It is an undeniable empirical fact that a human fetus is a member of the species homo sapiens from the moment of conception. There is thus an important sense in which it is a human being in itself, and not simply part of a pregnant woman’s body, despite what defenders of abortion on demand might want us to think. It is also reasonable to suppose that all human beings, and thus human fetuses, are persons, with all that entails, but this (...) is a metaphysical presupposition as opposed to an empirical fact, and is thus contentious. It is argued, however, that this should be of little comfort to the defenders of abortion, because the mere fact that human fetuses have an inherent tendency to become persons is sufficient reason to confer a moral status upon them, which renders abortion morally problematic at best. (shrink)

Pecuniary externalities—costs imposed on third parties mediated through the price system—have typically received little philosophical attention. Recently, this has begun to change. In two separate papers, Richard Endörfer (Econ Philos 38, pp. 221–241, 2022) and Hayden Wilkinson (Philos Public Affairs 50: 202–238, 2022) place pecuniary externalities at center stage. Though their arguments differ significantly, both conclude pecuniary externalities are in some sense morally problematic. If the state is not called on to regulate pecuniary externalities, then, at the very least, (...) individuals should be conscious of how their productive and consumptive decisions affect others by changing prices. We disagree. Both arguments fail, in that neither gives us reason to think pecuniary externalities are cause for moral concern. Unless a new argument emerges, pecuniary externalities should be left alone. (shrink)

Some authors have recently suggested that it is time to consider rights for robots. These suggestions are based on the claim that the question of robot rights should not depend on a standard set of conditions for ‘moral status’; but instead, the question is to be framed in a new way, by rejecting the is/ought distinction, making a relational turn, or assuming a methodological behaviourism. We try to clarify these suggestions and to show their highly problematic consequences. (...) While we find the suggestions ultimately unmotivated, the discussion shows that our epistemic condition with respect to the moral status of others does raise problems, and that the human tendency to empathise with things that do not have moral status should be taken seriously—we suggest that it produces a “derived moral status”. Finally, it turns out that there is typically no individual in real AI that could even be said to be the bearer of moral status. Overall, there is no reason to think that robot rights are an issue now. (shrink)

The paper focuses on the nature and moral status of manipulation. I analyse a popular account of manipulation by Robert Noggle and assess a challenge that has been posed by Moti Gorin. I argue that Noggle’s theory can fend off the challenge. The analysis is instructive in that it enables one to look more closely at the nature of manipulation. I argue, contrary to some proposed accounts, that manipulation essentially involves deception about the manipulator’s intentions. Secondly, since manipulation (...) contains an element of deception, it is, I maintain, prima facie immoral. Finally, I analyse and explain away several examples of allegedly morally non-problematic manipulation. (shrink)

The article recalls the triple-pronged normative structure of familiar liberal democratic theorists of civil disobedience, who argued that conscientious law-breaking should rest on political, moral and legal claims. In opposition to a certain tendency among recent theoreticians of civil disobedience to reduce this complex multi-pronged normativity to one or two prongs, I use the case of Edward Snowden’s whistle-blowing to illustrate and defend the triple-pronged approach. In particular, any sound as well as effective model of civil disobedience needs to (...) highlight its legal underpinnings: conscientious law-breaking should be conceived as ultimately resting on – or expressing basic fidelity to – the law or legality. Only by taking this legal prong seriously can civil disobedients fully acknowledge the pluralistic character of modern societies. Against some radical critics, I argue that this legal approach does not in fact necessarily favor the legal or political status quo. Despite the many strengths of Kimberley Brownlee’s model of conscientious law-breaking, it misses the importance of this legal prong and sometimes rests on a problematic anti-legalism. Consequently, she offers an incomplete model of civil disobedience that cannot sufficiently explain why Snowden and others whose actions fall under the rubric of civil disobedience rely so extensively on legal arguments. (shrink)

This book responds to the need for a retrieval and renewal of the work of Karl Marx through close philosophical analysis of his publications, manuscripts, and letters — especially those relevant to politics, morality, and the future. This philosophical study stands out because of its two principal features. First, it reviews and develops ideas about the future, though often only briefly discussed by Marx and his commentators, drawn from Marx's work. Second, it focuses on collective matters that are critical for (...) Marx's ideas but rarely investigated and still problematic. Part One introduces Marx with a discussion of emancipation and freedom in community. It then discusses the importance of retrieval and the methodology for promoting it. Part Two is about misunderstandings of Marx's ideas about productive development, division of labour, and organisations. Part Three discusses nations, morality, and democracy, all of which Marx supported. Part Four takes up Marx's significant, but misunderstood, ideas about the future and his relation to the anarchists. (shrink)

As groups around the country begin to craft standards for clinical ethics consultations, one focus of that work is the proper procedure for conducting ethics consults. From a recent empirical look into the workings of ethics consult services (ECSs), one worrisome finding is that some ECSs rely on a committee vote when making a recommendation. This article examines the practice of voting and its moral standing as a procedural strategy for arriving at a clinical ethics recommendation. I focus here (...) on the type of clinical ethics conflicts that are most likely to lead an ECS to vote, namely, conflicts involving ethical uncertainty—or, in the Greek, aporia. I argue that in cases of aporia, voting on an ethics conflict is not a morally justifiable procedure. Then on the same grounds that I use to show that voting is ethically problematic, I raise broader concerns about the common practice of making recommendations by other procedures. In contrast to the standard approach of adjudicating between moral claims, I argue that ECSs can best resolve aporetic conflict through the process of clinical ethics mediation. (shrink)

abstract This essay considers the moral status of certain practices that aim to enhance offspring traits. I develop an objection to offspring enhancement that draws on an account of the role morality of parents. I work out an account of parental ethics by reference to premises about child development and to observations about parenting culture in the United States. I argue that excellence in parenthood consists in a dual responsibility both to guide children toward the good life and (...) to accept them as they are. I conclude that prenatal manipulation of healthy and normal characteristics in human offspring fails to balance the dispositional extremes of control and restraint to which many parents today are susceptible. I apply this account of good parenting to the challenging case of height enhancement for short but otherwise healthy children. Finally, I reply to objections, first, about the phenomenology of bearing normative obligations to people who do not yet exist and, second, about the moral logic of criticizing embryo selection in the context of assisted reproduction when we accept child selection in the context of adoption. (shrink)

Recent studies suggest that a non‐isotopic in situ hybridisation (NISH) approach can be successfully employed to investigate the carrier status of female relatives in families of selected patients with Duchenne muscular dystrophy (DMD) or Hunter syndrome, whose diseases are due to a specific X chromosome deletion.Whilst the majority of metaphase spreads from normal females show specific hybridisation signals on both X chromosomes when tested with either dystrophin or Hunter gene‐derived probes, only one X chromosome in each metaphase spread will (...) show the relevant hybridisation complex in female carriers of deletions involving the dystrophin or Hunter gene.Thus, the NISH method can be a valuable diagnostic tool for the detection of the carrier status of female relatives of patients with X chromosome deletions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 323 Person and Religion: An Introduction to the Philosophy of Religion. By ZOFIA J. ZDYBICKA, U.C.J.A. Translated by Theresa Sandok. New York: Peter Lang, 1991. Pp. xix+ 397 (cloth). Zdybicka's volume is the third in Peter Lang's series, "Catholic Thought from Lublin." A convenient way to display the contents of Person and Religion is to elaborate the meaning of " philosophy of religion " and its comprising (...) terms. Philosophy of religion designates the attempt to arrive at an ultimate explanation of the empirically given and existentially apprehended fact of religion (p. 96). In other words, why does religion exist at all and what are its subjective and objective grounds? This endeavor Zdybicka understands to be a recent one. Despite a wealth of reflection on religion over the centuries (See her historical survey, pp. 1-49), only since the 19th century have there been separate disciplines with the phenomenon of religion as their object. Zdybicka also emphasizes that not any kind of philosophy is equal to the task of carrying out the above mentioned attempt. Since the ultimate explanation of religion as truth or fantasy will entail determining whether God exists, only philosophies capable of grasping the real can serve the interests of philosophy of religion. Forms of Kantianism and phenomenology are not equal to the task (p. 97). Only a realistic philosophy connected with a theory of being stands a chance of offering an ultimate explanation of religion. In particular, the metaphysics borne in mind here is that of Krapiec. Peter Lang has recently published an English translation of it under the title, Metaphysics: An Outline of the History of Being (see my review in the January issue of The Thomist.) This work is indispensable background reading for Part III of Zdybicka's volume. Though this metaphysics is existential Thomist, its employment in a philosophy of religion will not resolve the question of which religion is true, though some religions will be ruled out as unsuitable for the human being (p. 97). What is understood as "religion"? In its basic meaning the religious fact is the reference or orientation of the human being toward a transcendent reality (p. 109). Considered more closely, the religious fact is actually multiphasic. First, there is the experience of our own ontic insufficiency and the consciousness of our transcendence and search for a value capable of preserving us in being and giving us complete existential meaning. Second, there is the religious experience in its strict sense. This second phase is itself divided into three phases. First is some kind of revelation from the religious object. Zdybicka stresses that this revelation occurs through signs to which we respond in faith; there is no direct cognitive contact with the religious object. 324 BOOK REVIEWS Second, there is the active response of the one struck by this revelation. The response consists in pursuing union with the deity. This second phase involves purification. Finally, there is the realization of the bond with the sacrum. What is achieved in the human person is holiness. The book concludes (pp. 315-22) with an extended discussion of this value. In sum, the phases of the religious experience properly speaking are: encounter, dialogue, and union. Zdybicka regards religious cults and rites as simply the externalization of religious acts (p. 129). They complete the description of the religious fact. Zdybicka also takes some time to distinguish religious experience from cognitive, moral, and aesthetic experience. Finally, pp. 157-59 contain an interesting inductive argument that the object of religious experience has always been understood as personal. In Part III Zdybicka performs a philosophical assessment of the religious fact. Specifically, the assessment is of the above mentioned introductory phase. Also as mentioned, Zdybicka takes advantage of Krapiec's Gilsonian existential Thomism which has denominated "classical philosophy." This philosophy's analysis of the human person and of reality critically validates both the subjective and objective grounds for the fact of religion properly speaking. The philosophically established subjective grounds include the contingent ontic status of the human person as this is evinced in the presence of the essence/existence composition. They also include an analysis of the person's ability to know and... (shrink)

In this paper I problematize the use of appeals to the common intuitions people have about the morality of our society’s current treatment of animals in order to defend that treatment. I do so by looking at recent findings in the field of cognitive science. First I will examine the role that appeals to common intuition play in philosophical arguments about the moral worth of animals, focusing on the work of Carl Cohen and Richard Posner. After describing the theory (...) of Moral Disengagement—which has been used to explain how people live with themselves when they commit acts that they themselves believe are wrong—I will review the recent empirical research that details the nature of the moral disengagement that accompanies animal treatment. This includes studies that reveal that those who eat animals engage in the following behaviors: They minimize the nature of the harm of killing animals by casting the practice in a positive light; They obscure personal responsibility by blaming others for harms; They minimize the effect of the conduct on the animals by avoiding reference to the animal origins of meat; They derogate vegetarians as a way of avoiding feelings of guilt for their own practices. Perhaps most importantly, a number of empirical studies have shown that people’s intuitions about the moral worth of animals are shaped by their practice of eating animals—and not the other way around. In addition to the studies on moral disengagement, there is another body of research that has attempted to discover what accounts for the individual differences in attitudes people have toward the moral worth of animals. These studies have linked masculinity and traits like Authoritarianism, Social Dominance Orientation and Right Wing Authoritarianism to the tendency to disregard the moral worth of animals. I will briefly summarize this body of research and will then conclude by arguing that this data should cause us to be highly skeptical of the value that the common intuition that people who eat animals have about the moral status of animals may have in helping us understand the actual moral worth of animals. (shrink)

The ubiquity of technology in our lives and its culmination in artificial intelligence raises questions about its role in our moral considerations. In this paper, we address a moral concern in relation to technological systems given their deep integration in our lives. Coeckelbergh develops a social-relational account, suggesting that it can point us toward a dynamic, historicised evaluation of moral concern. While agreeing with Coeckelbergh’s move away from grounding moral concern in the ontological properties of entities, (...) we suggest that it problematically upholds moral relativism. We suggest that the role of power, as described by Arendt and Foucault, is significant in social relations and as curating moral possibilities. This produces a clearer picture of the relations at hand and opens up the possibility that relations may be deemed violent. Violence as such gives us some way of evaluating the morality of a social relation, moving away from Coeckelbergh’s seeming relativism while retaining his emphasis on social–historical moral precedent. (shrink)

It is very natural to think that if two people, x and y, are qualitatively identical and have committed qualitatively identical actions, then it cannot be the case that one has committed something wrong whereas the other did not. That is to say, if x and y differ in their moral status, then it must be because x and y are qualitatively different, and not simply because x is identical to x and not identical to y. In this (...) fictional dialogue between Socrates and Cantor involving infinitely many qualitatively identical agents, this assumption is challenged. (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni Riefenstahl. (...) Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)

Moral indeterminacy can be problematic: prospectively it can give rise to deliberative anguish, and retrospectively, it can leave us in a limbo as to what attitudes it is appropriate to form with respect to past actions with indeterminate moral status. These problems give us reason to resolve ethical indeterminacy. One mechanism for doing so involves the use of our normative powers to place obligations on ourselves and to waive our claims against others. This mechanism could operate (...) through an explicit agreement, but could also operate through implicit endorsement of a social convention. However, there are important limits on when the mechanism can eliminate moral indeterminacy. (shrink)

This paper develops a precise understanding of the thesis of moral encroachment, which states that the epistemic status of an opinion can depend on its moral features. In addition, I raise objections to existing accounts of moral encroachment. For instance, many accounts fail to give sufficient attention to moral encroachment on credences. Also, many accounts focus on moral features that fail to support standard analogies between pragmatic and moral encroachment. Throughout the paper, I (...) discuss racial profiling as a case study, arguing that moral encroachment can help us identify one respect in which racial profiling is epistemically problematic. (shrink)

​The traditional datum concerning moral testimony is that it is (epistemically or morally) problematic--or at least more problematic--than non-moral testimony. More recently, some have sought to analyze the issue of moral testimony within a narrower lens: instead of questioning whether moral testimony on the whole is (more) problematic or not, they have instead focused on possible conditions under which moral deference would be legitimate or forbidden. In this paper, I consider two such (...) features: that of uncertainty and a belief in the greater reliability of another agent. I argue that under these conditions agents have a moral obligation not to defer. I argue that this is because uncertainty and judgments of others’ reliability covary with social status and are themselves products of oppressive social hierarchies, in which case moral deference under these conditions would result in many harms, the most significant being that it would itself propagate oppression by perpetuating unjust social hierarchies. In this way, this paper focuses on how unjust social facts can affect our moral epistemology, specifically how social and political factors can affect moral testimony, and is thus an exercise in non-ideal moral epistemology. (shrink)

Experience machines, popularized in print by Robert Nozick and on the screen by the Wachowskis’ film The Matrix, provide highly or perfectly realistic experiences that are more pleasant and less painful than those generated in real life.1 The recent surge in virtual reality and neuro-prosthetic technologies is making the creation of real-world experience machines seem inevitable and perhaps imminent.2 Given the likelihood of the near-future availability of such machines, it behooves ethicists to consider the moral status of their (...) potential uses. In this chapter, we investigate the use of experience machines in palliative and end-of-life care situations. We pair up various kinds of experience machines with patients in a range of conditions, to illuminate the moral problems and benefits of using experience machines in this way. We argue that the use of Nozickian experience machines to treat patients in most conditions would be morally problematic, most notably for the negative effects on patients’ characters and real-world relationships. Informed by this initial moral analysis, we describe an experience machine that is more closely related to a virtual reality game, and argue that it can avoid the moral problems encountered by Nozickian experience machines. In fact, we argue that this new kind of experience machine could improve some patients’ characters and relationships with real-world people. We conclude that some kinds of experience machines could benefit many patients, especially those in extreme pain and those not in the position to meaningfully interact with their loved ones in reality. We also note that certain kinds of experience machines could be useful for religious people, for whom the range of palliative and end-of-life care options is often thought to be relatively narrow. (shrink)

There is an apparent gap between public policy on embryo research in the United Kingdom and its ostensible justification. The rationale is respect for the “special status” of the embryo, but the policy actively promotes research in which embryos are destroyed. Richard Harries argues that this is consistent because, the “special status” of the human embryo is less than the absolute status of persons. However, this intermediate moral status does no evident work in decisions relating (...) to the human embryo. Rather, public policy seems to be based on a different account of “special status”: that developed by Mary Warnock. According to this, the embryo has no inherent status and the language of “special status” serves rather to accommodate the feelings of those who object to embryo research. This “emotivist” account is highly problematic, not so much for its attitude to the embryo as for its subversion of public moral reasoning. (shrink)

Nicholas Agar argues, that enhancement technologies could be used to create post-persons—beings of higher moral status than ordinary persons—and that it would be wrong to create such beings.1 I am sympathetic to the first claim. However, I wish to take issue with the second.Agar's second claim is grounded on the prediction that the creation of post-persons would, with at least moderate probability, harm those who remain mere persons. The harm that Agar has in mind here is a kind (...) of meta-harm: the harm of being made more susceptible to being permissibly harmed—more liable to harm. Agar suggests that, if post-persons existed, mere persons could frequently be permissibly sacrificed in order to provide benefits to the post-persons. For instance, perhaps they could be permissibly used in lethal medical experiments designed to develop medical treatments for post-persons. By contrast, he suggests that mere persons typically cannot be permissibly sacrificed to provide benefits to other mere persons. He thus claims that mere persons would be more liable to sacrifice if post-persons existed than they are in the absence of post-persons. The creation of post-persons would make them worse off in at least this one respect.Agar then argues that, since this meta-harm imposed on mere persons would not be compensated, it would be wrong to create post-persons. It is here that I believe his argument begins to go awry. According to the concept of compensation that Agar deploys , a harm imposed on X is compensated just in …. (shrink)

Several scholars argue that Aristotle's character friendship occurs only between completely virtuous moral agents. Oppositely, others seem to be more skeptical about such an interpretation. Especially John Cooper (1980) has given to us an original and creative understanding of the matter at hand. Particularly, he argues that not only the completely virtuous agents can engage in virtuous friendship; less morally developed agents can do so as well. The key advantage of Cooper’s account is that it allows agents of unequal (...) moral development to take part in character friendship. That is, if an agent A has advanced high in the levels of moral excellence, this does not mean that he necessarily has to find someone with the same level of moral excellence to befriend. I will argue that this agent can also be friends with a less morally developed agent. I will call this relationship: character friendship between unequally developed moral agents. In fact, I will not only follow Cooper’s argument, but I will also try to extend it. Specifically, I will argue that the most significant upshot of his argument is that Aristotle has found a way for the less morally developed agents to improve in moral excellence, throughout the help of their friends of higher moral status. I will suggest then, that this interpretation of character friendship, can not only give an answer to scholars that support the ‘completely virtuous agents’ presupposition; and especially those who reject character friendships between unequally developed agents (Cocking & Kennett, 1998). Cooper’s interpretation can be the stepping stone in understanding character friendship as a mechanism in Aristotle’s hands for his less morally developed agents to further advance in virtue. If we accept the ‘completely virtuous agents’ argument about character friendship then the circumstance just mentioned is impossible. In order for Cooper’s argument to work, however, we have to give a solution to what I will call the Reciprocity Problem. Unfortunately, he does not discuss this matter. I will suggest though, that Aristotle covers this potential gap of Cooper’s theory in his discussion based on superiority. In this manner we can have a less problematic version of the extended view of character friendship. I will thus deploy this paper in the subsequent order. I will first explore the ‘completely virtuous agents’ view of character friendship. I will argue there that despite the merits of such an interpretation, Aristotle seems to offer a more extended view of character friendship. My next task will be to demonstrate why Cooper’s position covers this extended view. Before I move one, I will give a solution to the Reciprocity Problem. After that, I will try to show that Cooper’s view can be extended, so as to explain the prospect of less morally developed agents to advance in the sphere of virtue, by participating in character friendship between unequally developed moral agents. Lastly, I will try to show how the extended view of character friendship can work as an anti-luck shield against the vulnerability of the human character. (shrink)

Abstract Studying a concept as complex as moral distress is an ongoing challenge for those engaged in empirical ethics research. Qualitative studies of nurses have illuminated the experience of moral distress and widened the contours of the concept, particularly in the area of root causes. This work has led to the current understanding that moral distress can arise from clinical situations, factors internal to the individual professional, and factors present in unit cultures, the institution, and the larger (...) health care environment. Corley et al. ( 2001 ) was the first to publish a quantitative measure of moral distress, and her scale has been adapted for use by others, including studies of other disciplines (Hamric and Blackhall 2007 ; Schwenzer and Wang 2006 ). Other scholars have proposed variations on Jameton’s core definition (Sporrong et al. 2006 , 2007 ), developing measures for related concepts such as moral sensitivity (Lutzen et al. 2006 ), ethics stress (Raines 2000 ), and stress of conscience (Glasberg et al. 2006 ). The lack of consistency and consensus on the definition of moral distress considerably complicates efforts to study it. Increased attention by researchers in disciplines other than nursing has taken different forms, some problematic. Cultural differences in the role of the nurse and understanding of actions that represent threats to moral integrity also challenge efforts to build a cohesive research-based understanding of the concept. In this paper, research efforts to date are reviewed. The importance of capturing root causes of moral distress in instruments, particularly those at unit and system levels, to allow for interventions to be appropriately targeted is highlighted. In addition, the issue of studying moral distress and interaction over time with moral residue is discussed. Promising recent work is described along with the potential these approaches open for research that can lead to interventions to decrease moral distress. Finally, opportunities for future research and study are identified, and recommendations for moving the research agenda forward are offered. Content Type Journal Article Pages 1-11 DOI 10.1007/s10730-012-9177-x Authors Ann B. Hamric, School of Nursing, Virginia Commonwealth University, P.O. Box 980567, Richmond, VA 23298-0567, USA Journal HEC Forum Online ISSN 1572-8498 Print ISSN 0956-2737. (shrink)

In 2010, the Venter lab announced that it had created the first bacterium with an entirely synthetic genome. This was reported to be the first instance of ‘artificial life,’ and in the ethical and policy discussions that followed it was widely assumed that the creation of artificial life is in itself morally significant. We cast doubt on this assumption. First we offer an account of the creation of artificial life that distinguishes this from the derivation of organisms from existing life (...) and clarify what we mean in asking whether the creation of artificial life has moral significance. We then articulate and evaluate three attempts to establish that the creation of artificial life is morally significant. These appeal to the claim that the creation of artificial life involves playing God, as expressed in three distinct formulations; the claim that the creation of artificial life will encourage reductionist attitudes toward the living world that undermine the special moral value accorded to life; and the worry that artificial organisms will have an uncertain functional status and consequently an uncertain moral status. We argue that all three attempts to ground the moral significance of the creation of artificial life fail, because none of them establishes that the creation of artificial life is morally problematic in a way that the derivation of organisms from existing life forms is not. We conclude that the decisive moral consideration is not how life is created but what non-genealogical properties it possesses. (shrink)

The concept of group moral responsibility is apparently problematic, in that it is unobvious in what sense a group, which is evidently not a conscious rational subject like an individual person, can be held morally accountable. It is unclear how a group can be said to have the ability to form beliefs and intentions needed for genuine group actions of moral assessment. Broadly speaking, there are two separate platforms from which one can investigate this problem: individualism and (...) collectivism. Subscribing to the doctrinal position of methodological individualism, individualists suggest that individual members are the only capable entities, who can meaningfully bear the burden of moral responsibility, either individually or in a shared way. Collectivists, on the other hand look for an alternative position wherein they advocate the genuine possibility of attributing moral responsibility to groups qua groups. The collectivist approach has received substantial philosophical attention in recent years. However, most supporters of collectivism search for such possibility without strongly invoking the idea of group moral agency. In this article, I argue for an irreducible moral agential status of groups in terms of the intentional actions of their constituent individual members and their special conglomeration. I suggest that certain collective or group entities are capable of being identified as proper agents of moral assessment analogous to that of individual agents of similar assessment. (shrink)

Only rarely does Descartes deal with specifically political questions, and then when he does so, it is only by denial, to justify his refusal to “become involved” in politics. All the texts show that this attitude of rejecting politics is not dictated primarily by prudence, the rule in this century of intolerance, but by a concern for philosophical consistency. This denial, as we will be attempting to establish, seems conditioned by fundamental options of Cartesian philosophy. For the moment we will (...) only examine the theoretical effects of this refusal to write about politics other than by denial; such effects seem to us to consist in the exclusion of politics outside the realm of knowledge and its problematic inclusion into that of morality. And although it has been possible to speak of a “political Descartes”, it is completely against his stated intentions. This Descartes would be political in spite of himself. In fact, such an approach can only consist in a political interpretation of this denial, in a political reading of the texts that reject, or more often pass over in silence, politics as such. Although a reading of this kind can be at best a hazardous one, we will not attempt to challenge its legitimacy, for it is certainly possible to affirm that the work of Descartes is ridden and wrought by the question of politics (just as all philosophical thought, in one way or another, must of necessity confront political reality), but it is not without importance to begin by noting that it is never touched upon other than indirectly, obliquely, through the use of theoretical devices whose finality is not political. (shrink)

Patience has generally been regarded as a virtue, but it has proved very difficult to say why it should be so. A phenomenology of patience quickly turns into ambiguity and confusion, and it does so in a way that seems to hinder any straightforward ethical evaluation of the term. Kant suggests that patience’s moral status can only be recognized if it is supplemented by a less problematic virtue such as, say, courage. Kierkegaard in contrast keeps the focus (...) on patience itself but argues that to do so we need a radical change in our conceptions of time and the self. With those changes in place, however, we can re-evaluate patience as an end rather than a means to an end. Levinas’s cryptic remarks on patience and passivity can seem to cohere with this Kierkegaardian move. But by reading them in the context of his accounts of aging, the passing of time, and the despite oneself (malgré soi), this paper will argue that their real significance lies elsewhere. Even Kierkegaard’s patience relies on a distinction between a bad or problematically passive patience and a good patience. Levinas consistently, and especially in Otherwise than Being, draws our attention back to that excessive, non-redeemable, and “absolute” passivity. (shrink)

Nationality, citizenship and eligibility have become increasingly relevant in sport, especially under current conditions where there is an increasing number of players who change their ?allegiances? for international sporting purposes. While it is reasonable to link such trends to wider processes of globalisation and accelerated migratory flows, it is also evident that national sporting representation is subject to the venal power of commercialism. The concern is that national representation has developed into a more strategic, planned and economically driven activity that (...) involves the overt collusion of national governing bodies and individual athletes. This paper evaluates the moral status of current international sporting representation (ISR) rules and practices as they relate to the Olympics. By drawing on de Coubertin's notion of ?sincere internationalism? and Walsh and Guilianotti's (2007) work on hyper-commercialisation in sport, we will attempt to demonstrate how some of the current practices and regulations of ISR are ethically problematic. We conclude that current ISR regulations are drawn too loosely and need to be amended in order to limit the moral pathologies identified. Our critique is informed by empirical data collected from members of the Welsh sports practice community. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Moral status is the moral value that something has in its own right, independently of the interests or concerns of others. Research using human embryonic stem cells implicates issues about moral status because the current method of extracting hESCs involves the destruction of a human embryo, the moral status of which is contested. Moral status issues can also arise, however, when hESCs are transplanted into embryonic or fetal animals, thereby creating human/ (...) nonhuman stem cell chimeras. In particular, one concern about chimera research is that it could confer upon an animal the moral status of a normal human adult, but then impermissibly fail to accord the animal the protections it merits in virtue of its enhanced status. Understanding the public policy implications of this ethical conclusion is complicated by the fact that certain views about the moral status of the embryo cannot legitimately be used to justify public policy decisions. Arguments like those employed in the abortion debate for the conclusion that abortion should be legally permissible even if abortion is not morally permissible also support, to a more limited degree, a liberal policy on hESC research involving the creation of chimeras. (shrink)

Part of the contents: 0Happiness and Theôria in Books I and X of the Nicomachean Ethics / Eudaimonia and Theôria within the 0Nicomachean Ethics / The Meaning of Bios in Aristotle’s Ethics and Politics / Approximation and Acting for an 0Ultimate End / Eudaimonia, Theôria, and the Choiceworthiness of Practical Wisdom / Aristotle on the Choice of Lives: Two Concepts of Self-Sufficiency / Eudaimonia and Contemplation in Aristotle’s Ethics / Theôria and Praxis in Aristotle’s Ethics / The Private Moral (...) Life of Aristotle’s Philosopher: A Defense of a Non-Intellectualist Interpretation of Nicomachean Ethics / Theoretical Life, Practical Life, and Happiness in Aristotle / The Best Life according to Aristotle : A Reconsideration / Theos, Theôria, and Therapeia in Aristotle’s Ethical Endings / Contemplation and Service of the God: The Standard for External Goods in Eudemian Ethics / 0Aristotelian Immortality.0. (shrink)

In order to take ethical considerations of patenting biological material into account, the so-called “ordre public or morality clause” was implemented as Article 6 in the EC directive on the legal protection of biotechnological inventions, 98/44/EC. At first glance, this seems to provide a significant advantage to the European patent system with respect to ethics. The thesis of this paper argues that the ordre public or morality clause does not provide sufficient protection against ethically problematic uses of the patent (...) system within the area of life. On the contrary, there are worrisome obstacles to any effective and comprehensive critical analysis of the ethical aspects of bio-patenting, especially in the field of agriculture. These obstacles can be seen as indirect consequences of the implementation of ethical considerations in form of the ordre public and morality clause in the EC Directive. Therefore, Article 6 of the EC Directive on the legal protection of biotechnological inventions seems to ultimately weaken the position of ethics in the debate concerning bio-patenting because the ordre public and morality clause is usually interpreted in an exclusively bio-ethical way in the sense of an “intrinsic ethics,” which is primarily interested in questions regarding the moral status of particular entities. It is argued that an important cause of this phenomenon is that the decisive reasons against bio-patenting are concerns of social ethics, and not bio-ethics. (shrink)

Anthropocentrism—the idea that humans are the most important beings there are—comes in many guises. One version of anthropocentrism states that only humans have full moral status. Those who argue for such a position usually refer to some trait that confers moral status and that only humans have. Suggestions include linguistic ability, self-awareness or rationality. However, regardless of what trait one picks it will not track the line between Homo sapiens and other species. You will always be (...) able to find some non-human animal that possesses the trait to a greater degree than some human does— even potentially. Koplin and Wilkinson1 adopt a broadly sentientist position: moral status is conferred by some mental or cognitive function. They discuss two sources of moral uncertainty related to this. In cases of moral uncertainty of the first type, it is uncertain whether Property X confers moral status. In cases of uncertainty of the second type, we assume it to be true that moral status is conferred by X, but it is uncertain whether a particular entity possesses the property. There are reasons to believe …. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Exemplarities: A Response to Timothy Hampton and Karlheinz StierleFrançois Cornilliat*Karlheinz Stierle and Timothy Hampton have both played a major part in defining and mapping the much-debated subject of exemplarity: Stierle as early as 1972, in his ground-breaking article for Poétique, 1 Hampton in his acclaimed 1990 book, Writing from History. 2 While their approaches have a lot in common, they also reveal a number of important differences, and it (...) seems to me that those differences teach us something not only about the problem of exemplarity in the Renaissance but also about the role played by that notion in our latest effort to capture that mercurial era. In what follows I will—somewhat unfairly—focus on the conceptual differences revealed by our authors’ contributions and reflect on what they suggest regarding the problematic usefulness of the exemplary in the Renaissance as well as in Renaissance studies.A convenient place to start, to differentiate the two contributions, is the status of the emerging genre of the novella vis-à-vis the problem of exemplarity. For Stierle “contingency is the real poet of the novella.” For Hampton, the novella genre also marks a shift in the regime of exemplarity, but the “real poet of the novella” is not exactly contingency; it is not exemplarity either, but some kind of sub-species. Yet to define that sub-species in Hamptonian terms is to abandon the immanent or “formal” descriptions practiced in the discipline of “pure” poetics. It would not be sufficient, for instance, to decide that the novella poetic principle is “political exemplarity,” [End Page 613] as opposed to “moral exemplarity.” Hampton tells us that the Heptameron recasts the fictions of aristocratic heroism “as tales whose exemplarity is moral, rather than political.” But such a recasting, seen from another level of interpretation, is indeed a political gesture.Whatever is political—as a topic—in the romance genre, is anachronistic and fictional; it is a set of poetic tricks appealing only to private fantasy. Fantasy, however, still has the capacity to mistaking itself for a pertinent social ambition and a program for action, as in the case of Don Quixote. This makes it all the more visible as a symptom of displaced politics. Whatever is moral—as a topic—in the novella genre, bears witness to the prince’s reinforced power to define what noble people are supposed to do—to talk about, that is, within closely guarded borders. The “moral” is, if considered in its infrastructure, a topic mapped by the political; similarly the production of discourse, the very domain of rhetoric or poetics is recast as the new type of political “action” expected from the former ruling class. So the “real poet” of the novella splits in two; and in that sense, one could say that the novella has no such thing as a “real poet.” The poets of the novella are a class whose conception of exemplarity has just been redefined by the prince. One could say that the “real poet” is the prince or the emerging nation state, but this would overlook the division of tasks between the poet and the prince. Instead of expressing the values of its own politics, the poetic class of the Heptameron’s narrators fundamentally exemplifies those values which the prince or the state allows them to have. Conversely, it is not the prince who does the talking or the writing in this exemplification process. And this, incidentally, leads us to a perhaps naive question about the status of the Queen of Navarre as an author vis-à-vis this new princely role: is she on one side or the other, is she a go-between?At any rate, exemplarity also splits: a good exemplar of those recast values (say, honnesteté) also exemplifies something else which is not set within those values per se but has to do with who institutes them, and why. In other words a good exemplar is also, from an interpretative standpoint, immediately a symptom, insofar as it is an operator for some invisible casting. Behind a “I want to be like x” kind of statement lurks an “I want you to be like that,” with the latter... (shrink)

ABSTRACT The paper presents and briefly analyses some of the provisions of a Romanian legislative proposal which arrived at the Presidency for ratification twice, in slightly different forms, and which was rejected twice: the first time at the Presidency in October 2004, and the second at the Constitutional Court in July 2005. The proposal was finally dropped in February 2006. My intention here is to point to some of the most problematic deficiencies of the legislative document in the hope (...) that this may assist with future debates and regulations on assisted reproduction either in Romania or elsewhere. I have isolated the features to be discussed under two headings: (1) whose are the rights to reproduce, that the document claimed to ‘acknowledge, regulate and guarantee’ and (2) what is the status of the embryo, the child and the surrogate mother? (shrink)

For both Levinas and Løgstrup, the moral encounter is characterized by an asymmetrical prioritization of the other over the self. Some take Løgstrup’s account to be an improvement on Levinas’s, however, insofar as it appears to both foreswear the hyperbole of the latter’s view and ground the ethical claim in the natural conditions of human life. This paper argues, in contrast, that Løgstrup’s own account is equally hyperbolic in its characterization of the self as fundamentally evil, and that his (...) attempt to ground the ethical demand in structures of ‘life’ raises serious difficulties. I will argue that Levinas’s stronger commitment to phenomenology both rules out the problematic metaphysical claims on which Løgstrup’s ontological ethics depends and helps explain the methodological function of Levinas’s own hyperbole. Unlike Løgstrup, Levinas insists that the challenge is not eradicating the claims of the self, but rather resisting its pretention to a global normative priority. In making this case I refute the argument that Levinas, unlike Løgstrup, is committed to a ‘command’ view of morality—whereby it is the other person’s authoritative status that underwrites the moral force of the claim, not the content of the claim itself. But on Levinas’s view, ‘demand’ and ‘command’ accounts merge in his understanding of the face-to-face encounter because responding to the content of the demand—that I treat the other’s claim as reason-giving— just is to see the other person as an authority capable of making legitimate claims on me. (shrink)

Intuition-based argumentation is ubiquitous across most philosophical subfields. Moral and political philosophers in particular frequently justify normative principles on the basis of thought experiments that evoke judgments about specific (hypothetical) cases. Lately, however, intuitions have come under attack and their justificatory force is being questioned. This essay asks whether we can acknowledge the epistemic fallibility of intuitions, while nevertheless reaching reliable normative conclusions. To that effect I investigate three different strategies of relating specific intuitions and more general normative principles: (...) the intuitionist, coherentist, and foundationalist methods. Showing that none of them succeeds in making up for the problematic epistemic status of intuitions in the justificatory process, I conclude that normative principles are unreliable to the extent that they are based on thought-experiments. (shrink)

A key objection to naturalistic versions of moral realism is that the (meta)semantics to which they are committed yields incorrect semantic verdicts about so-called Moral Twin Earth cases. Recently, it has been proposed that the Moral Twin Earth challenge can be answered by adopting a neo-Aristotelian semantics for moral expressions. In this paper, I argue that this proposal fails. First, however attractive the central claims of neo-Aristotelianism are, they do not for us have the status (...) of analytic constraints on the use of ethical expressions, as they must if they are to block Moral Twin Earth counterexamples. Second, even when the neo-Aristotelian’s claims are taken as non-negotiable analytic constraints, the semantics faces a dilemma: if characteristic human functioning is understood in an ethically neutral way, the semantics yields an incorrect intension for ‘good human.’ If human functioning is understood in an ethically partisan way, the semantics fails to avoid problematic Moral Twin Earth counterexamples. (shrink)

This article discusses what is involved in having full moral status, as opposed to a lesser degree of moral status and surveys different views of the grounds of moral status as well as the arguments for attributing a particular degree of moral status on the basis of those grounds.

In this article I want to reconstruct some threads of the recent discussions on pragmatism and genealogy. As a starting point for this discussion, I will discuss Koopman’s proposal of a division of labor between genealogy and pragmatism. While preserving his emphasis on the centrality of problematization in genealogical inquiry, I will try to challenge his ideas about the incompatibility between genealogies that problematize, and genealogies that vindicate. In the subsequent parts of the paper, I aim at developing the hypothesis (...) about the compatibility between problematization and vindication by discussing two different pragmatist approaches to genealogy: Hans Joas’s genealogy of human rights, and Mathieu Queloz’s pragmatic genealogy. In the final part of the article, I will sketch a possible contribution to the understanding of the normative status of genealogies, by focusing on Dewey’s concept of evaluation. More specifically, I hope to show that evaluative genealogy inquiries can preserve their sui generis normative force, without being reduced to a tool for defending and backing ready-made moral and political positions. (shrink)

While philosophers have been debating for decades on whether different entities—including severely disabled human beings, embryos, animals, objects of nature, and even works of art—can legitimately be considered as having moral status, this question has gained a new dimension in the wake of artificial intelligence (AI). One of the more imminent concerns in the context of AI is that of the moral rights and status of social robots, such as robotic caregivers and artificial companions, that are (...) built to interact with human beings. In recent years, some approaches to moral consideration have been proposed that would include social robots as proper objects of moral concern, even though it seems unlikely that these machines are conscious beings. In the present paper, I argue against these approaches by advocating the “consciousness criterion,” which proposes phenomenal consciousness as a necessary condition for accrediting moral status. First, I explain why it is generally supposed that consciousness underlies the morally relevant properties (such as sentience) and then, I respond to some of the common objections against this view. Then, I examine three inclusive alternative approaches to moral consideration that could accommodate social robots and point out why they are ultimately implausible. Finally, I conclude that social robots should not be regarded as proper objects of moral concern unless and until they become capable of having conscious experience. While that does not entail that they should be excluded from our moral reasoning and decision-making altogether, it does suggest that humans do not owe direct moral duties to them. (shrink)

Given the link between over-population and climate change, and the high levels of consumption in affluent societies, several scholars have recently raised scepticism that there is a human right to decide the spacing and number of one’s children, or even that there is a human right to procreate at all. In this chapter, I depart from this philosophical trend and explain why there is a human right to choose to procreate and to have multiple children. I argue that philosophical accounts (...) advocating for limited procreation tend to rely on at least one of three problematic assumptions. These are assumptions about children’s moral status, parental entitlements, and the actual value of the parent-child relationship as compared to other environmentally unfriendly activities. (shrink)

Zhu Xi’s 朱熹 interpretations systematized the Five Classics; moreover, he elevated the “Four Books” to such a supra-canonical status that these texts along with his commentaries became the core curriculum for civil service examinations from the early 13th century to the 20th century. Inquiring into what was the essential and unique Song 宋 character of Classical scholarship, we will highlight the canonical Ritual Classics because these texts were crucial for centuries, especially during the Han 漢 through Tang 唐 dynasties. (...) We show how Zhu updated ritual practices by focusing on the Yili 儀禮 as the crucial Classic for guidelines on etiquette, and also rebalanced the relation between rituals and moral “principles.” We will explore how Zhu’s systematization of moral principles and ritual did not fully resolve tensions from his major 11th-century philosophical predecessors regarding principles and ritual, as well as the Four Books and the Five Classics. Even if Dai Zhen’s 戴震 criticism of Zhu was somewhat misplaced or overstated, tensions within Zhu’s views provide us a basis for understanding Dai’s attacks and ambivalence among Qing 清 and 20th-century scholars toward Zhu Xi’s philosophy. (shrink)

Personhood argument is important in moral philosophy specially to determine the moral status of a being (human or non-human) and organism. Justifying moral status of these is significant and necessary because without knowing whether those substances have moral status, it is difficult to sketch a moral considering framework for moral action towards them. There are a number of standards e.g. sentience, higher cognitive capacities, the capacity to flourish, sociability, the possession of (...) life, viability, personhood etc, to determine moral status of human beings, non-human beings and organisms. In biomedical ethics it is widely discussed whether the abnormal and marginal human beings, animals and foetus are moral agents. The beings and organisms which qualify the test for moral status are considered as moral agents and the society has moral obligations to ensure their moral rights. Personhood is one of the criteria to determine a being or organism as a moral agent. In this article I will examine whether the argument of personhood is acceptable in justifying the agency of different kinds of beings and organisms. It is because the personhood requirement for the moral status is too demanding as claimed by contemporary ethicists who work for animal rights and the rights of the foetus to flourish. (shrink)

The moral status of human-animal chimeras that have human brain cells is especially concerning. The concern is that such animals have the same high moral status as human beings. Why? Julian Koplin suggests that support for this concern is based on this claim: capacities unique to humans gives one a high or full moral status. Koplin then proceeds to convincingly object this claim. However, I argue that the concern is instead based on a different (...) claim: for those humans who do have a high moral status, it is their (or some of their) mental capacities that confer this high moral status. Since having a human brain that is not too impaired is sufficient for having these mental capacities, and human-animal chimeras -- with brains composed of a sufficient number, type, and structure of human cells -- will have a human brain that is not too impaired, it follows that such animals would have the same moral status as human beings. (shrink)

In the last half century, decision theory has had a deep influence on moral theory. Its impact has largely been beneficial. However, it has also given rise to some problems, two of which are discussed here. First, issues such as risk-taking and risk imposition have been left out of ethics since they are believed to belong to decision theory, and consequently the ethical aspects of these issues have not been treated in either discipline. Secondly, ethics has adopted the decision-theoretical (...) idea that action-guidance has to be based on cause–effect or means–ends relationships between an individual action and its possible outcomes. This is problematic since the morally relevant connections between an action and future events are not fully covered by such relationships. In response to the first problem it is proposed that moral theory should deal directly and extensively with issues such as risk-taking and risk imposition, thereby intruding unabashedly into the traditional territory of decision theory. As a partial response to the second problem it is proposed that moral theorizing should release itself from the decision-theoretical requirement that the moral status of an action has to be derivable from the consequences (or other properties) that are assignable to that action alone. In particular, the effects that an action can have in combination with other actions by the same or other agents are valid arguments in an action-guiding moral discourse, even if its contribution to these combined consequences cannot be isolated and evaluated separately. (shrink)

Moral status ascribes equal obligations and rights to individuals on the basis of membership in a protected group. Substance change is an event that results in the origin or cessation of individuals who may be members of groups with equal moral status. In this paper, two substance changes that affect the moral status of human embryos are identified. The first substance change begins with fertilization and ends with the formation of the blastocyst, a biological (...) individual with moral status comparable to that ascribed to human organs. The second substance change begins at implantation and ends late in embryological development with the formation of the human body, an organism with moral status as a human being. The bioethical implications of each substance change are explored. The Two Substance Change theory is contrasted with continuity theories, which recognize no substance change in embryological development and with fertilization-only substance change theories. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic (...) value is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)