, all were men of action. The archetypes of the Turkish Oral Narrative generally have a longer historical background, and, as their tales attest, are compelled to take action against real or perceived injustices. In most cases, the Turkish archetypes primarily function as teachers or teaching tools, continually adapting to changing conditions and periods.

Arguably the most foundational principle in perception research is that our experience of the world goes beyond the retinal image; we perceive the distal environment itself, not the proximal stimulation it causes. Shape may be the paradigm case of such “unconscious inference”: When a coin is rotated in depth, we infer the circular object it truly is, discarding the perspectival ellipse projected on our eyes. But is this really the fate of such perspectival shapes? Or does a tilted coin retain (...) an elliptical appearance even when we know it’s circular? This question has generated heated debate from Locke and Hume to the present; but whereas extant arguments rely primarily on introspection, this problem is also open to empirical test. If tilted coins bear a representational similarity to elliptical objects, then a circular coin should, when rotated, impair search for a distal ellipse. Here, nine experiments demonstrate that this is so, suggesting that perspectival shapes persist in the mind far longer than traditionally assumed. Subjects saw search arrays of three-dimensional “coins,” and simply had to locate a distally elliptical coin. Surprisingly, rotated circular coins slowed search for elliptical targets, even when subjects clearly knew the rotated coins were circular. This pattern arose with static and dynamic cues, couldn’t be explained by strategic responding or unfamiliarity, generalized across shape classes, and occurred even with sustained viewing. Finally, these effects extended beyond artificial displays to real-world objects viewed in naturalistic, full-cue conditions. We conclude that objects have a remarkably persistent dual character: their objective shape “out there,” and their perspectival shape “from here.”. (shrink)

Consciousness and confidence seem intimately related. Accordingly, some researchers use confidence ratings as a measure of, or proxy for, consciousness. Rosenthal discusses the potential connections between the two, and rejects confidence as a valid measure of consciousness. He argues that there are better alternatives to get at conscious experiences such as direct subjective reports of awareness (i.e. subjects’ reports of perceiving something or of the degree of visibility of a stimulus). In this chapter, we offer a different perspective. Confidence ratings (...) in general, and metacognitive measures in particular, may offer important advantages over subjective ratings. The arguments we offer here are supported by empirical, practical and socio-strategic considerations. However, we do not suggest consciousness and confidence are interchangeable. We recognize the limitations of confidence ratings in some experimental designs and for some research questions. Nevertheless, we also address a potential conceptual link between consciousness and confidence that stems from Rosenthal’s very own work on mental quality space theory. (shrink)

Para favorecer la interacción disciplinar y recuperar la dimensión práctica del conocimiento matemático en la escuela secundaria, Yves Chevallard plantea la necesidad de introducir en los programas de estudio la matemática mixta. La matemática mixta, cuyo apogeo tuvo lugar en Europa entre los siglos XVI y XVIII, se propone el abordaje de problemas surgidos por fuera de la propia matemática valiéndose de nociones mecánicas -como la de centro de gravedad y fuerza centrífuga- y del empleo de variados instrumentos para realizar (...) las construcciones requeridas. En este trabajo consideramos a la matemática mixta en la cultura matemática de la segunda mitad del siglo XVII y, en dicho contexto, presentamos dos casos de la práctica matemática de G. W. Leibniz en los que la investigación matemática involucra el diseño de máquinas. La consideración de tales casos permite situar a la matemática mixta, siguiendo la terminología de Ian Hacking, en un terreno medio entre representar e intervenir. El terreno medio entre representar e intervenir es un valle fértil donde la matemática aporta a, y se nutre de, una multiplicidad de otros dominios. También es una vía de acceso para historizar el conocimiento matemático, destacando las condiciones materiales para su desarrollo y el importante rol de los problemas. Palabras clave: Práctica matemática, Resolución de problemas, Siglo XVII, Máquinas, Cultura material. (shrink)

This work proposes that pain meets the requirements of being characterized as a secondary quality, as it covers, like a color, a determined extension. The argument seeks to establish a literal pain-color analogy through an inquiry into the intensity and location of the pain. From the classic intensity/location relationship reported by patients with acute appendicitis, three degrees of pain are distinguished: mild, moderate, and severe. The objective is only achieved by examining the Body’s extensional determinations (primary quality) insofar as each (...) of these degrees of pain covers three particular measures. Once these three measures have been explored according to the perforation process (tissue damage), the work ends by identifying pain as a transcendent moment. (shrink)

Our pains can be more or less intense, our mental imagery can be more or less vivid, our perceptual experiences can be more or less striking. These degrees of intensity of conscious experiences are all manifestations of a phenomenal property I call mental strength. In this article, I argue that mental strength is a domain-general phenomenal magnitude; in other words, it is a phenomenal quantity shared by all conscious experiences that explains their degree of felt intensity. Mental strength has been (...) largely overlooked in favor of mental states’ type, representational contents, domain-specific phenomenology, or processes such as attention. Considering mental strength in our reflections about the mind illuminates debates about the relation of representational contents and phenomenal character, and it also helps address questions about the structure and functions of consciousness. Mental strength provides a unifying construct to model what is shared in the phenomenology of different types of conscious experiences. (shrink)

Introspection is a fundamental part of our mental lives. Nevertheless, its reliability and its underlying cognitive architecture have been widely disputed. Here, I propose a principled way to model introspection. By using time-tested principles from signal detection theory (SDT) and extrapolating them from perception to introspection, I offer a new framework for an introspective signal detection theory (iSDT). In SDT, the reliability of perceptual judgments is a function of the strength of an internal perceptual response (signal- to-noise ratio) which is, (...) to a large extent, driven by the intensity of the stimulus. In parallel to perception, iSDT models the reliability of introspective judgments as a function of the strength of an internal introspective response (signal-to-noise ratio) which is, to a large extent, driven by the intensity of conscious experiences. Thus, by modelling introspection after perception, iSDT can calibrate introspection’s reliability across a whole range of contexts. iSDT offers a novel, illuminating way of thinking about introspection and the cognitive processes that support it. (shrink)

In this paper I argue that many scholars involved in the contemporary free will debates have underappreciated the philosophical appeal of agent causation because the resources of contemporary emergentism have not been adequately introduced into the discussion. Whereas I agree that agent causation’s main problem has to do with its intelligibility, particularly with respect to the issue of how substances can be causally relevant, I argue that the notion of substance causation can be clearly articulated from an emergentist framework. According (...) to my proposal, a free agent is _a causally powerful substance that emerges in an anomic way from her constitutive mental events_, downwardly constraining, selecting and, in this way, having control on them. As we shall see, this particular concept of agent causation not only makes sense of the deep insight behind agent libertarianism, but it also provides us with the resources to solve some of the main objections that have been raised against it. It is true that here I cannot develop a complete defense of the evidential credentials of emergentism. Still, even if the considerations that follow do not serve to convince detractors of agent causal libertarian accounts of free will, they do suggest that libertarian agent causation is more promising than is typically acknowledged. (shrink)

In “The Constraints of Hume’s Naturalism” Barry Stroud takes on the task of looking at Hume’s negative and positive accounts of induction in conjunction. Stroud goes about doing this so that we might walk away with “a more general lesson about naturalism, at least when it is indulged in for philosophical purposes”. Given the boldness of Stroud’s quote from above there should be some explicit talk of this general lesson about naturalism outside of Hume’s, but there is none that is (...) readily apparent. If a more general and philosophically motivated lesson about naturalism is to be gleaned from Stroud’s investigation of Hume, then we should take this to be a lesson implicit in Stroud and not Hume. Hence I shall argue that Stroud tacitly endorses the skeptical conclusions of David Hume about naturalism in general when indulged for philosophical purposes. (shrink)