There are simple mechanical systems that elude causal representation. We describe one that cannot be represented in a single directed acyclic graph. Our case suggests limitations on the use of causal graphs for causal inference and makes salient the point that causal relations among variables depend upon details of causal setups, including values of variables.

Erratum to: Synthese 191:1925–1930 DOI:10.1007/s11229-013-0380-3 The authors were unaware that points in their article appeared in “Caveats for Causal Reasoning with Equilibrium Models,” by Denver Dash and Marek Druzdzel, published in S. Benferhat and P. Besnard : European Conferences on Symbolic and Quantitative Approaches to Reasoning with Uncertainty 2001, Lecture Notes in Artificial Intelligence 2143, pp. 192–203. The authors were unaware of this essay and would like to apologize to the authors for failing to cite their excellent work.

Neuroimaging techniques have made a huge contribution to our understanding of schizophrenia and other neuropsychiatric disorders. Until now however, texts on both schizophrenia and neuroimaging have paid little attention to the overlap between these areas. This new volume is the first dedicated to unravelling how these techniques can help us better understand this complex disorder. Each chapter focuses on a particular research method, describing the nature of the findings, the main technological problems, and future possibilities. Though including sufficient methodological detail (...) to be of value to imaging researchers, the emphasis throughout is on providing information of value to clinicians. Written and edited by leaders in schizophrenia research, this book details what structural and functional brain imaging studies have already established about schizophrenia and what developments are likely in the foreseeable future. (shrink)

Alison Gopnik and her collaborators have recently proposed a bold and intriguing hypothesis about the relationship between scientific cognition and cognitive development in childhood. According to this view, the processes underlying cognitive development in infants and children and the processes underlying scientific cognition are _identical_. We argue that Gopnik’s bold hypothesis is untenable because it, along with much of cognitive science, neglects the many important ways in which human minds are designed to operate within a social environment. This leads to (...) a neglect of _norms_ and the processes of _social_ _transmission_ which have an important effect on scientific cognition and cognition more generally. (shrink)

We report on the small-scale (0.5 13 h - 1M, a large-scale bias of ~2.0 and a satellite fraction of 12 ± 2 per cent. Thus, these galaxies occupy haloes with average masses in between those of the higher redshift BOSS CMASS sample and the original SDSS I/II luminous red galaxy sample © 2012 The Authors Published by Oxford University Press on behalf of the Royal Astronomical Society © doi:10.1093/mnras/sts314.

Epidemiology is a science of disease which specifies rates (illness prevalences, incidences, distributions, etc.). Evolution is a science of life which specifies changes (gene frequencies, generations, forms, function, etc.). Evolutionary Epidemiology is a synthesis of these two sciences which combines the empirical power of classical methods in genetical epidemiology with the interpretive capacities of neo-darwinian evolutionary genetics. In particular, prevalence rates of genetical diseases are important data points when reformulated for the purpose of analysis in terms of their evolutionary frequencies. (...) Traits which exceedprevalences beyond the rates of mutation (in Hardy-Weinberg calculations) or evidence unusualrange of phenotypic reaction are of special interest. This is because traits which did not confer advantages in the environment of evolutionary adaptation cannot accede, through natural selection, to anything but low rates of genomic prevalence.Evolutionary epidemiology is, in all of medicine, of particular promise in ongoing efforts to better understand psychopathology. Many complexities of phenotypic adjustment arise when new developmental demands are placed on an old genome. The new and complex biosocial ecology of human mass society now evokes different phenotypes than those in the prehistorical ecology to which the genome is structurally and functionally better adapted. Some of these new phenotypes are darwinian failures. In this paper, the theoretical implications of evolutionary epidemiology are extended and some tentative points of clinical application (particularly to psychiatry) are offered. (shrink)

Experimental philosophy is a popular approach to addressing philosophical questions. Though not without controversy, this approach has impacted epistemology (Weinberg, Nichols, and...

Through the use of such "folk" concepts as belief, desire, intention, and expectation, Daniel Dennett asserts in this first full scale presentation of...

Little, Brown, 1992 Review by Glenn Branch on Jul 5th 1999 Volume: 3, Number: 27.

Daniel C. Dennett is a brilliant polemicist, famous for challenging unexamined orthodoxies. Over the last thirty years, he has played a major role in expanding our understanding of consciousness, developmental psychology, and evolutionary theory. And with such groundbreaking, critically acclaimed books as Consciousness Explained and Darwin's Dangerous Idea (a National Book Award and Pulitzer Prize finalist), he has reached a huge general and professional audience. In this new book, Dennett shows that evolution is the key to resolving the ancient (...) problems of moral and political freedom. Like the planet's atmosphere on which life depends, the conditions on which our freedom depends had to evolve, and like the atmosphere, they continue to evolve-and could be extinguished. According to Dennett, biology provides the perspective from which we can distinguish the varieties of freedom that matter. Throughout the history of life on this planet, an interacting web and internal and external conditions have provided the frameworks for the design of agents that are more free than their parts-from the unwitting gropings of the simplest life forms to the more informed activities of animals to the moral dilemmas that confront human beings living in societies. As in his previous books, Dennett weaves a richly detailed narrative enlivened by analogies as entertaining as they are challenging. Here is the story of how we came to be different from all other creatures, how our early ancestors mindlessly created human culture, and then, how culture gave us our minds, our visions, our moral problems-in a nutshell, our freedom. (shrink)

Recent approaches to causal modelling rely upon the causal Markov condition, which specifies which probability distributions are compatible with a directed acyclic graph. Further principles are required in order to choose among the large number of DAGs compatible with a given probability distribution. Here we present a principle that we call frugality. This principle tells one to choose the DAG with the fewest causal arrows. We argue that frugality has several desirable properties compared to the other principles that have been (...) suggested, including the well-known causal faithfulness condition. _1_ Introduction _2_ The Causal Markov Condition _3_ Faithfulness _4_ Frugality _4.1_ Basic independences and frugality _4.2_ General properties of directed acyclic graphs satisfying frugality _4.3_ Connection to minimality assumptions _5_ Frugality as a Parsimony Principle _6_ Conclusion Appendix. (shrink)

Physicalism, the thesis that everything is physical, is one of the most controversial problems in philosophy. Its adherents argue that there is no more important doctrine in philosophy, whilst its opponents claim that its role is greatly exaggerated. In this superb introduction to the problem Daniel Stoljar focuses on three fundamental questions: the interpretation, truth and philosophical significance of physicalism. In answering these questions he covers the following key topics: -/- (i)A brief history of physicalism and its definitions, (ii)what (...) a physical property is and how physicalism meets challenges from empirical sciences, (iii)'Hempel’s dilemma’ and the relationship between physicalism and physics, (iv)physicalism and key debates in metaphysics and philosophy of mind, such as supervenience, identity and conceivability, and (v)physicalism and causality. -/- Additional features include chapter summaries, annotated further reading and a glossary of technical terms, making Physicalism ideal for those coming to the problem for the first time. (shrink)

_Behavioral and Brain Sciences_ , 15, 183-247, 1992. Reprinted in _The Philosopher's Annual_ , Grim, Mar and Williams, eds., vol. XV-1992, 1994, pp. 23-68; Noel Sheehy and Tony Chapman, eds., _Cognitive Science_ , Vol. I, Elgar, 1995, pp.210-274.

Daniel C. Dennett; XIII*—Styles of Mental Representation, Proceedings of the Aristotelian Society, Volume 83, Issue 1, 1 June 1983, Pages 213–226, https://doi.o.

Many people believe that philosophy makes no progress. Members of the general public often find it amazing that philosophers exist in universities at all, at least in research positions. Academics who are not philosophers often think of philosophy either as a scholarly or interpretative enterprise, or else as a sort of pre-scientific speculation. And many well-known philosophers argue that there is little genuine progress in philosophy. Daniel Stoljar argues that this is all a big mistake. When you think through (...) exactly what philosophical problems are, and what it takes to solve them, the pattern of success and failure in philosophy is similar to that in other fields. In philosophy, as elsewhere, there is a series of overlapping topics that determine what the subject is about. In philosophy, as elsewhere, different people in different historical epochs and different cultures ask different big questions about these topics. And in philosophy, as elsewhere, big questions asked in the past have often been solved: Stoljar provides examples. Philosophical Progress presents a strikingly optimistic picture of philosophy - not a radical optimism that says that there is some key that unlocks all philosophical problems, and not the kind of pessimism that dominates both professional and non-professional thinking about philosophy, but a reasonable optimism that views philosophy as akin to other fields. (shrink)

In his new book, eminent psychologist - Daniel Stern, explores the hitherto neglected topic of 'vitality'. Truly a tour de force from a brilliant clinician and scientist, Forms of Vitality is a profound and absorbing book - one that will be essential reading for psychologists, psychotherapists, and those in the creative arts.

What is a self? I will try to answer this question by developing an analogy with something much simpler, something which is nowhere near as puzzling as a self, but has some properties in common with selves. What I have in mind is the center of gravity of an object. This is a well-behaved concept in Newtonian physics. But a center of gravity is not an atom or a subatomic particle or any other physical item in the world. It has (...) no mass; it has no color; it has no physical properties at all, except for spatio-temporal location. It is a fine example of what Hans Reichenbach would call an abstractum. It is a purely abstract object. It is, if you like , a theorist's fiction. It is not one of the real things in the universe in addition to the atoms. But it is a fiction that has nicely defined, well delineated and well behaved role within physics. (shrink)

Daniel Whiting’s excellent new book, The Range of Reasons (2022), makes a number of noteworthy contributions to the philosophical literature on reasons and normativity. A good deal has been written on normative reasons, and it is no easy thing to make novel and promising arguments. Yet, this is what Whiting manages to do. We are sympathetic to some of his ideas and critical of others. It makes sense for us to focus on the first half of his book, where (...) Whiting presents two accounts of normative reasons (the first superseded by, although possibly also compatible with, the second). We welcome this opportunity to clarify our own current views on the nature of normative reasons by contrasting them with Whiting’s views. (shrink)

What makes it the case that an utterance constitutes an illocutionary act of a given kind? This is the central question of speech-act theory. Answers to it—i.e., theories of speech acts—have proliferated. Our main goal in this chapter is to clarify the logical space into which these different theories fit. -/- We begin, in Section 1, by dividing theories of speech acts into five families, each distinguished from the others by its account of the key ingredients in illocutionary acts. Are (...) speech acts fundamentally a matter of convention or intention? Or should we instead think of them in terms of the psychological states they express, in terms of the effects that it is their function to produce, or in terms of the norms that govern them? In Section 2, we take up the highly influential idea that speech acts can be understood in terms of their effects on a conversation’s context or “score”. Part of why this idea has been so useful is that it allows speech-act theorists from the five families to engage at a level of abstraction that elides their foundational disagreements. In Section 3, we investigate some of the motivations for the traditional distinction between propositional content and illocutionary force, and some of the ways in which this distinction has been undermined by recent work. In Section 4, we survey some of the ways in which speech-act theory has been applied to issues outside semantics and pragmatics, narrowly construed. (shrink)

We suggest that philosophical accounts of epistemic effects of diversity have given insufficient attention to the relationship between demographic diversity and information elaboration, the process whereby knowledge dispersed in a group is elicited and examined. We propose an analysis of IE that clarifies hypotheses proposed in the empirical literature and their relationship to philosophical accounts of diversity effects. Philosophical accounts have largely overlooked the possibility that demographic diversity may improve group performance by enhancing IE, and sometimes fail to explore the (...) relationship between diversity and IE altogether. We claim these omissions are significant from both a practical and theoretical perspective. Moreover, we explain how the overlooked explanations suggest that epistemic benefits of diversity can depend on epistemically unjust social dynamics. (shrink)

The intentional stance is the strategy of prediction and explanation that attributes beliefs, desires, and other states to systems and predicts future behavior from what it would be rational for an agent to do, given those beliefs and desires. Any system whose performance can be thus predicted and explained is an intentional system, whatever its innards. The strategy of treating parts of the world as intentional systems is the foundation of but is also exploited in artificial intelligence and cognitive science (...) more generally, as well as in evolutionary theory. An analysis of the role of the intentional stance and its presuppositions supports a naturalistic theory of mental states and events, their content or intentionality, and the relation between levels of explanation and neurophysiological or mechanistic levels of explanation. As such, the analysis of the intentional stance grounds a theory of the mind and its relation to the body. (shrink)

Knock-down refutations are rare in philosophy, and unambiguous self-refutations are even rarer, for obvious reasons, but sometimes we get lucky. Sometimes philosophers clutch an insupportable hypothesis to their bosoms and run headlong over the cliff edge. Then, like cartoon characters, they hang there in mid-air, until they notice what they have done and gravity takes over. Just such a boon is the philosophers' concept of a zombie, a strangely attractive notion that sums up, in one leaden lump, almost everything that (...) I think is wrong with current thinking about consciousness. Philosophers ought to have dropped the zombie like a hot potato, but since they persist in their embrace, this gives me a golden opportunity to focus attention on the most seductive error in current thinking. (shrink)

I want to explore four different exercises of interpretation: (1) the interpretation of texts (or hermeneutics), (2) the interpretation of people (otherwise known as "attribution" psychology, or cognitive or intentional psychology), (3) the interpretation of other artifacts (which I shall call artifact hermeneutics), (4) the interpretation of organism design in evolutionary biology--the controversial interpretive activity known as adaptationism.

This text focuses on the theory of popular politics constructed within the context of analytical Marxism, and asks if rational choice theory provides an adequate basis for explaining patterns of social, political and economic behaviour in traditional China.

There is a pattern of miscommunication bedeviling the people working on consciousness that is reminiscent of the classic Abbott and Costello 'Who's on First?' routine. With the best of intentions, people are talking past each other, seeing major disagreements when there are only terminological or tactical preferences -- or even just matters of emphasis -- that divide the sides. Since some substantive differences also lurk in this confusion, it is well worth trying to sort out. Much of the problem seems (...) to have been caused by some misdirection in my apologia for heterophenomenology , advertised as an explicitly third-person approach to human consciousness, so I will try to make amends by first removing those misleading signposts and sending us back to the real issues. (shrink)

In Herbert Roitblat, ed., _Comparative Approaches to Cognitive Sciences_ , MIT Press, 1995. Daniel C. Dennett <blockquote> Do Animals Have Beliefs? </blockquote> According to one more or less standard mythology, behaviorism, the ideology and methodology that reigned in experimental psychology for most of the century, has been overthrown by a new ideology and methodology: cognitivism. Behaviorists, one is told, didn't take the mind seriously. They ignored--or even denied the existence of--mental states such as beliefs and desires, and mental processes (...) such as imagination and reasoning; behaviorists concentrated exclusively on external, publicly observable behavior, and the (external, publicly observable) conditions under which such behavior was elicited. Cognitivists, in contrast, take the mind seriously, and develop theories, models, explanations, that invoke, as real items, these internal, mental, goings-on. People (and at least some other animals) have minds after all--they are rational agents. (shrink)

Peer review is a widely accepted instrument for raising the quality of science. Peer review limits the enormous unstructured influx of information and the sheer amount of dubious data, which in its absence would plunge science into chaos. In particular, peer review offers the benefit of eliminating papers that suffer from poor craftsmanship or methodological shortcomings, especially in the experimental sciences. However, we believe that peer review is not always appropriate for the evaluation of controversial hypothetical science. We argue that (...) the process of peer review can be prone to bias towards ideas that affirm the prior convictions of reviewers and against innovation and radical new ideas. Innovative hypotheses are thus highly vulnerable to being “filtered out” or made to accord with conventional wisdom by the peer review process. Consequently, having introduced peer review, the Elsevier journal Medical Hypotheses may be unable to continue its tradition as a radical journal allowing discussion of improbable or unconventional ideas. Hence we conclude by asking the publisher to consider re-introducing the system of editorial review to Medical Hypotheses. (shrink)

The whole drug industry campaign for mood drugs in the 1950s was to broaden to absurd limits the definition of illness.... If the facts in these ads were not untruths, then their implications often were.1Sponsorship bias occurs when a funder of scientific research has a vested interest in what claims the research supports, which consequently shapes the research or the reporting of its results to align with that interest. This article examines the relationship between sponsorship bias and misleading claims, understood (...) as claims that are not necessarily false but which encourage those exposed to them to infer false conclusions. Such claims are important insofar as being common in examples of alleged sponsorship... (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)

We argue that a certain version of pragmatic encroachment, according to which one knows that p only if one’s epistemic position with respect to p is practically adequate, has a problematic consequence: one can lose knowledge that p by getting evidence for p, and conversely, one can gain knowledge that p by getting evidence against p. We first describe this version of pragmatic encroachment, and then we defend that it has the problematic consequence. Finally, we deal with a worry that (...) the consequence we find problematic is not, in fact, problematic. (shrink)

The strategy of divide and conquer is usually an excellent one, but it all depends on how you do the carving. Chalmer's attempt to sort the "easy" problems of consciousness from the "really hard" problem is not, I think, a useful contribution to research, but a major misdirector of attention, an illusion-generator. How could this be? Let me describe two somewhat similar strategic proposals, and compare them to Chalmers' recommendation.