Arguments about the supersession of historic injustice often use the dispossession of Indigenous lands as an example of the sort of injustice in the past that can be superseded in certain circumstances. This article aims not to directly challenge the content of such arguments but to place them into a different context, wherein they are seen playing a role in ongoing efforts to remove Indigenous understandings of law, justice, and morals from discussions about state-Indigenous histories and interactions. The normative narrowness (...) of these arguments is explored alongside developments within Canadian law that purport to respond to the historic denial of substantive Indigenous interests in lands by colonial and Canadian authorities. While the analysis predominantly takes a bird’s-eye view of the interaction of varied normative systems, the conclusion advances a normatively charged argument, as I speculate about why courts – and academics writing about the passage of time – seem intent on developing arguments that displace Indigenous understandings. (shrink)

One minor problem in understanding Bradley's moral philosophy is that of how he manages to combine a reverence for the ordinary man's moral sense with what amounts almost to contempt for the actual precepts of popular morality. The reverence seems clear. At the outset of Ethical Studies Bradley appears as the great defender of the plain man against the depredations of theorizing and cultivation. Contemporary moral philosophers were too sophisticated, with their cavalier disregard of the moral feelings and convictions of (...) uneducated people. Admittedly popular moral views had their limitations: they were neither all-comprehensive nor everywhere consistent. Still, ‘if we want a moral sense that has not yet been adulterated, we must not be afraid to leave enlightenment behind us’. (shrink)

This paper concludes a special feature of Sustainability Science that explores a broad range of social value theoretical traditions, such as religious studies, social psychology, indigenous knowledge, economics, sociology, and philosophy. We introduce a novel transdisciplinary conceptual framework that revolves around concepts of 'lenses' and 'tensions' to help navigate value diversity. First, we consider the notion of lenses: perspectives on value and valuation along diverse dimensions that describe what values focus on, how their sociality is envisioned, and what epistemic and (...) procedural assumptions are made. We characterise fourteen of such dimensions. This provides a foundation for exploration of seven areas of tension, between: (1) the values of individuals vs collectives; (2) values as discrete and held vs embedded and constructed; (3) value as static or changeable; (4) valuation as descriptive vs normative and transformative; (5) social vs relational values; (6) different rationalities and their relation to value integration; (7) degrees of acknowledgment of the role of power in navigating value conflicts. In doing so, we embrace the 'mess' of diversity, yet also provide a framework to organise this mess and support and encourage active transdisciplinary collaboration. We identify key research areas where such collaborations can be harnessed for sustainability transformation. Here it is crucial to understand how certain social value lenses are privileged over others and build capacity in decision-making for understanding and drawing on multiple value, epistemic and procedural lenses. (shrink)

This paper concludes a special feature of Sustainability Science that explores a broad range of social value theoretical traditions, such as religious studies, social psychology, indigenous knowledge, economics, sociology, and philosophy. We introduce a novel transdisciplinary conceptual framework that revolves around concepts of ‘lenses’ and ‘tensions’ to help navigate value diversity. First, we consider the notion of lenses: perspectives on value and valuation along diverse dimensions that describe what values focus on, how their sociality is envisioned, and what epistemic and (...) procedural assumptions are made. We characterise fourteen of such dimensions. This provides a foundation for exploration of seven areas of tension, between: (1) the values of individuals vs collectives; (2) values as discrete and held vs embedded and constructed; (3) value as static or changeable; (4) valuation as descriptive vs normative and transformative; (5) social vs relational values; (6) different rationalities and their relation to value integration; (7) degrees of acknowledgment of the role of power in navigating value conflicts. In doing so, we embrace the ‘mess’ of diversity, yet also provide a framework to organise this mess and support and encourage active transdisciplinary collaboration. We identify key research areas where such collaborations can be harnessed for sustainability transformation. Here it is crucial to understand how certain social value lenses are privileged over others and build capacity in decision-making for understanding and drawing on multiple value, epistemic and procedural lenses. (shrink)

In contrast to the most common view, I argue that one can consistently affirm that fundamental moral principles are objective and invariable, and yet are dependent on God. I explore and reject appealing to divine simplicity as a basis for affirming this conjunction. Rather, I develop the thesis that God is identical to the Good (the Identity View or IV) and argue that the IV does not fall to the criticisms of simplicity. I then consider a divine will theory (DWT) (...) that claims moral principles are grounded in God’s will. When the IV is conjoined with a DWT, there is reason to affirm an objective, theistically based ethics. The IV and DWT proposed here are models and while I attempt to increase their plausibility, I do not argue for their truth. The IV conjoined with a moral theory such as DWT explains the dependence of moral principles on God, while allowing for objectivity since morality is rooted in the eternal unchanging standard of the Good. (shrink)

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

The volume addresses the historical context of Henry, e.g. his writings and his participation in the events of 1277; examines Henry’s theology, metaphysics, epistemology, and ethics; and studies Henry’s influence on John Duns Scotus and Pico della Mirandola.

I propose a way of understanding empathy on which it does not necessarily involve any-thing like thinking oneself into another’s shoes, or any imagining at all. Briefly, the empa-thizer uses an aspect of her own mental state as a sample, expressed by means of a phenomenal concept, to understand the other person. This account does a better job of explaining the connection between empathetic experiences and the objects of empathy than most traditional ones do. And it helps to clarify the (...) relations among different varieties of empathy and empathy-like experiences, including empathy with fictional characters. -/- . (shrink)

It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.

summary, crtiques, strengths and limitation of the article.

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 79-84, Winter 2020.

Leading scholars offer new readings of Degas1 representations of the family, prostitution, city life and leisure in which looking at women is shown to be a complex and ambiguous process. One major topic of the book is the encounter between feminism and art history. Having put images of women1 on the agenda of cultural analysis, feminist interventions in the theory and analysis of representation have created a diverse and intricate field of interpretation which now supersedes that formulation. These essays challenge (...) art history to confront issues of spectatorship, the interface of class and gender, identification and the politics of vision. This illustrated collection is thus a major contribution to debates on representation and sexuality. (shrink)

CHAPTER ONE Simple cognition Ockham's epistemology is founded upon the primacy of individual cognition. As coming first in the order of knowing, ...

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

This paper presents a clinically orientated illustration of the doctrine of double effect. The case of an elderly gentleman with advanced cancer is discussed, with particular emphasis on two dilemmas encountered during the terminal phase of his illness. The author describes how the doctrine of double effect was applied to help the team make some complex management decisions.

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

The emergence of a conception of the marketing firm (Foxall, 1999a) conceived within behavioral psychology and based on a corresponding model of consumer choice, (Foxall, 1990/2004) permits an assessment of the levels of behavioral and organizational analysis amenable to neuroscientific examination. This paper explores the ways in which the bilateral contingencies that link the marketing firm with its consumerate allow appropriate levels of organizational neuroscientific analysis to be specified. Having described the concept of the marketing firm and the model of (...) consumer behavior on which it is based, the paper analyzes bilateral contingencies at the levels of (i) market exchange, (ii) emotional reward, and (iii) neuroeconomics. Market exchange emerges as a level of analysis that lends itself predominantly to the explanation of firm—consumerate interactions in terms of the super-personal level of reinforcing and punishing contingencies: the marketing firm can be treated as a contextual or operant system in its own right. However, the emotional reward and neuroeconomic levels of analysis should be confined to the personal level of analysis represented by individual managers on the one hand and individual consumers on the other. This also entails a level of abstraction but it is one that can be satisfactorily handled in terms of the concept of bilateral contingency. (shrink)

ABSTRACT This essay is a critical study of Jason Brennan's Against Democracy. We make three main points. First, we argue that Brennan's proposal of a right to competent government only works if one considers the absence of government a viable proposition, something most of his opponents are not prepared to do. Second, we suggest that Brennan's account of competent decision-making is blind to forms of oligarchic power that work against the very ideals of justice and epistemic virtue that competence is (...) meant to safeguard. Third, we muster empirical evidence to argue that, in the real world, democracy is not just about making decisions and selecting policies, in which case Brennan's argument misses its mark. (shrink)

Gordon Belot investigates the distinctive notion of geometric possibility that relationalists rely upon. He examines the prospects for adapting to the geometric case the standard philosophical accounts of the related notion of physical possibility, with particular emphasis on Humean, primitivist, and necessitarian accounts of physical and geometric possibility. This contribution to the debate concerning the nature of space will be of interest not only to philosophers and metaphysicians concerned with space and time, but also to those interested in laws (...) of nature, modal notions, or more general issues in ontology. (shrink)

Despite a long history in eastern and western culture of defining leadership in terms of virtues and character, their significance for guiding leader behavior has largely been confined to the ethics literature. As such, agreement concerning the defining elements of virtuous leadership and their measurement is lacking. Drawing on both Confucian and Aristotelian concepts, we define virtuous leadership and distinguish it conceptually from several related perspectives, including virtues-based leadership in the Positive organizational behavior literature, and from ethical and value-laden leadership. (...) Then, two empirical studies are presented that develop and validate the Virtuous Leadership Questionnaire, an 18-item behaviorally based assessment of the construct. Among other findings, we show that the VLQ accounts for variance in several outcome variables, even after self-assessed leader virtue and subordinate-rated social and personalized leader charisma are controlled. (shrink)

In this paper, we delve into the significant impact of recent advancements in Artificial Intelligence (AI) on the future landscape of work. We discuss the looming possibility of mass unemployment triggered by AI and the societal repercussions of this transition. Despite the challenges this shift presents, we argue that it also unveils opportunities to mitigate social inequalities, combat global poverty, and empower individuals to follow their passions. Amidst this discussion, we also touch upon the existential question of the purpose of (...) human life in a world where machines predominantly perform work. Additionally, we explore the contentious issue of the moral status and rights of AI entities, contemplating the scenario where machines evolve to become sapient and sentient. The paper concludes with a call to action, emphasizing the necessity to acknowledge these potential outcomes and proactively seek solutions, as part of an inevitable journey through the evolution of human society shared with intelligent machines. (shrink)

The representational arts seem friendly territory for “symbol” theories of aesthetics. Much of the initial resistance one may feel to the idea that a Mondrian composition or a Scarlatti sonata is a symbol evaporates when we switch to a portrait of Mozart, Michelangelo’s Pietá, or Dickens’s A Tale of Two Cities. These representational works have reference to things outside themselves. The portrait is a picture of Mozart; the Pietá is a sculpture of Christ and his Mother; A Tale of Two (...) Cities is about London, Paris, and the French Revolution. It is natural enough to consider the relation between these works and what they are of or about a semantic one. And if the representational is to be understood in terms of this semantic relation it is reasonable to hold that to be representational is to be a symbol of a certain kind. (shrink)