The moral potential of works of art, for good or ill, has been recognised from philosophical antiquity: on the assumption that the moral effects of art are invariably negative, Plato advised the exclusion of artists from any rationally ordered state. Arguably, however, the problem of the moral status of art has become yet more acute in contexts of post-Romantic and other modern artistic exploration of moral ambiguity, and even of some apparent contemporary celebration of the immoral and amoral. Indeed, some (...) tension between commitment to liberal-democratic openness and freedom, on the one hand, and fear about the potential literary and artistic corruption of the young, on the other, is evident in latter-day moralistic trends in children’s literature. However, in the light of some basic exploration of conceptual relationships between the artistic, the aesthetic and the moral, this paper argues that such moralising trends in particular and arguments for artistic censorship in general are mostly wrongheaded and unsustainable. (shrink)

The moral potential of works of art, for good or ill, has been recognised from philosophical antiquity: on the assumption that the moral effects of art are invariably negative, Plato advised the exclusion of artists from any rationally ordered state. Arguably, however, the problem of the moral status of art has become yet more acute in contexts of post-Romantic and other modern artistic exploration of moral ambiguity, and even of some apparent contemporary celebration of the immoral and amoral. Indeed, some (...) tension between commitment to liberal-democratic openness and freedom, on the one hand, and fear about the potential literary and artistic corruption of the young, on the other, is evident in latter-day moralistic trends in children’s literature. However, in the light of some basic exploration of conceptual relationships between the artistic, the aesthetic and the moral, this paper argues that such moralising trends in particular and arguments for artistic censorship in general are mostly wrongheaded and unsustainable. (shrink)

David Carr, Andrew Davis; Can there be a Moral Psychology of Democratic and Civic Education & Understanding Mathematics, Journal of Philosophy of Education.

David Carr, Andrew Davis; Can there be a Moral Psychology of Democratic and Civic Education & Understanding Mathematics, Journal of Philosophy of Education.

Ethiopian agriculture is changing as new actors, relationships, and policies influence the ways in which small-scale, resource-poor farmers access and use information and knowledge in their agricultural production decisions. Although these changes suggest new opportunities for smallholders, too little is known about how changes will ultimately improve the wellbeing of smallholders in Ethiopia. Thus, we examine whether these changes are improving the ability of smallholders to innovate and thus improve their own welfare. In doing so, we analyze interactions between smallholders (...) and other actors to provide new perspectives on the role played by smallholder innovation networks in the agricultural sector by drawing on data from community case studies conducted in 10 localities. Findings suggest that public extension and administration exert a strong influence over smallholder networks, potentially crowding out market-based and civil society actors, and thus limiting beneficial innovation processes. From a policy perspective, the findings suggest the need to further explore policies and programs that create more space for market and civil society to participate in smallholder innovation networks and improve welfare. From a conceptual and methodological perspective, our findings suggest the need to incorporate rigorous applications of social network analysis into the application of innovation systems theory. (shrink)

The World Bank is no stranger to criticism of its projects, especially in respect of its privatization and private sector development projects. Critics point to the environmental, social and cultural damage that certain projects have caused, which for some appears not just to be a product of the individual projects themselves, but symptomatic of a broader policy failure within the Bank to engage with the social consequences of its actions. In fact, and somewhat surprisingly, both the Bank's critics and its (...) defenders seldom employ human rights language in their reasoning and rhetoric, and where they do, it is only fleetingly and often lacking in any real substance. This is surprising because of so much of what the Bank does can be, and is, supportive of the objects of international human rights standards, especially in respect of economic, social and cultural rights. It is a central theme of this Discussion Paper that for the Bank to embrace this fact alone would be a very significant step towards it being better able not only to respond to its critics, but also, crucially, to deliver upon its own objectives as most recently expressed in the Millennium Development Goals. This Discussion Paper was commissioned by the World Bank. The brief was to provide an account of the major criticisms directed at the World Bank's private sector-oriented projects, and to determine what, if any, consequences for the protection of human rights are revealed by those criticisms. The approach adopted in this paper is first to identify key criticisms through empirical research and then to subject them to human rights analysis. This provides the basis for a clear account of the legal and programmatic implications for the Bank, today and in the future, of those human rights obligations and duties raised, directly or indirectly, by the critics of the Bank. (shrink)

In this paper we examine a puzzle recently posed by Aaron Preston for the traditional realist assay of property (quality) instances. Consider Socrates (a red round spot) and red1—Socrates’ redness. For the traditional realist, both of these entities are concrete particulars. Further, both involve redness being `tied to’ the same bare individuator. But then it appears that red1 is duplicated in its ‘thicker’ particular (Socrates), so that it can’t be predicated of Socrates without redundancy. According to Preston, this suggests that (...) a concrete particular and its property instances aren’t genuinely related. We argue that Preston’s proffered solution here—to treat property instances as “mental constructs”—is fraught with difficulty. We then go on to show how, by fine-tuning the nature of bare particulars, treating them as abstract modes of things rather than concrete particulars, the traditional realist can neatly evade Preston’s puzzle. (shrink)

This paper examines a range of issues concerned with the process of choosing schools in the private and state sectors at the primary/pre‐preparatory stage and at the time of transfer to secondary/senior school. The findings indicate that choices about schools are made at different times and in different ways by parents who use the state and private sectors. One of the key findings is that the process of choosing a school begins earlier in the private than in the state sector; (...) another is that quality of education is cited more frequently as one of the ‘top three’ essential factors by parents of children in the private sector. At both the primary and transfer to secondary stages, very high percentages of parents consider it essential that their child should be happy. A discussion of the different notions that private school and the state school parents may have of ‘happiness’ is offered. (shrink)

Significant research has been devoted to detecting people in images and videos. In this paper we describe a human de- tection method that augments widely used edge-based fea- tures with texture and color information, providing us with a much richer descriptor set. This augmentation results in an extremely high-dimensional feature space (more than 170,000 dimensions). In such high-dimensional spaces, classical machine learning algorithms such as SVMs are nearly intractable with respect to training. Furthermore, the number of training samples is much (...) smaller than the dimensionality of the feature space, by at least an order of magnitude. Finally, the extraction of features from a densely sampled grid structure leads to a high degree of multicollinearity. To circumvent these data characteristics, we employ Partial Least Squares (PLS) analysis, an effi- cient dimensionality reduction technique, one which pre- serves significant discriminative information, to project the data onto a much lower dimensional subspace (20 dimen- sions, reduced from the original 170,000). Our human de- tection system, employing PLS analysis over the enriched descriptor set, is shown to outperform state-of-the-art tech- niques on three varied datasets including the popular INRIA pedestrian dataset, the low-resolution gray-scale Daim- lerChrysler pedestrian dataset, and the ETHZ pedestrian dataset consisting of full-length videos of crowded scenes. (shrink)

Background Various authorities recommend the participation of patients in promoting patient safety, but little is known about health care professionals' (HCPs') attitudes towards patients' involvement in safety-related behaviours. Objective To investigate how HCPs evaluate patients' behaviours and HCP responses to patient involvement in the behaviour, relative to different aspects of the patient, the involved HCP and the potential error. Design Cross-sectional fractional factorial survey with seven factors embedded in two error scenarios (missed hand hygiene, medication error). Each survey included two (...) randomized vignettes that described the potential error, a patient's reaction to that error and the HCP response to the patient. Setting Twelve hospitals in Switzerland. Participants A total of 1141 HCPs (response rate 45%). Measurements Approval of patients' behaviour, HCP response to the patient, anticipated effects on the patient–HCP relationship, HCPs' support for being asked the question, affective response to the vignettes. Outcomes were measured on 7-point scales. Results Approval of patients' safety-related interventions was generally high and largely affected by patients' behaviour and correct identification of error. Anticipated effects on the patient–HCP relationship were much less positive, little correlated with approval of patients' behaviour and were mainly determined by the HCP response to intervening patients. HCPs expressed more favourable attitudes towards patients intervening about a medication error than about hand sanitation. Conclusions This study provides the first insights into predictors of HCPs' attitudes towards patient engagement in safety. Future research is however required to assess the generalizability of the findings into practice before training can be designed to address critical issues. (shrink)

A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and (...) truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century. (shrink)

This book provides an accessible yet sophisticated introduction to the significant philosophical issues concerning the performing arts.

A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and (...) truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century. (shrink)

Intuitively speaking, a multiple artwork is one that admits of multiple ‘instances’ which are capable of playing a particular role in the appreciation of the work. The ‘explananda’ in the title of this article are things that have been proposed as requiring explanation by any adequate ontology of multiple artworks so conceived. This assumes that the ontology of art is in the business of explaining certain things, an assumption I defend. At least nine purported explananda have been proposed in the (...) relevant literature. I begin by offering a preliminary sketch of these explananda, identifying how they are grounded in our ordinary artistic practice and discourse, and how they have structured recent debates in the ontology of art. I next argue that the notion of ‘instance’ must be understood in a particular way if instance multiplicity is to capture the standard distinction between singular and multiple art forms. I then assess the relative significance and implications of the nine explananda for an adjudication of the debates in the ontology of art. I identify problems for the historically dominant ‘type’ theory of multiples, and propose an alternative account that speaks to all nine explananda. I conclude by reflecting on where this leaves us and how we should proceed. (shrink)

Is ontologizing about art rightly held accountable to artistic practice, and, if so, how? Julian Dodd argues against such accountability. His target is “local descriptivism,” a meta-ontological principle that he contrasts with meta-ontological realism. The local descriptivist thinks that folk-theoretic beliefs implicit in our practices somehow determine the ontological characters of artworks. I argue, however, that according a grounding role to artistic practice in the ontology of art does not conflict with meta-ontological realism. Practice must ground our ontological inquiries because (...) our task is to make sense of the practices into which artworks enter. Terms like ‘musical work,’ as employed by the ontologist, play an essentially explanatory role in this endeavor, and it is only in terms of this role that we can specify the object of our ontological inquiries. But neither our practices nor our folk beliefs are sacrosanct. In taking ontology of art to be reflectively accountable to artistic practice, I also reject Amie Thomasson's claim that it involves conceptual analysis and therefore cannot rightly claim to be directly revisionary of folk understandings. Ontology of art involves not conceptual analysis but the codification of a practice in a way that clarifies that practice. (shrink)

A growing body of literature critical of ethics review boards has drawn attention to the processes used to determine the ethical merit of research. Citing criticism on the bureaucratic nature of ethics review processes, this literature provides a useful provocation for (re)considering how the ethics review might be enacted. Much of this criticism focuses on how ethics review boards _deliberate,_ with particular attention given to the lack of transparency and opportunities for researcher recourse that characterise ethics review processes. Centered specifically (...) on the conduct of ethics review boards convened within university settings, this paper draws on these inherent criticisms to consider the ways that ethics review boards might enact more communicative and deliberative practices. Outlining a set of principles against which ethics review boards might establish strategies for engaging with researchers and research communities, this paper draws attention to how _Deliberative communication_, _Engagement with researchers_ and the _Distribution of responsibility_ for the ethics review might be enacted in the day-to-day practice of the university human ethics review board. This paper develops these themes via a conceptual lens derived from Habermas’ (The theory of communicative action. Volume 1: Reason and the rationalization of society, 1984 ) articulation of ‘communicative action’ and Fraser’s (Social Text, 25(26), 56–80, 1990 ) consideration of ‘strong publics’ to cast consideration of the role that human ethics review boards might play in supporting university research cultures. _Deliberative communication_, _Engagement with researchers_ and the _Distribution of responsibility_ provide useful conceptual prompts for considering how ethics review boards might undertake their work. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 75-79, Winter 2020.

Julian Dodd has argued that the type–token theory in musical ontology has a ‘default’ status because it can explain the repeatability and audibility of musical works without the need for philosophical reinterpretation. I present two challenges to Dodd's claims about audibility. First, I argue (a) that a type–token theorist who, like Dodd, adheres to Wolterstorff's doctrine of analogical predication must grant that musical works themselves are hearable only in an ‘analogical’ sense; and (b) that alternative musical ontologies are able to (...) explain the latter just as well as the type–token theory. Second, I argue that Dodd cannot evade this objection by claiming that what matters in musical ontology is accounting for audibility ‘in a derivative sense’, since the latter also allows of explanation by a range of musical ontologies. (shrink)

My aim in this article is to locate various forms of printmaking in a broader framework for thinking about so-called ‘multiple’ artworks, artworks that, as this is normally put, admit of multiple instances. I first sketch a general framework for the philosophical exploration of multiple artworks and the philosophical issues to which they give rise. I then address certain forms of printmaking that might be thought to generate singular rather than multiple artworks. Next, I look at how those print works (...) that are multiples stand in relation to other multiple works of the same general type in respect of certain challenges relating to the repeatability and variability of works. Finally, I examine a further question—the problem of limitation—more specific to prints qua multiples. (shrink)

Adversariality in argumentation is typically theorized as inhering in, and applying to, the interactional roles of proponent and opponent that arguers occupy. This paper considers the kinds of adversariality located in the conversational roles arguers perform while arguing—specifically listening. It begins by contending that the maximally adversarial arguer is an arguer who refuses to listen to reason by refusing to listen to another’s reasons. It proceeds to consider a list of lousy listeners in order to illustrate the variety of ways (...) that the conversational role of listener can be performed adversarially. Because conversational roles, while not adversarial by nature, can be enacted adversarially, arguers are properly subject to praise and blame for their performances of these roles. Thus, the paper concludes, argumentation theory stands in need of an articulated normative vocabulary and theory to codify, apply, explain, and justify the norms of listening governing, guiding, and appraising arguers’ performances of listening in argumentation. (shrink)

The Thin Red Line is the third feature-length film from acclaimed director Terrence Malick, set during the struggle between American and Japanese forces for Guadalcanal in the South Pacific during World War Two. It is a powerful, enigmatic and complex film that raises important philosophical questions, ranging from the existential and phenomenological to the artistic and technical. This is the first collection dedicated to exploring the philosophical aspects of Malick’s film. Opening with a helpful introduction that places the film in (...) context, five essays, four of which were specially commissioned for this collection, go on to examine the following: the exploration of Heideggerian themes – such as being-towards-death and the vulnerability of Dasein’s world – in The Thin Red Line how Malick’s film explores and cinematically expresses the embodied nature of our experience of, and agency in, the world Malick’s use of cinematic techniques, and how the style of his images shapes our affective, emotional, and cognitive responses to the film the role that images of nature play in Malick’s cinema, and his ‘Nietzschean’ conception of human nature. The Thin Red Line is essential reading for students interested in philosophy and film or phenomenology and existentialism. It also provides an accessible and informative insight into philosophy for those in related disciplines such as film studies, literature and religion. Contributors: Simon Critchley, Hubert Dreyfus and Camilo Prince, David Davies, Amy Coplan, Iain Macdonald. (shrink)

Denis Dutton claimed that, to grasp why it matters to the artistic value of a painting like The Disciples at Emmaus that it was painted by van Meegeren in the first half of the twentieth century rather than by Vermeer in the seventeenth century, we need to locate what van Meegeren did in a wider class of ‘artistic crimes’ involving ‘misrepresented artistic performances’. I begin by clarifying how the notions of ‘artistic performance’ and ‘misrepresentation’ are to be understood in the (...) context of Dutton’s paper. I survey a range of examples of misrepresented artistic performances in Dutton’s sense, and ask when they involve ‘artistic crimes’. I then seek a principled way of justifying what seem to be our clear intuitions—apparent in our artistic practice—as to which ‘misrepresented artistic performances’ are artistic crimes and which are not. (shrink)

I explore the possibility that there are interesting and illuminating paralleIs to be drawn between issues central to the philosophical literature on scientific thought experiments (TE’s) and issues central to the phlilosophical literature on standard fictional narratives. I examine three related questions: (a) To what extent are TE’s (like) standard fictional narratives? (b) Is the understanding of TE’s like the understanding of standard fictional narratives? (c) Most significantly, are there illuminating paralIeIs to be drawn between the ‘epistemological problem’ of TE’s (...) in science, and epistemological problems that attend some of the cognitive claims made for standard works of fiction? If so, are strategies used to defend the epistemic virtues of TE’s equally available to defend the cognitive claims of works of fiction? In addressing the third of these questions, I spell out the range of responses elicited by the epistemological problern of TE’s in science and suggest that at least one of this responses might bear upon the credibility of the cognitive claims of fiction. (shrink)