Watching other people play videogames —a.k.a. ‘spectator gaming’— is a widespread practice. Yet, it is considered by some as an inadequate form of engagement with games. In this paper, I show that the strongest objection to spectator gaming relies on the claim that some properties of videogames are better, if not exclusively, accessible to the player. After that, I propose two replies to this challenge. The first is that ‘secondary players’, i.e., individuals who indirectly take part in the (...) game, can access the relevant properties. The second reply is that even paradigmatic spectators may engage in simulated play, and therefore, access these properties as well. (shrink)

This paper considers whether pictures ever implicitly represent internal spectators of the scenes they depict, and what theoretical construal to offer of their doing so. Richard Wollheim's discussion (Painting as an Art, ch.3) is taken as the most sophisticated attempt to answer these questions. I argue that Wollheim does not provide convincing argument for his claim that some pictures implicitly represent an internal spectator with whom the viewer of the picture is to imaginatively identify. instead, I defend a view (...) on which the external spectator simply imagines herself interacting, psychologically and otherwise, with the depicted scene. I explore some of the consequences of the two positions for pictorial aesthetics, arguing that the view I favour is at least as competent as Wollheim's at accommodating those phenomena we have any reason to think hold. (shrink)

Lack of consent is valorized within popular culture to the point that sexual assault has become a spectator sport and creepshot entertainment on social media. Indeed, the valorization of nonconsensual sex has reached the extreme where sex with unconscious girls, especially accompanied by photographs as trophies, has become a goal of some boys and men.

This essay explores how some themes in the writing of Jean-Jacques Rousseau—particularly having to do with what it is to be a spectacle before others—might illuminate two feature films by the Spanish director Víctor Erice, The Spirit of the Beehive (El espíritu de la colmena, 1973) and El sur (1983).

[First published in Italian as: “L’irreligione e lo spettatore imparziale nel sistema morale di Adam Smith”, in Rivista di Filosofia 3 (3):375-403 (2005). -/- Translated by E. Lecaldano.] -/- A number of commentators on Smith’s philosophy have observed that the relationship between his moral theory and his theological beliefs is “exceedingly difficult to unravel.” The available evidence, as generally presented, suggests that although Smith was not entirely orthodox by contemporary standards, he has no obvious or significant irreligious commitments or orientation. (...) Contrary to this view of things, this essay argues that behind the veneer of orthodoxy that covers Smith’s discussion in The Theory of the Moral Sentiments there are significant irreligious themes present in his work. -/- . (shrink)

Rancière’s The Emancipated Spectator - Irfan Ajvazi.

We resist Schilbach et al.’s characterization of the “social perception” approach to social cognition as a “spectator theory” of other minds. We show how the social perception view acknowledges the crucial role interaction plays in enabling social understanding. We also highlight a dilemma Schilbach et al. face in attempting to distinguish their second person approach from the social perception view.

In this paper, building on these previous works, we propose to go deeper into the understanding of crowd behavior by proposing an approach which integrates ontologi- cal models of crowd behavior and dedicated computer vision algorithms, with the aim of recognizing some targeted complex events happening in the playground from the observation of the spectator crowd behavior. In order to do that, we first propose an ontology encoding available knowledge on spectator crowd behavior, built as a spe- cialization (...) of the DOLCE foundational ontology, which allows the representation of categories belonging both to the physical and to the social realms. We then propose a simplified and tractable version of such ontology in a new temporal extension of a description logic, which is used for temporally coupling events happening on the play- ground and spectator crowd behavior. At last, computer vision algorithms provide the input information concerning what is observed on the stands and ontological reasoning delivers the output necessary to perform complex event recognition. (shrink)

I build on Adam Smith’s account of the impartial spectator in The Theory of Moral Sentiments in order to offer a modest ideal observer theory of moral judgment that is adequate in the following sense: the account specifies the hypothetical conditions that guarantee the authoritativeness of an agent’s (or agents’) responses in constituting the standard in question, and, if an actual agent or an actual community of agents are not under those conditions, their responses are not authoritative in setting (...) this standard. However, in the account that I provide, the hypothetical conditions can themselves be constructed from the psychology and interactions of actual human beings. In other words, facts about the morally appropriate and inappropriate are determined from hypothetical conditions that––while agents in a given society might have yet to attain them––can be constructed from those agents’ shared experiences. Thus, the account offers both an attainable standard of moral judgment and a standard that can transcend the biases of the society which gave rise to it. I also defend the account against three challenges: (a) ideal observer theories do not offer the right kind of motivation to act on the verdicts of the ideal observer; (b) ideal observer theories cannot explain why the idealization in question is well-motivated and not objectionably ad hoc; (c) the standard used in ideal observer theories cannot be defended upon further reflection, because we would need a non-arbitrary, second-order standard to govern our reflection on the first-order standard of moral judgment. (shrink)

John Rawls raises three challenges – to which one can add a fourth challenge – to an impartial spectator account: (a) the impartial spectator is a utility-maximizing device that does not take seriously the distinction between persons; (b) the account does not guarantee that the principles of justice will be derived from it; (c) the notion of impartiality in the account is the wrong one, since it does not define impartiality from the standpoint of the litigants themselves; (d) (...) the account would offer a comprehensive, rather than a political, form of liberalism. The narrow aim of the article is to demonstrate that Adam Smith's impartial spectator account can rise to Rawls's challenges. The broader aim is to demonstrate that the impartial spectator account offers the basis for a novel and alternative framework for developing principles of justice, and does so in the context of a political form of liberalism. (shrink)

Emily Chamlee-Wright is clearly right that self-censorship is an issue of concern within the academy. How much of a problem it is—how widespread and how bad it is when it occurs—is unclear and difficult to quantify. Administrators, faculty, and students all self-censor from time to time. Sometimes the self-censorship is just a matter of being polite or exercising pedagogical restraint, as Chamlee-Wright notes. The worry, of course, is that sometimes it prevents open and honest discussion about difficult topics and thus (...) stymies learning and truth-seeking. While I will keep these caveats in mind, I also want to help strengthen Chamlee-Wright’s case. I will also, though, point out a difficulty. (shrink)

Mystery of Being by Gabriel Marcel depicts the harm of spectating in contemporary society. Marcel describes how spectating rather than participating causes us to lose our sense of being. This essay will show how technology, particularly television, social media, and cell phones, has negatively influenced people's decisions to leave small communities and develop spectating habits. Marcel demonstrates how the yearning for ingatheredness among individuals is depleting as self-centered consumerism rises. This illustrate that this rise is primarily due to the performative (...) actions of people and the influence of social media. Indeed, Dr. Lonnie Aarssen’s work What We Are will be used to illustrate the addiction to technology in a biological standpoint. More specifically, using Dr. Aarssen’s work, will display how we have developed a type of ‘nose blindness’ to technology by not living fulfilling lives. This will exemplify how individuals become accustomed to this mode of living and lose the participatory aspects of their lives. I will argue why I support Marcel's fear and present counterarguments regarding performative accounts to further my agreement. Ultimately, the advancement of technologies promotes detached communities and removes individuals from the arena of world participation. (shrink)

Ambiguity in the athlete’s perception and description of pain that opens the door to a series of reinterpretations of athletic experience and events that argue the development of an increasingly inauthentic relation to self and others on the part of those who consume performance as third parties (spectators) and ultimately those who produce it first hand (athletes). The insertion of the spectator into the sport situation as a consumer of the athlete’s activity and the preference given to spectator (...) interpretation shift control of meaning away from the athlete and encourage a demand for athlete suffering in aid of the spectator’s own need for meaning. Through discussions of the function of narrative in sport spectacle, the witnessing role of spectators, and the phenomenon of vicarious substitution, I discuss the representation of the athlete as a character ideal and moral exemplar. At a more developed level of external interpretation, the athlete (or team) becomes the champion of the spectator, the role model or focal point of civic pride whose victory asserts the ascendence of my team and town over yours; and finally, the athlete or team is the intentional object of fan identification: my team is me. I conclude that the existential commitment of the spectator as devoted fan is an inauthentic one. (shrink)

This essay distinguishes some significant commonalities and differences between the film-philosophies of Chilean filmmaker Raúl Ruiz (especially in his book Poetics of Cinema) and U.S. philosopher Stanley Cavell. I argue that despite shared senses of the poetics of the film image and certain shared philosophical references, Ruiz and Cavell differed over their conceptions of the model spectator and their relations to autonomous films and worlds from which spectators are excluded (on Cavell's picture) versus fragments out of which the (...) class='Hi'>spectator might create their own films and worlds in which a spectator might become included (on Ruiz's picture). I then argue that a striking reconciliation between these perspectives takes place via each's conception of television, since it was precisely the features of the medium and its heteronomous parts that Cavell found bemusing from the perspective of his view of film (and its supposedly autonomous works) that allowed for Ruiz's natural career-long relationship with television and heteronomy, especially in Latin American telenovelas. I thus approach Ruiz's relation to telenovelas via Cavell's understanding of the possibilities of soap operas to explore arguments between different temporalities: "dialectical," narrative time and "undialectical" recurrences of needs and drives. I further explore this possibility with a reading of Ruiz's neglected, late-career Chilean TV series Litoral (2008), focused on the construction of stories by sailors aboard a ghost ship. I argue that the series' treatment of these different temporalities reaches its culmination in the poignant image of a sailor-storyteller stuck within a story of his own creation: a stark rendering of his taking a sideways-on view of the role of his own fantasies in its construction. (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

Ambiguity in the athlete’s perception and description of pain that opens the door to a series of reinterpretations of athletic experience and events that argue the development of an increasingly inauthentic relation to self and others on the part of those who consume performance as third parties (spectators) and ultimately those who produce it first hand (athletes). The insertion of the spectator into the sport situation as a consumer of the athlete’s activity and the preference given to spectator (...) interpretation shift control of meaning away from the athlete and encourage a demand for athlete suffering in aid of the spectator’s own need for meaning. Through discussions of the function of narrative in sport spectacle, the witnessing role of spectators, and the phenomenon of vicarious substitution, I discuss the representation of the athlete as a character ideal and moral exemplar. At a more developed level of external interpretation, the athlete (or team) becomes the champion of the spectator, the role model or focal point of civic pride whose victory asserts the ascendence of my team and town over yours; and finally, the athlete or team is the intentional object of fan identification: my team is me. I conclude that the existential commitment of the spectator as devoted fan is an inauthentic one. (shrink)

I mostly agree with most of what Paul Moser has said in his books in the Philosophy of Religion. The views he has defended are a needed corrective to the evidentialist paradigm in the philosophy of religion. At the same time, his development of his central ideas has resulted in views that are, somewhat idiosyncratic and extreme. In this essay I hope to present a different articulation of those ideas, also defensible from within a Christian perspective, that preserves their central (...) thrust without being so extreme. (shrink)

Arendt’s theory of judgment has puzzled her readers for a long time. Beiner and other scholars believe that Arendt has two different kinds of theories of judgment, and they also believe that the theory of judgment in Arendt’s later writings indicates that she has shifted her focus from action to mind. But this view is a misreading of Arendt. Arendt’s working always focus on the question “how can we act morally”, and there is only one theory of judgment for Arendt.

"The definitive clarification of the nature of the infinite has become necessary, not merely for the special interests of the individual sciences, but rather for the honour of the human understanding itself. The infinite has always stirred the emotions of mankind more deeply than any other question; the infinite has stimulated and fertilized reason as few other ideas have ; but also the infinite, more than other notion, is in need of clarification." (David Hilbert 1925).

Idiosyncratic responses as more strictly personal responses to fiction film that vary across individual spectators. In philosophy of film, idiosyncratic responses are often deemed inappropriate, unwarranted and unintended by the film. One type of idiosyncratic response is when empathy with a character triggers the spectator to reflect on his own real life issues. Self-reflection can be triggered by egoistic drift, where the spectator starts imagining himself in the character’s shoes, by re-experiencing memories, or by unfamiliar experiences that draw (...) the spectator’s attention. Film may facilitate self-reflection by slowing down narrative development and making the narrative indeterminate. Such scenes make idiosyncratic responses, such as self-reflection, appropriate and intended. Fiction film is a safe context for the spectator to reflect on personal issues, as it also affords him with distancing techniques if the reflection becomes too painful or unwanted. The fictional context further encourages self-reflection in response to empathy, as the spectator is relieved from real life moral obligations to help the other. (shrink)

In The Sources of Normativity, Korsgaard argues for what can be called “The Universality of Humanity Claim” (UHC), according to which valuing humanity in one’s own person entails valuing it in that of others. However, Korsgaard’s reliance on the claim that reasons are essentially public in her attempt to demonstrate the truth of UHC has been repeatedly criticized. I offer a sentimentalist defense, based on Adam Smith’s moral philosophy, of a qualified, albeit adequate, version of UHC. In particular, valuing my (...) humanity, understood as (my awareness of) my perspective and the reasons determined from within it, entails valuing your humanity, understood as (your awareness of) your perspective and the reasons determined from within it. Given Korsgaard’s emphasis on the publicity of reasons in her argument for UHC, I also discuss the role of reasons in my account. I argue that the relative weights of (at least some of) an agent’s reasons are determined from within a shared evaluative point of view, namely, the standpoint of what Smith calls “the impartial spectator.” These reasons have normative authority over and constrain the agent’s private reasons, that is, those that are determined from within her own particular evaluative point of view. (shrink)

Why be moral? Why, in the language of Adam Smith, act on what you think is praiseworthy even when it does not get you praise from other people? Because, answers Smith, you love praiseworthiness. But what is this love of praiseworthiness, and where does it come from? In this article, 1) I argue that we start to love praiseworthiness when we redirect our love of praise away from other people toward the ‘impartial spectator’-aspect of ourselves, and 2) show how (...) this fits with evidence that the rudimentary moral compass which guides us early in childhood needs correction through socialisation to develop into a mature moral conscience. (shrink)

This paper examines how the concepts of utility, impartiality, and universality worked together to form the foundation of Adam Smith's jurisprudence. It argues that the theory of utility consistent with contemporary rational choice theory is insufficient to account for Smith's use of utility. Smith's jurisprudence relies on the impartial spectator's sympathetic judgment over whether third parties are injured, and not individuals' expected utility associated with individuals' expected gains from rendering judgments over innocence or guilt.

The engineering knowledge research program is part of the larger effort to articulate a philosophy of engineering and an engineering worldview. Engineering knowledge requires a more comprehensive conceptual framework than scientific knowledge. Engineering is not ‘merely’ applied science. Kuhn and Popper established the limits of scientific knowledge. In parallel, the embrace of complementarity and uncertainty in the new physics undermined the scientific concept of observer-independent knowledge. The paradigm shift from the scientific framework to the broader participant engineering framework entails a (...) problem shift. The detached scientific spectator seeks the ‘facts’ of ‘objective’ reality – out there. The participant, embodied in reality, seeks ‘methods’, about how to work in the world. The engineering knowledge research program is recursively enabling. Advances in engineering knowledge are involved in the unfolding of the nature of reality. Newly understood, quantum uncertainty entails that the participant is a natural inquirer. ‘Practical reason’ is concerned with ‘how we should live’– the defining question of morality. The engineering knowledge research program is selective seeking ‘important truths’, ‘important knowledge’, ‘important methods’ that manifest value, and serve the engineering agenda of ‘the construction of the good.’ The importance of engineering knowledge research program is clear in the new STEM curriculum where educators have been challenged to rethink the relation between science and engineering. A 2015 higher education initiative to integrate engineering colleges into liberal arts and sciences colleges has stalled due to the confusion and conflict between the engineering and scientific representations of knowledge. (shrink)

This chapter presents David Foster Wallace's views about three positions regarding the good life—ironism, hedonism, and narrative theories. Ironism involves distancing oneself from everything one says or does, and putting on Wallace's so-called “mask of ennui.” Wallace said that the notion appeals to ironists because it insulates them from criticism. However, he reiterated that ironists can be criticized for failing to value anything. Hedonism states that a good life consists in pleasure. Wallace rejected such a notion, doubting that pleasure could (...) play a fundamental role in the good life. Lastly, narrative theories characterize the good life by fidelity to a unified narrative -- a systematic story about one's life, composed of a set of ends or principles according to which one lives. Wallace believed that these theories turn people into spectators, rather than the participants in their own lives. (shrink)

Kantian disinterest is the view that aesthetic judgement is constituted (at least in part) by a form of perceptual contemplation that is divorced from concerns of practical action. That view, which continues to be defended to this day, is challenged here on the basis that it is unduly spectator-focussed, ignoring important facets of art-making and its motivations. Beauty moves us, not necessarily to tears or rapt contemplation, but to practical action; crucially, it may do so as part and parcel (...) of its appreciation. This claim is defended via reflection on (i) the art of photography, (ii) the concepts of ‘attentional salience’ and ‘experienced mandates’, and (iii) a virtue-based account of aesthetic value. (shrink)

Answers to the questions of what justifies conscientious objection in medicine in general and which specific objections should be respected have proven to be elusive. In this paper, I develop a new framework for conscientious objection in medicine that is based on the idea that conscience can express true moral claims. I draw on one of the historical roots, found in Adam Smith’s impartial spectator account, of the idea that an agent’s conscience can determine the correct moral norms, even (...) if the agent’s society has endorsed different norms. In particular, I argue that when a medical professional is reasoning from the standpoint of an impartial spectator, his or her claims of conscience are true, or at least approximate moral truth to the greatest degree possible for creatures like us, and should thus be respected. In addition to providing a justification for conscientious objection in medicine by appealing to the potential truth of the objection, the account advances the debate regarding the integrity and toleration justifications for conscientious objection, since the standard of the impartial spectator specifies the boundaries of legitimate appeals to moral integrity and toleration. The impartial spectator also provides a standpoint of shared deliberation and public reasons, from which a conscientious objector can make their case in terms that other people who adopt this standpoint can and should accept, thus offering a standard fitting to liberal democracies. (shrink)

Kierkegaard's Either-Or is a book about the choice between aesthetic, ethical, and religious approaches to life. I show that Either-Or also contains a proposal for philosophy of science, and in particular, about the ideal epistemic state for human beings. Whereas the Cartesian-Hegelian tradition conceived of the ideal state as one of detached deliberation -- i.e. "seeing the world as it is in itself" -- Kierkegaard envisions the ideal state as the achievement of equilibrium between the "spectator" and "actor" aspects (...) of the human being. Kierkegaard's proposal thus sets the stage for Niels Bohr's "epistemological lesson of quantum mechanics". (shrink)

Why do we so often care about the outcomes of games when nothing is at stake? There is a paradox here, much like the paradox of fiction, which concerns why we care about the fates and threats of merely fictional beings. I argue that the paradox threatens to overturn a great deal of what philosophers have thought about caring, severing its connection to value and undermining its moral weight. I defend a solution to the paradox that draws on Kendall Walton's (...) solution to the paradox of fiction, developing his idea that it be extended to games. The solution takes games to involve make‐believe: in particular, players and spectators make‐believe that the outcome of the game matters. I also explore how the phenomenon extends beyond games. And I explore some moral implications: in particular, my view preserves the idea that we have reason not to impede others in their pursuit of what they care about. (shrink)

Two problems seem to plague Adam Smith’s account of sympathy and approbation in The Theory of Moral Sentiments (TMS). First, Smith’s account of sympathy at the beginning of TMS appears to be inconsistent with the account of sympathy at the end of TMS. In particular, it seems that Smith did not appreciate the distinction between ‘self-oriented sympathy’ and ‘other-oriented sympathy’, that is, between imagining being oneself in the actor’s situation and imagining being the actor in the actor’s situation. Second, Smith’s (...) account of approbation, according to which a sentiment of approval arises when there is recognition of concordance between the spectator’s sympathetic passion and the actor’s original passion, seems to face the following problem: since the spectator attains both his own sympathetic passion and the actor’s original passion by sympathizing with the actor, the sympathetic passion of the spectator and the original passion of the actor will necessarily be identical. Therefore, Smith’s account of approbation requires that the spectator utilize both self-oriented and other-oriented sympathy (‘the double-sympathy model of approbation’). I offer a novel developmental account of sympathy in TMS that renders Smith’s account of sympathy consistent and allows for the utilization of the double-sympathy model of approbation. (shrink)

Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his (...) philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. -/- Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Spinoza and the Theory of Organism HANS JONAS I CARTESIANDUALISMlanded speculation on the nature of life in an impasse: intelligible as, on principles of mechanics, the correlation of structure and function became within the res extensa, that of structure-plus-function with feeling or experience (modes of the res cogitans) was lost in the bifurcation, and thereby the fact of life itself became unintelligible at the same time that the explanation (...) of its bodily performance seemed to be assured. The impasse became manifest in Occasionalism : its tour de force of an extraneous, divine "synchronization" of the outer and the inner world (the latter denied to animals) not only suffered from its extreme artificiality, the common failing of such ad hoc constructions, but even at so high a cost failed to accomplish its theoretical purpose by its own terms. For the animal machine, like any machine, raises beyond the question of the "how" that of the "what for" of its functioning---of the purpose for which it had thus been constructed by its maker.1 Its performance, however devoid of immanent teleology, must serve an end, and that end must be someone's end. This end may (directly) be itself, as indeed Descartes had implied when declaring self-preservation to be the effect of the functioning of the organic automaton. In that case the existence as such of the machine would be its end--either terminally, or in turn to benefit something else. In the former case, the machine would have to be more than a machine, for a mere machine cannot enioy its existence. But since, by the rigorous conception of the res extensa, it cannot be more than a machine, its function and/or existence must serve something other than itself. Automata in Descartes ' time were mainly for entertainment (rather than work). But the raison d'etre of the living kingdom could not well be seen in God's indulging his mechanical abilities or in the amusement of celestial spectators--especially since mere complexity of arrangement does not create new quality and thus add something to the unrelieved sameness of the simple substratum that might enrich the spectrum of being. For quality, beyond the primitive determinations of the extended per se, is the subjective creature of sensation, the confused representation of quantity in a mind; and thus organisms cannot harbor it because as mere machines they lack mentality, and pure spirits cannot because they lack sensuality, or the privilege of confusion and thereby of illusion with its possible enjoyment. And as to their intellectual enjoyment, even that, deprived of the thrill of discovery by the same token, would pale in the contemplation of what to sufficiently large The concept of "machine," adopted for its strict confinementto efficientcause, is still a finalisticconcept,even thoughthe final cause is no longer internal to the entity, as a mode of its own operation,but external to it as antecedent design. [43] 44 HISTORY OF PHILOSOPHY intellects is nothing but the ever-repeated exemplification of the same few, elementary (and ultimately trivial) truths. There remained, then, the time-honored--Stoic as well as Christian--idea that plants and animals are for the benefit of Man. Indeed, since the existence of a living world is the necessary condition for the existence of any of its members, the self-justifying nature of at least one such member (= species) would justify the existence of the whole. In Stoicism, Man provided this end by his possession of reason, which makes him the culmination of a terrestrial scale of being that is also self-justifying throughout all its grades (the end as the best of many that are good in degrees) ; in Christianity, by his possession of an immortal soul, which makes him the sole imago Dei in creation (the end as the sole issue at stake) ; and Cartesian dualism radicalized this latter position by making man even the sole possessor of inwardness or "soul" of any kind, thus the only one of whom "end" can meaningfully be predicated as he alone can entertain ends. All other life then, the product of physical necessity, can be considered his means. However, this traditional idea, in its anthropocentric vanity never a... (shrink)

Cinema is neither neutral nor a universal medium. Particularly in African contexts, cinema contributes to European exceptionalism, imposes European values as the norm, and acts as an instrument of cultural and psychological control. It seems that African cinema is ontologically, politically, and aesthetically Eurocentric. By introducing an intercultural philosophical approach to the realm of cinema, we aim to move away from Eurocentrism in African cinema towards a more intercultural and dialogical orientation as an input for the liberation of humanity. Based (...) on findings from a dramaturgical analysis of five films, we argue that African cinema shows a deficiency in communicating liberation and it often fails to portray African people’s values, will, and interests as it has been alienated from its nature and purpose. Overall, African cinema seems to be either in a state of assimilation or confusion. By exploring aesthetics of liberation in African cinema and art (as described in African and intercultural philosophy,) we search for alternative film aesthetics and a mode of filmmaking that seeks to liberate the image and the minds of the filmmakers and spectators of African cinema. Inspired by Kimmerle’s aesthetic-ethic alternative ‘Living (with) art’, we propose an alternative for critical filmmaking based on aesthetics of liberation with an intercultural orientation: Living cinema. Living cinema is a dialogical and liberational cinema with aesthetics of liberation at its core. Based on aesthetic-ethic principles of African philosophy and interculturality, the liberating function of living cinema can be found in reconnecting the aesthetics and filmmaking with African values. Simultaneously, it might be contributing to the liberation of world cinema as it has an impact on both the hegemonic and the suppressed cinema. (shrink)

The Humean Theory of Reasons, according to which all of our reasons for action are explained by our desires, has been criticized for not being able to account for “moral reasons,” namely, overriding reasons to act on moral demands regardless of one's desires. My aim in this paper is to utilize ideas from Adam Smith's moral philosophy in order to offer a novel and alternative account of moral reasons that is both desire-based and accommodating of an adequate version of the (...) requirement that moral demands have overriding reason-giving force. In particular, I argue that the standpoint of what Smith calls “the impartial spectator” can both determine what is morally appropriate and inappropriate and provide the basis for normative reasons for action—including reasons to act on moral demands—to nearly all reason-responsive agents and, furthermore, that these reasons have the correct weight. The upshot of the proposed account is that it offers an interesting middle road out of a dilemma pertaining to the explanatory and normative dimensions of reasons for informed-desire Humean theorists. (shrink)

This book tells the story of modern ethics, namely the story of a discourse that, after the Renaissance, went through a methodological revolution giving birth to Grotius’s and Pufendorf’s new science of natural law, leaving room for two centuries of explorations of the possible developments and implications of this new paradigm, up to the crisis of the Eighties of the eighteenth century, a crisis that carried a kind of mitosis, the act of birth of both basic paradigms of the two (...) following centuries: Kantian ethics and utilitarianism. The new science of natural law carried a fresh start for ethics, resulting from a mixture of the Old and the New. It was, as suggested by Schneewind, an attempt at rescuing the content of Scholastic and Stoic doctrines on a new methodological basis. The former was the claim of existence of objective and universal moral laws; the latter was the self-aware attempt at justifying a minimal kernel of such laws facing skeptical doubt. What Bentham and Kant did was precisely carrying this strategy further on, even if restructuring it each of them around one out of two alternative basic claims. The nineteenth- and twentieth-century critics of the Enlightenment attacked both not on their alleged failure in carrying out their own projects, but precisely on having adopted Grotius’s and Pufendorf’s project. What counter-enlightenment has been unable to spell out is which alternative project could be carried out facing the modern condition of pluralism, while on the contrary, if we takes a closer look at developments in twentieth-century ethics or at on-going discussions on practical issues, we might feel inclined to believe that Grotius’s and Pufendorf’s project is as up-to-date as ever. -/- Table of Contents -/- Preface I. Fathers of the Reformation and Schoolmen 1.1. Luther: passive justice and the good deeds; 1.2. Calvin: voluntarism and predestination; 1.3. Baroque Scholasticism; 1.4. Casuistry and Institutiones morales -/- II Neo-Platonists, neo-Stoics, neo-Sceptics 2.1. Aristotelian, neo-Platonic, neo-Epicurean and neo-Cynic Humanists; 2.2. Oeconomica and the art of living; 2.3. Neo-Stoics; 2.4. Neo-Sceptics; 2.5. Moralistic literature -/- III Neo-Augustinians 3.l. The Jansenists on natura lapsa, sufficient grace, pure love; 3.2. Nicole on the impossibility of self-knowledge; 3.3. Nicole on self-love and charity; 3.4. Nicole against civic virtue, for Christian civility; 3.5. Malebranche on general laws and necessary evil; 3.6. Malebranche on Neo-Augustinianism and Platonism. -/- IV Grotius, Pufendorf and the new moral science 4.1. Grotius against Aristotle and the sceptics; 4.2. Mersenne and Gassendi; 4.3. Descartes on ethics as the last branch of philosophy’s tree; 4.4. Hobbes on scepticism and the new moral science; 4.5. Spinoza on the new moral science as a descriptive science;4.6. Locke on voluntarism and probabilism; 4.7. Pufendorf on natural law as an exact science; 4.8. Pufendorf on physical and moral entities; 10. Pufendorf on self-preservation -/- V The empiricist version of the new moral science: from Cumberland to Paley 5.1. Cumberland against Hobbesian voluntarism; 5.2. Cumberland and theological consequentialism; 5.3. Cumberland on universal benevolence and self-love; 5.4. Shaftesbury on the moral sense; 5.5. Hutcheson on natural law and moral faculties; 5.6. Gay, Brown, Paley and theological consequentialism. -/- VI The rationalist version of the new moral science: from Cudworth to Price 6.1. The Cambridge Platonists; 6.2. Shaftesbury on the moral sense; 6.3. Butler and a third way between voluntarism and scepticism; 6.4. Price and the rational character of moral truths; -/- VII Leibniz’s compromise between the new moral science and Aristotelianism 1.Leibniz against voluntarism; 2.Leibniz against the division between the physical and the moral good; 3.Leibniz on la place d’autrui and theological consequentialism; 4.Thomasius, Wolff, Crusius -/- VIII French eighteenth-century philosophers without the new moral science 8.1. The genealogy of our ideas of virtue and vice; 8.2. Maupertuis and moral arithmetic 8.3. The philosophes and the harmony of interests; 8.4. Rousseau on corruption, self-love, and virtue; 8.5. Sade on the merits of vice -/- IX Experimental moral science: Hume and Adam Smith 9.1. Mandeville’s paradox; 9.2. Hutcheson on the law of nature and moral faculties; 9.3. Hume on experimental moral philosophy and the intermediate principles; 9.4. Hume’s Law; 9.5. Hume on the fellow-feeling; 9.6. Hume on natural and artificial virtues and disinterested pleasure for utility; 9.7. Adam Smith’s anti-realist metaethics; 9.8. Adam Smith on self-deception and the paradox of happiness; 9.9. Adam Smith on sympathy and the impartial spectator; 9.10. Adam Smith on the twofold criterion for moral judgement and its paradox; 9.11. Reid on the refutation of scepticism and the self-evidence of duty -/- X Kantian ethics 10.1. Kantian metaethics: moral epistemology; 10.2. Kantian metaethics: moral ontology; 10.3. Kantian metaethics: moral psychology; 10.4. Kantian normative ethics; 10.5. Kant on the impracticability of applied ethics; 10.6. Kantian moral anthropology; 10.7. Civilisation and moralisation; 10.8. Theology on a moral basis and the origins of evil; 10.9. Fichte and the transformation of theoretical philosophy into practical philosophy XI Bentham and utilitarianism 11.1. Bentham’s linguistic theory; 11.2. Bentham’s moral ontology, psychology, and theory of action; 11.3. The principle of greatest happiness; 11.4. The critique of religious ethics; 11.5. The new morality; 11.6. Interest and duty; 11.7. Virtues; 11.8. Private ethics and legislation -/- XII Followers of the Enlightenment: liberal Judaism and Liberal Theology 12.1. Mendelssohn; 12.2. Salomon Maimon; 12.3. Haskalā and liberal Judaism; 12.4. Liberal Theology. -/- XIII Counter-Enlighteners 13.1.Romanticism and the fulfilment of individuality as the Summum Bonum; 13.2. Hegel on history as the making of liberty; 13.3. Hegel on the unhappy consciousness and the beautiful soul; 13.4. Hegel on Morality and Sittlichkeit; 13.5. Marx on ideology, alienation, and praxis; 13.6. Schopenhauer on compassion; 13.7. Kierkegaard on faith beyond ethics. -/- XIV Followers of the Enlightenment: intuitionists and utilitarian 14.1 Whewell‘s criticism of utilitarianism; 14.2 Whewell on morality and the philosophy of morality; 14.3 Whewell on the Supreme Norm; 14.4 Whewell on the conflict between duties; 14.5 Mill and the proof of the principle of utility; 14.6 Mill’s eudemonistic utilitarianism; 14.7 Mill on rules -/- XV Followers of the Enlightenment: neo-Kantians and positivists 15.1. French spiritualism; 15.2. Neo-Kantians: the Marburg school; 15.3. Neo-Kantians: the Marburg school; 15.4. Comte’s positivism and the invention of altruism; 15.5. Social Darwinism; 15.6. Wundt and an ethic of humankind -/- XVI Post-enlighteners: Sidgwick 16.1. Criticism of intuitionism; 16.2. On ethical egoism; 16.3. Criticism of utilitarianism -/- XVII Post-enlighteners: Durkheim 17.1. Sociology as physics of customs; 17.2. Morality as physics of customs and as practical science; 17.3. On Kantian ethics and utilitarianism; 17.4. The variability of moralities;17.5. Social solidarity as end and justification of morality; 17.6. Secular morality as “sociodicy”; XVIII Post-enlighteners: Nietzsche 18.1. On the Dionysian; 18.2. On the deconstruction of the world of values 18.3 On the twofold genealogy of moralities; 18.4. On ascetics and nihilism; 18.5. Normative ethics of self-fulfilment -/- Bibliography / Index of names / Index of concepts -/- . (shrink)

A recent wave of scholarship has challenged the traditional way of understanding of self-command in Adam Smith’s Theory of Moral Sentiments as ‘Stoic’ self-command. But the two most thorough alternative interpretations maintain a strong connection between self-command and rationalism, and thus apparently stand opposed to Smith’s overt allegiance to sentimentalism. In this paper I argue that we can and should interpret self-command in the context of Smith’s larger sentimentalist framework, and that when we do, we can see that self-command is (...) ‘sentimentalized’. I offer an interpretation of Smithian self-command, arguing that self-command has its motivational basis in the natural desire for the pleasure of mutual sympathy; that self-command is guided by the sentimental standard of propriety; and that self-command works through the psychological mechanism of the ‘supposed’ impartial spectator. And I show that Smithian self-command is a home-grown, sentimentalist virtue and not an awkward rationalistic transplant. (shrink)

I offer a novel two-stage reconstruction of Hume’s general-point-of-view account, modeled in part on his qualified-judges account in ‘Of the Standard of Taste.’ In particular, I argue that the general point of view needs to be jointly constructed by spectators who have sympathized with (at least some of) the agents in (at least some of) the actor’s circles of influence. The upshot of the account is two-fold. First, Hume’s later thought developed in such a way that it can rectify the (...) problems inherent in his Treatise account of the general point of view. Second, the proposed account provides the grounds for an adequate and well-motivated modest ideal observer theory of the standard of virtue. (shrink)

In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense has (...) quite a lot in common with taking and appreciating a photograph. On our way, we will see how imagination plays a crucial role in the story. (shrink)

This essay first introduces the moral sense theories of Francis Hutcheson, David Hume, and Adam Smith, and clarifies important differences between them. It then examines whether moral judgment based on the moral sense or moral sentiments varies according to one's metaphysical beliefs. For this, the essay mainly applies those theories to such issues as stem cell research, abortion, and active euthanasia. In all three theories, false religious beliefs can distort moral judgment. In Hutcheson's theory, answers to stem cell research, abortion, (...) and active euthanasia do not change according to the spectator's metaphysical beliefs. Yet answers to those issues can change according to the agent's metaphysical beliefs. Hume's theory cannot provide answers to stem cell research and abortion where the embryo or fetus is the receiver (the one affected by the agent's action) and to active euthanasia where the patient is unconscious. It may provide answers to abortion where the pregnant woman is the receiver and to active euthanasia where the patient is conscious. Yet the answers can vary depending on the woman's or the patient's metaphysical beliefs. Smith's theory can provide answers to stem cell research, abortion, and active euthanasia. But the answers can vary depending on the agent's metaphysical beliefs. These show that the moral sense or moral sentiments in those theories alone cannot identify appropriate morals. (shrink)

In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on the issue: It (...) is wrong to enjoy evil whether real or merely fiction. I develop my position through an examination of the controversially song "Mind of a Lunatic" (1990) by the Houston based rap group Geto Boys. (shrink)

“Do Anthropocene narratives confuse an important distinction between the natural and the historical past?” asks Giuseppina D’Oro. D’Oro defends the view that the concept of the historical past is sui generis and distinct from that of the geological past against a new, Anthropocene-inspired challenge to the possibility of a humanistically oriented historiography. She argues that the historical past is not a short segment of geological time, the time of the human species on Earth, but the past investigated from the perspective (...) of a distinctive kind of interest, that of uncovering the norms which governed historical agents in different periods of time. The past for the Egyptologist, or for the Roman historian, is not the same past studied by the palaeontologist or the geologist, not because it is infinitesimal short in comparison to geological time, but because the questions asked by historians concerned with the Egyptian or Roman civilization are not the same kind of questions asked by empirically minded scientists. She argues that the accusation that the distinction between the historical and the natural/geological past, rests on unacceptable form of human exceptionalism is based on the conflation of the concept of the historical past with that of the human past and that keeping alive the nature/culture distinction has important implications for praxis. If the distinction between nature and culture is collapsed, and the corollary that historical agents are not distinct in kind from natural agents (such as yeast and microbes) is accepted, then “the anticipation of the future would become a mere spectator’s sport analogous to the activity of predicting the weather”: collapsing the nature culture distinction, D’Oro argues, undermines the possibility of political action against the very threat (climate change) that motivates Anthropocene narratives in the first instance. (shrink)

Fish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I discuss, (...) in a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending. (shrink)

The main task of this paper is to understand if and how static images like photographs can represent and/or depict temporal extension (duration). In order to do this, a detour will be necessary to understand some features of the nature of photographic representation and depiction in general. This important detour will enable us to see that photographs (can) have a narrative content, and that the skilled photographer can 'tell a story' in a very clear sense, as well as control and (...) guide the attention of the spectator of the photograph. The understanding and defence of this claim is a secondary aim of this paper, and it will then allow us to provide a good treatment of the particular case of photographic representation and depiction of temporal extension. (shrink)

In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s emphasis (...) on the spectator’s active yet non-mastering role in the event of art’s address—an event that implicates the spectator and has the potential to transform him or her. This leads to a discussion of Gadamer’s notion of the type of self-(and world) understanding that occurs through aesthetic experience. I close by returning to Bearden in order to discuss how his art unearths a crucial feature of our being-in-the-world. I call this feature “world-unmasking” and show how it expands and enriches Gadamer’s account. (shrink)

Potentialities of attention and distraction with respect to images are critically reprised by Neapolitan artist Domenico Antonio Mancini. In Landscapes (2019), Google Street View addresses painted on canvases take the place of outlying areas of Italian cities, and of canonical oil ‘vedute’ paintings, obliging the viewer to switch from aesthetic absorption to a multitasking, reflexive attention enabled by the tools of mobile devices and the operative agency between the displayed and depicted images. Attracted by the ephemeral, geo-localized vistas displayed on (...) their smartphones, spectator-users must deal with the dynamis of the on-line GSV images: rhetorical and predictable, though, at the same time, and perhaps unintentionally, serendipitous and figural. (shrink)

This essay re-examines the once promising idea that style analysis can provide an independent source of insight into an artifact's non-stylistic context. The essay makes explicit the consequences of treating collective style as such a source in archaeology and anthropology of art, and further develops a new framing for the idea that avoids the criticisms largely responsible for the decline in theoretical interest in the epistemic import of visual style analysis since World War II. This re-framing proposes that inference from (...) style to context is permissible on those occasions when a collective style signals by its morphology its suitability to serve a certain function. And it does so because it prescribes publicly certain modes of behavior or spectatorship. Furthermore, the public nature of the signaling may be such that it allows even uninitiated spectators to get a sense of it and thus to gain access to some of the motivations and norms informing the collective's form of life. (shrink)

There are different ways in which imaginings can involve the first-person. I can imagine skiing down a mountain, looking down the slope, the wind whipping me in the face. I can also imagine myself skiing down a mountain from the outside, adopting the point of view of a spectator watching myself fly down the mountain. I can also imagine that I am someone else entirely, say Angela Merkel, skiing down a mountain. In this paper I develop and defend a (...) new account of the content of first-person imaginings. I first look at two existing accounts, one proposed by Francois Recanati (2007a, 2007b) and the other proposed by Dilip Ninan (2008), and I argue that they lack the resources to model the rich and distinct types of first-person imaginings that we can have. I then present and defend a new account that reconstrues the imagining from the inside vs. imagining from the outside distinction and can accommodate the various ways in which imaginings involve the first-person. (shrink)

Taking my cue from Michael Smith, I try to extract a decent argument for non-cognitivism from the text of the Treatise. I argue that the premises are false and that the whole thing rests on a petitio principi. I then re-jig the argument so as to support that conclusion that Hume actually believed (namely that an action is virtuous if it would excite the approbation of a suitably qualified spectator). This argument too rests on false premises and a begged (...) question. Thus the Motivation Argument fails BOTH as an argument for noncognitivism AND as an argument for what Hume actually believed, that moral distinctions are not derived from reason and that moral properties are akin to secondary qualities. So far as the Motivation Argument is concerned, both cognitivists and rationalists can rest easy. Themes: 1) Hume’s Slavery of Reason thesis is only defensible if passions are not only desires but sometimes dispositions to acquire desires (DTADs). 2) A desire for our good on the whole, which Humeans need to posit to fend off apparent counterexamples to the Slavery of Reason Thesis, does not sit well with the Humean theory of how novel desires arise (an objection due originally to Reid). 3) Hume is wrong to suppose that ‘abstract or demonstrative reasoning never influences any of our actions, but only as it directs our judgment concerning causes and effects’ as the examples of Russell and Hobbes convincingly demonstrate. This ironic as both Russell and Hobbes subscribed to the Slavery of Reason Thesis. 4) I critique Michael Smith’s critique of motivational externalism. (shrink)

All morally wrong actions deserve some form of moral condemnation. But the degree of that condemnation is not the same in all cases. Some wrongs are so morally extreme that they seem to belong to a different category because they deserve our very strongest form of moral condemnation. For example, telling a white lie to make a friend feel better might be morally wrong, but intuitively such an act is in a different moral category to the sadistic, brutal, and violent (...) rape and torture of a child. The former act is merely wrong and not evil. In contrast, the latter act seems so morally extreme that we need to call it “evil” and not merely “wrong” if we are to do justice both to the moral seriousness of that act and the strength of our condemnation of it. The task of a theory or substantive conception of evil is to spell out what is an evil action and how it differs from a merely wrongful action. But what does a plausible substantive theory of evil look like? To explore this question, I spell out the concept of evil and illustrate four different types of substantive conceptions of evil actions: victim, perpetrator, spectator, and mixed theories. Of these four options, I argue that mixed theories are the most plausible type of theory, before investigating in detail the promising mixed theory recently defended by Matthew Kramer (2014b). Finally, in light of my analysis of Kramer’s view, I present a reformulated version of my combination theory of evil (Formosa 2008; Formosa 2013). (shrink)