Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not resolve the (...) issue. -/- Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. -/- Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. (shrink)

According to the Law of Non–Contradiction, no statement and its negation are jointly true. According to many critics, Christians cannot serve both the orthodox faith and the Law of Non–Contradiction: if they hold to the one they must despise the other. And according to an impressive number of these critics, Christians who cling to the traditional doctrine of the Trinity must despise the Law of Non–Contradiction. Augustine's statement of this doctrine poses the problem as poignantly as any.

FramesIn 1934 the Belgian artist René Magritte painted a room with a view. On an easel in front of the window stands a painting depicting the very piece of landscape blocked from sight. Magritte named his painting La Condition Humaine (“The Human Condition”), which is quite apt, for the life of everyone is determined by windows, doors, mirrors and many other frames. Indeed, to avert anxiety, one actually cultivates social behavior born of the fear of being “outside the frame.” Because (...) of this apprehension, we organize all reality into a series of preestablished frames. (shrink)

Dieses Lehrbuch behandelt zentrale naturphilosophische Probleme, die durch Theorien der modernen Naturwissenschaften aufgeworfen werden. Es fragt, welches Bild von Raum, Zeit, Materie, Leben und Bewusstsein sich aus ihnen ergibt, aber auch nach den Konsequenzen der aktuellen Umweltkrise für unser praktisches Verhältnis zur Natur. Der Autor Prof. em. Dr. Andreas Bartels hat Mathematik, Physik und Philosophie studiert und ist emeritierter Professor für Natur- und Wissenschaftsphilosophie an der Universität Bonn.

Should we take into account an artist's personal moral failings when appreciating or evaluating the work? In this essay, I seek to expand Berys Gaut's account of ethicism by showing how moral judgment of an artist's private moral actions can figure in one's overall evaluation of their work. To expand Gaut's view, I argue that the artist's personal morality is relevant to our evaluation of their work because we may only come to understand the point of view of the work, (...) and therefore the work's prescribed attitude, by examining the values, attitudes, and behaviors of the artist. This view is defended against a rival account offered by Bernard Wills and Jason Holt, which holds that the artistic evaluation of an artist's work is independent from the moral evaluation of their life except in extreme cases. (shrink)

Three studies test eight hypotheses about (1) how judgment differs between people who ascribe greater vs. less moral relevance to choices, (2) how moral judgment is subject to task constraints that shift evaluative focus (to moral rules vs. to consequences), and (3) how differences in the propensity to rely on intuitive reactions affect judgment. In Study 1, judgments were affected by rated agreement with moral rules proscribing harm, whether the dilemma under consideration made moral rules versus consequences of choice salient, (...) and by thinking styles (intuitive vs. deliberative). In Studies 2 and 3, participants evaluated policy decisions to knowingly do harm to a resource to mitigate greater harm or to merely allow the greater harm to happen. When evaluated in isolation, approval for decisions to harm was affected by endorsement of moral rules and by thinking style. When both choices were evaluated simultaneously, total harm -- but not the do/allow distinction -- influenced rated approval. These studies suggest that moral rules play an important, but context-sensitive role in moral cognition, and offer an account of when emotional reactions to perceived moral violations receive less weight than consideration of costs and benefits in moral judgment and decision making. (shrink)

Morgan Luck raises a potentially troubling problem for gamers who enjoy video games that allow the player to commit acts of virtual murder. The problem simply is that the arguments typically advanced to defend virtual murder in video games would appear to also support video games that allowed gamers to commit acts of virtual paedophilia. Luck’s arguments are persuasive, however, there is one line of argument that he does not consider, which may provide the relevant distinction: as virtual paedophilia involves (...) the depiction of sexual acts involving children, it is therefore an instance of child pornography. I argue that virtual paedophilia involves the depiction of sexual acts involving children, which amounts to child pornography. I then draw on arguments to show that child pornography is morally objectionable. Finally, depictions of virtual murder are not instances of pornography, and so are not morally objectionable for this reason. So, there is a relevant moral distinction to draw between virtual murder and virtual paedophilia that is able to justify the former but not the latter. (shrink)

The intuitive, folk concept of hypocrisy is not a unified moral category. While many theorists hold that all cases of hypocrisy involve some form of deception, I argue that this is not the case. Instead, I argue for a disjunctive account of hypocrisy whereby all cases of “hypocrisy” involve either the deceiving of others about the sincerity of an agent's beliefs or the lack of will to carry through with the demands of an agent's sincere beliefs. Thus, all cases of (...) hypocrisy can be described either as cases of deception or as cases of akrasia. If this analysis correct, then I suggest further that the moral status of all instances of hypocrisy must be reduced either to the moral blameworthiness of deception or to the moral blameworthiness of akrasia. There can be no unified account of the moral wrongness of “hypocrisy” that holds across the disjunction. (shrink)

Can a player be held morally responsible for the choices that she makes within a videogame? Do the moral choices that the player makes reflect in any way on the player’s actual moral sensibilities? Many videogames offer players the options to make numerous choices within the game, including moral choices. But the scope of these choices is quite limited. I attempt to analyze these issues by drawing on philosophical debates about the nature of free will. Many philosophers worry that, if (...) our actions are predetermined, then we cannot be held morally responsible for them. However, Harry Frankfurt’s compatibilist account of free will suggests that an agent can be held morally responsible for actions that she wills, even if the agent is not free to act otherwise. Using Frankfurt’s analysis, I suggest that videogames represent deterministic worlds in which players lack the ability to freely choose what they do, and yet players can be held morally responsible for some of their actions, specifically those actions that the player wants to do. Finally, I offer some speculative comments on how these considerations might impact our understanding of the player’s moral psychology as it relates to the ethics of imagined fictional events. (shrink)

Is it ever morally wrong for a consumer to imagine something immoral in a work of fiction, or for an author to prompt such imagining? Brandon Cooke has recently argued that it cannot be. On Cooke’s account, fictive imagining is immune to moral criticism because such cases of imagining do not amount to the endorsement of the immoral content, nor do they imply that the authors of such fictions necessarily endorse their contents. We argue against Cooke that in fact fictively (...) imagining something immoral can be morally blameworthy, specifically in cases where fictive imagining is engaged in the service of immoral desires. Taking one potent case—namely, rape-fantasy pornography—we argue that the proper engagement with pornography requires the engagement of the consumer’s desires. Insofar as it is morally wrong to desire something immoral, or to encourage others to desire something immoral, then consumers can be held morally blameworthy for engaging in such fictive imaginings and works of fiction that are crafted to fit these purposes can be open to moral condemnation. (shrink)

Ethics in video gaming is broad topic that extends beyond the familiar instances of “moral panics”. This chapter will first divide ethical issues into internal and external moral questions. Roughly, this equates to a distinction between the ethics in games and the ethics of games. The ethical issues internal to video games arise due to both their status as fictions and their status as games. Many games afford players the opportunity to perform violent and vicious acts; however, these are of (...) course fictional actions and are often contextualized as part of the game’s competitive play. This raises the general question whether it can ever be morally wrong to perform some fictional action in a video game. To approach this question, this section will first consider how moral values are inherent within games. Players engage with the embedded moral values of games both at the level of their narratives and their rules. Games become objects for moral reflection, not only through the stories that they tell, but also through the ways in which players are invited to engage actively with those stories. Next, external ethical issues are those that focus on the nature of the gaming industry and gaming cultures. The gaming industry has notoriously struggled with representations of gender and race, both in their workforce and in the games that they produce. Turning to the ecological impacts, the gaming industry is a major source of e-waste through the production of gaming technologies. The hardware used in gaming has a lifecycle that begins with the exploitation of resource-rich developing countries that produce the precious materials used in computer screens and processing chips and ends with those same products being dumped in toxic landfills in other developing countries. Additionally, gaming is a major source of energy consumption, particularly as cloud gaming servers are required to run continuously. When considering the ethics of games, such social and ecological concerns must surely figure in one’s moral calculation. Finally, some moral issues straddle the line between the above distinction between internal and external due to the porous nature of virtual interactivity, particularly regarding multiplayer games. Various gaming cultures struggle with their own ethical issues—from the failure to promote sportsmanship in e-sports to the widespread harassment of players in online platforms. This final section will briefly consider problems with multiplayer games, harassment, and trolling. (shrink)

Gracyk, Kania, and Davies all agree that the rock tradition is distinctive for the central place that it gives to the appreciation of recorded tracks. But we should not be led by those arguments to conclude that the central position of the recorded track makes such appreciation the exclusive interest in rock. I argue that both songwriting and live performance are also central to the rock tradition by showing that the practice of recording tracks admits of a diversity of goals (...) and aims that is not exhausted by a concern for track construction. (shrink)

The paper defends the structural concept of representation, defined by homomorphisms, against the main objections that have been raised against it: Logical objections, the objection from misrepresentation, the objection from failing necessity, and the copy theory objection. Homomorphic representations are not necessarily ‘copies’ of their representanda, and thus can convey scientific insight.

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Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be defended on (...) the grounds that they are reflective of our actual musical practices. The problem facing philosophers within this debate is that there is no clear way to determine which of the two conflicting intuitions is more reflective of our musical practices. Finally, I offer discussion of an experimental study that was designed to test participants' intuitions regarding the repeatability of musical works. The evidence presented there suggests that the participants broadly accept the repeatability of musical works, but in a much narrower way than philosophers would likely accept. (shrink)

Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...

When interpreting the meanings of visual features in information visualizations, observers have expectations about how visual features map onto concepts (inferred mappings.) In this study, we examined whether aspects of inferred mappings that have been previously identified for colormap data visualizations generalize to a different type of visualization, Venn diagrams. Venn diagrams offer an interesting test case because empirical evidence about the nature of inferred mappings for colormaps suggests that established conventions for Venn diagrams are counterintuitive. Venn diagrams represent classes (...) using overlapping circles and express logical relationships between those classes by shading out regions to encode the concept of non-existence, or none. We propose that people do not simply expect shading to signify non-existence, but rather they expect regions that appear as holes to signify non-existence (the hole hypothesis.) The appearance of a hole depends on perceptual properties in the diagram in relation to its background. Across three experiments, results supported the hole hypothesis, underscoring the importance of configural processing for interpreting the meanings of visual features in information visualizations. (shrink)

In this paper Modern Essentialism is used to solve a problem of individuation of spacetime points in General Relativity that has been raised by a New Leibnizian Argument against spacetime substantivalism, elaborated by Earman and Norton. An earlier essentialistic solution, proposed by Maudlin, is criticized as being against both the spirit of metrical essentialism and the fundamental principles of General Relativity. I argue for a modified essentialistic account of spacetime points that avoids those obstacles.

Works of fiction are often criticized for their historical inaccuracies. But this practice poses a problem: why would we criticize a work of fiction for its historical inaccuracy given that it is a work of fiction? There is an intuition that historical inaccuracies in works of fiction diminish their value as works of fiction; and yet, given that they are works of fiction, there is also an intuition that such works should be free from the constraints of historical truth. The (...) puzzle of historical criticism is that these intuitions are obviously in conflict, and yet we wish to give up neither. In this essay, I address the shortcomings of two seemingly intuitive strategies for solving the puzzle: the puzzle cannot be solved by appealing to historical constraints of a work’s genre, nor can it be explained as an instance of imaginative resistance. Given the failure of these two strategies, I suggest that there is no easy way to account for our conflicting intuitions and that the puzzle is deserving of greater attention. (shrink)

Many philosophers and music theorists have claimed that music is a language, though whether this is meant metaphorically or literally is often unclear. If the claim is meant literally, then it faces serious difficulty—many find it compelling to think that music cannot be a language because it lacks any semantic value. On the other hand, if it is meant metaphorically, then it is not clear what is gained by the metaphor—it is not clear what the metaphor is meant to illuminate. (...) Considering the claim as a metaphor, I take it that what a theorist who speaks in this way is trying to draw our attention to is that there are interesting and illuminating parallels between music and language that might be philosophicallysignificant. Ifthisistheirpoint,thenthequestionis:whatinteresting parallel is it that could be so philosophically significant? (shrink)

Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this discussion within an ontology of (...) rock as defended by Theodore Gracyk and Stephen Davies and offer some interpretation as to what their positions might be in regard to mash-ups. Finally, I argue that the account of mash-ups that best makes sense of our evaluative practices would hold that they are emergent musical works that are distinct in their own right and yet also happen to be cases of musical works that instantiate parts of other musical works. (shrink)

The aim of this paper is to defend the structural concept of representation, as defined by homomorphisms, against its main objections, namely: logical objections, the objection from misrepresentation, theobjection from failing necessity, and the copy theory objection. The logical objections can be met by reserving the relation.

The paper defends the structural concept of representation, defined by homomorphisms, against the main objections that have been raised against it: Logical objections, the objection from misrepresentation, the objection from failing necessity, and the copy theory objection. Homomorphic representations are not necessarily ‘copies’ of their representanda, and thus can convey scientific insight.

The study examines the relationship between the strength of an organizationÕs ethical climate and ethical problems involving human resource management. Data were collected through a survey of 1078 human resource managers. The results indicate a statistically significant negative relationship between the strength of an organization'ss ethical climate and the seriousness of ethical violations and a statistically significant positive relationship between an organization'ss ethical climate and success in responding to ethical issues. Thus, interventions that strengthen an organization'ss ethical climate may help (...) manage ethical behavior within organizations. (shrink)

In this paper, I will defend the thesis that fundamental natural laws are distinguished from accidental empirical generalizations neither by metaphysical necessity, 147–155, 2005, 2007) nor by contingent necessitation. The only sort of modal force that distinguishes natural laws, I will argue, arises from the peculiar physical property of mutual independence of elementary interactions exemplifying the laws. Mutual independence of elementary interactions means that their existence and their nature do not depend in any way on which other interactions presently occur. (...) It is exactly this general physical property of elementary interactions in the actual world that provides natural laws with their specific modal force and grounds the experience of nature’s ‘recalcitrance’. Thus, the modal force of natural laws is explained by contingent non-modal properties of nature. In the second part of the paper, I deal with some alleged counterexamples to my approach: constraint laws, compositional laws, symmetry principles and conservation laws. These sorts of laws turn out to be compatible with my approach: constraint laws and compositional laws do not represent the dynamics of interaction-types by themselves, but only as constitutive parts of a complete set of equations, whereas symmetry principles and conservation laws do not represent any specific dynamics, but only impose general constraints on possible interactions. (shrink)

In this paper, I will defend the thesis that fundamental natural laws are distinguished from accidental empirical generalizations neither by metaphysical necessity (e.g. Ellis 1999, 2001; Bird in Analysis, 65(2), 147–155, 2005, 2007) nor by contingent necessitation (Armstrong 1983). The only sort of modal force that distinguishes natural laws, I will argue, arises from the peculiar physical property of mutual independence of elementary interactions exemplifying the laws. Mutual independence of elementary interactions means that their existence and their nature do not (...) depend in any way on which other interactions presently occur. It is exactly this general physical property of elementary interactions in the actual world that provides natural laws with their specific modal force and grounds the experience of nature’s ‘recalcitrance’. Thus, the modal force of natural laws is explained by contingent non-modal properties of nature. In the second part of the paper, I deal with some alleged counterexamples to my approach: constraint laws, compositional laws, symmetry principles and conservation laws. These sorts of laws turn out to be compatible with my approach: constraint laws and compositional laws do not represent the dynamics of interaction-types by themselves, but only as constitutive parts of a complete set of equations, whereas symmetry principles and conservation laws do not represent any specific dynamics, but only impose general constraints on possible interactions. (shrink)

Entscheidungen der Therapiebegrenzung und in der Betreuung am Lebensende sind häufig komplex und von ethischen Problemen begleitet. Im Mittelpunkt der Untersuchung steht die entscheidende Frage, wie hilfreich existierende „Ethik-Richtlinien“, die eine ethische Orientierung bei solchen Entscheidungen geben sollen, in der klinischen Praxis tatsächlich sind. Die Frage, welchen Nutzen „Ethik-Richtlinien“ bei der Entscheidungsfindung haben oder haben können, wird hier exemplarisch an einem klinischen Fallbeispiel aus einer Ethik-Kooperationsstudie in der Intensivmedizin analysiert. Vergleichend werden hierzu „Ethik-Richtlinien“ aus Deutschland, der Schweiz und aus Großbritannien (...) herangezogen, die Gegenstand eines internationalen Projekts zur Analyse von Richtlinien waren. Die Möglichkeiten und Grenzen einer ethischen Orientierung an „Ethik-Richtlinien“ bei Entscheidungsproblemen der Therapiebegrenzung und in der Betreuung am Lebensende werden anhand der Fallstudie diskutiert und illustriert. Abschließend werden Schlussfolgerungen für die Entwicklung ethischer Richtlinien für die klinische Praxis formuliert. (shrink)

Can pornographic depictions have artistic value? Much pornography closely resembles art, at least in many superficial respects. Films, photographs, paintings—all of these can have artistic value. Of course, films, photographs and paintings can also be pornographic. If some photographs have artistic value, and some photographs are pornographic, can pornographic photographs have artistic value too? I argue that pornography may only possess artistic value despite, not by virtue of, its pornographic content.

In his book Reveille for Radicals, Saul Alinsky writes, "Most people are eagerly groping for... some way in which they can bridge the gap between their morals and their practices". Today, many consumers try to bridge that gap by participating in what has been termed ethical consumption: the intentional purchase of products and services that the customer considers to be ethically produced. But what happens if consumer perceptions do not match reality? This study investigates one aspect of ethical consumption by (...) examining consumer perceptions of the term cruelty free. Various definitions of this term exist, and companies can use the term when the product or its ingredients were indeed tested on animals. This exploratory study suggests that many consumers use this term as a moral heuristic in decision-making. As a result, the use of the term creates a halo effect that elevates brand perceptions. When provided with information suggesting the heuristic is flawed, consumers slightly alter perceptions but attitudes remain relatively strong. While some countries have implemented regulation regarding the use of the phrase in some contexts, results suggest that a broader policy is necessary to correct misperceptions and avoid misleading consumers. (shrink)

The aim of this paper is to defend the structural concept of representation, as defined by homomorphisms, against its main objections, namely: logical objections, the objection from misrepresentation, theobjection from failing necessity, and the copy theory objection. The logical objections can be met by reserving the relation ‘to be homomorphic to’ for the explication of potential representation (or, of the representational content). Actual reference objects (‘targets’) of representations are determined by (intentional or causal) representational mechanisms. Appealing to the independence of (...) the dimensions of ‘content’ and ‘target’ also helps to see how the structural concept can cope with misrepresentation. Finally, I argue that homomorphic representations are not necessarily ‘copies’ of their representanda, and thus can convey scientific insight. (shrink)

fMRI is a tool to study brain function noninvasively that can reliably identify sites of neural involvement for a given task. However, to what extent can fMRI signals be related to measures obtained in electrophysiology? Can the blood-oxygen-level-dependent signal be interpreted as spatially pooled spiking activity? Here we combine knowledge from neurovascular coupling, functional imaging and neurophysiology to discuss whether fMRI has succeeded in demonstrating one of the most established functional properties in the visual brain, namely directional selectivity in the (...) motion-processing region V5/ MT+. We also discuss differences of fMRI and electrophysiology in their sensitivity to distinct physiological processes. We conclude that fMRI constitutes a complement, not a poor-resolution substitute, to invasive techniques, and that it deserves interpretations that acknowledge its stand as a separate signal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Why music? The Foundations of Music Education from Plato until Today by Øivind VarkøyDaniela BartelsØivind Varkøy, Warum Musik? Zur Begründung des Musikunterrichts von Platon bis heute [Why music? The Foundations of Music Education from Plato until Today], Stefan Gies, trans. with the assistance of Hanne Fossum (Innsbruck, Esslingen, Bern-Belp: Helbling, 2016)Øivind Varkøy's book Why music? was first published in Norway in 1993 and translated into Swedish three years (...) later. In 2016, a newly revised edition was published in German. This review refers to the German edition and a special focus will be on the third chapter, because Varkøy's convincing interpretation of Kant's theory of aesthetic judgement presents a counter narrative to other interpretations of this theory that have been in circulation in North America for quite some time.In the introduction, Varkøy explains that it is his intention to present a diverse array of reasons for teaching music. He also explains why (future) music teachers should reflect on these reasons and the possible values of their professional actions: "A clear stance on the value of one's own work will have a positive effect on one's professional identity and the psychological and physical well-being."1 In the first chapter, he takes the readers back to the world of "the old Greeks"—an [End Page 224] expression that is often used in Europe—and he specifically addresses the values Plato and Aristotle have ascribed to music. The chapter starts with the mythos about mousiké as a gift from the gods and Varkøy explains that this term used to stand for much more than music. It included diverse forms of art such as language, poetry, and dance which were seen as means that can express order and beauty as well as a realization of harmonia which "holds the world together."2 As far as philosophies of music education are concerned, both Plato and Aristotle stress that music education serves the character formation of young people and both are quite strict concerning the way music should be taught to the young. To give an example, Plato rejects that the aulos is used in schools, because it is a woodwind instrument that served as a means of intoxication in rituals. Plato's point was that it would make the youth soft and therefore unable to contribute to the establishment of a 'good' state system. Varkøy stresses that Plato did not differentiate between the aesthetic and the ethical dimension of music, since the term kalokagathia stands for both 'the beautiful' and 'the good.' It almost seems as if Varkøy had the North American debate between the so-called 'aesthetic' and 'praxial educators' in mind when he wrote this chapter, and it is a pity that he does not go into more detail concerning the terms 'the beautiful' and 'the good.' On the other hand, he gives a clear summary of the different functions Aristotle has ascribed to music. He emphasizes that Aristotle mentions the three functions of music as a source of well-being and enjoyment, as a means of character formation, and as an intellectual activity that can lead to a "higher level" of experience.3 In Aristotle's thinking, all of these functions are of value. Concerning the functions and values of music that are discussed, Varkøy abstains from passing his own judgment which leaves a welcome space for one's own thinking.In the second chapter, Varkøy focuses on the functions of music between the time of early Christianity and the time of Comenius. He puts forward an intriguing argument when he states that the Church Father Augustine, who saw the fact that people can enjoy music just for pleasure as a danger, has already pointed to the notion of music as a phenomenon with its own, intrinsic value. At the end of this chapter, Varkøy asks the readers to reflect on Comenius' distinction between "useful" knowledge and knowledge that serves "the way of making one's living."4 He returns to this distinction later on in his book.In the chapter "Progress and Reason," the focus is on... (shrink)

Traditional monist theories of art fail to account for the diversity of objects that intuitively strike many as belonging to the category art. Some today argue that the solution to this problem requires the adoption of some version of pluralism to account for the diversity of art. We examine one recent attempt, which holds that the correct account of art must recognize the plurality of concepts of art. However, we criticize this account of concept pluralism as being unable to offer (...) an explanation of why some concept is an art concept. Instead, many of the disagreements over the definition of art could be reconciled by recognizing that works of art can be valued in a plurality of ways. By recognizing a plurality of values for art, we claim further that the definition of art becomes a non-issue. (shrink)