The paper connects two central ethical views, both with a rich tradition, sentimentalism and contractualism. From the former, it also borrows the response-dependentist metaphysics. The idea of combining the two has been sketched before, but not systematically and explicitly; for instance, in various comments on classical authors, especially on Kant and elsewhere, most prominently in Habermas. Here is the kernel of the present proposal. Our initial practical intuitions are emotion-based and the values, when detected, are response-dependent. This is the starting (...) point borrowed from sentimentalism. These intuitions get improved by reflection, and by dialogue that crucially involves perspective taking. If all goes well, this results in insights, in particular into principles that all rational parties can agree about in a kind of “contract.” This brings two traditions, the one of David Hume and Adam Smith, and the other of Kant, together. The resulting theory would be a kind of sentimentalist, response-dependentist contractualism. (shrink)

I identify two mutually exclusive notions of formalism in Kant’s Critique of Aesthetic Judgement: a thin concept of aesthetic formalism and a thick concept of aesthetic formalism. Arguably there is textual support for both concepts in Kant’s third critique. I offer interpretations of three key elements in the Critique of Aesthetic Judgement which support a thick formalism. The three key elements are: Harmony of the Faculties, Aesthetic Ideas and Sensus Communis. I interpret these concepts in relation to the conditions for (...) theoretical Reason, the conditions for moral motivation and the conditions for intersubjectivity, respectively. I conclude that there is no support for a thin concept of aesthetic formalism when the key elements of Kant’s Critique of Aesthetic Judgement are understood in the context of his broader critical aims. (shrink)

The question of whether food is art depends primarily on the definition of art that we agree to accept. The article proposes a model that helps us to focus our mind on what could be, and how we should understand the art of food, if we accept, having applied a fairly liberal theory of art, that food can actually be art. It is argued that there are no methodological or factual constraints indicating that food could not, under some circumstances, be (...) high art. This hypothetical form of art is called ‘edible art’. (shrink)

Abstract This article outlines Locke's theory of war as found in his political writings and seeks to redress a perceived imbalance in John Locke's morality of war. Locke's strident rejection of any sense of proportionality in warfare against unjust aggression, as read in the Second Treatise of Government, has to be tempered with his general philosophical programme against extremism of any sort. Arguably, Locke's war ethic when read alone is strict, objective, and emphatic, but when compared with his epistemological work, (...) its righteousness is reduced to extreme circumstances. (shrink)

The main aim of my thesis is to ascertain whether empathy has the required qualities of an emotion. Disagreement is rife regarding the process leading to the arousal of an emotion, which creates uncertainty as to what exactly an emotion is, and how it appears. This is the first issue I tackle in my work, as I concentrate on examining some of the significant cognitive and feeling theories of emotions. My study of these theories outlines their downsides, and I instead (...) propose to retain a hybrid definition that combines the advantages of both families of theories to provide a balanced approach that recognises the importance of both physical changes and cognitions. The focus of my work then moves specifically onto empathy, with the intention of precisely defining this term too, its functioning, as well as the meaning of the expression ‘feeling empathy for someone’. The existing literature on empathy fails to provide a clear understanding of empathy’s classification as an emotion or a skill. My work is original in that I avoid assertions and clearly establish that empathy constitutes an emotion based on the definition of emotion I advance in the first part of my work. (shrink)

This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special (...) attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting. There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well. Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich. (shrink)