This essay examines three competing views of technological change, developed at the beginning of the millennium, and their impact on our lives. The discussion will lead to three conclusions. First, we must be involved in decisions about how technology is regulated and used. Second, we should be wary not to consider all technologies as having the same effects. The cell phone is neither the personal computer nor the television, and there is no reason to consider each as having the same (...) potential social consequences. Third, new methodologies must be developed to account for any changes in social relations that come about as a result of our adoption of these technologies. In the final section of the essay, the consequences of contemporary technologies on what it means to be human are briefly discussed. Rather than substitute technology for democracy or big data for the ability to find significant information, we must take democratic control of these technologies and affirm our humanity. Indeed, I argue along with noted commentators on technology that what makes us human is our ability to sort and find relevant information, reflect on our actions and take risks in associating with other humans. These are things that we must always bear in mind if we are to flourish in the information age. (shrink)

This article discusses the relation between prioritarian and egalitarian principles, whether and why we need to appeal to both kinds of principle, how prioritarians can answer various objections, especially those put forward by Michael Otsuka and Alex Voorhoeve, the moral difference between cases in which our acts could affect only one person or two or more people, veil of ignorance contractualism and utilitarianism, what prioritarians should claim about cases in which the effects of our acts are uncertain, the relative moral (...) importance of actual and expectable benefits, whether people should sometimes be given various chances of receiving benefits, and principles that appeal to competing claims. (shrink)

In the nearly 30 years since Premack and Woodruff famously asked, “Does the chimpanzee have a theory of mind?”, the question of exactly how much non‐human primates understand about the mental lives of others has had an unusually dramatic history. As little as ten years ago it appeared that the answer would be a simple one, with early investigations of non‐human primates’ mentalistic abilities yielding a steady stream of negative findings. Indeed, by the mid‐1990s even very cautious researchers were ready (...) to flatly assert that Theory of Mind was a uniquely human capacity. Recently, however, an exciting new theoretical perspective on primate social cognition has arisen, and with it the distinct possibility that our evolutionary relatives may understand far more of the social world than we previously believed. In this paper we review new theory and evidence suggesting that non‐human primates may indeed represent the mental states of others, at least within the domains for which their distinctive social ecology has prepared them. Having asserted that Premack and Woodruff's original question can be answered with a qualified yes, we then consider the new questions that arise in its place, particularly how and why our own Theory of Mind became more domain‐general than that of other primates. (shrink)

About the book: Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, (...) and especially commissioned for the volume. Lively debate format sharply defines the issues, and paves the way for further discussion. Will serve as an accessible introduction to the major topics in aesthetics, while also capturing the imagination of professional philosophers. (shrink)

This article criticises existing solutions to the 'puzzle of imaginative resistance', reconstrues it, and offers a solution of its own. About the Book : Imagination, Philosophy and the Arts is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of (...) sustained, critical attention it deserves. This collection of seventeen brand new essays critically examines just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. (shrink)

When is a moral theory self-defeating? I suggest the following. There are certain things we ought to try to achieve. Call these our moral aims. Our moral theory would be self-defeating if we believed we ought to do what will cause our moral aims to be worse achieved. Is this ever true? If so, what does it show?

I defend the thesis that most or all perceptual experiences are infused with imaginative contributions. While the idea is not new, it has few supporters. I begin by developing a framework for the underlying debate. Central to that framework is the claim that a perceptual experience is infused with imagination if and only if there are self-generated contributions to that experience that have ampliative effect on its phenomenal and directed elements. Self-generated ingredients to experience are produced by the subject as (...) opposed to being received from the world. Some form of stored content is an obvious starting point. Ampliative effects are aspects of perceptual experience that outstrip the content the senses get from the world. This conceptual framework is applied to three case studies: object-sameness and object-kind recognition (section 2), memory colour (section 3), and perceptual constancy and amodal completion (section 4). If the three cases and my overall analysis are accepted (a substantive if), then we have a forceful inductive argument for perception being infused with imagination. (shrink)

The reasoning in this anthology shows how hard it is to form acceptable theories in cases that involve different numbers of people. That's highly important. And it gives us ground for worry about our appeal to particular theories in the other two kinds of case: those which involve the same numbers, in the different outcomes, though these are not all the same people, and those which do involve all and only the same people. But there is still a clear distinction (...) between these three kinds of case. And there may be some hope of 'quarantining' the impossibility, and the resulting scepticism, to Different Number Choices. Her's a partial analogy, which may be worth mentioning. It's very difficult to formulate acceptable welfarist theories that could apply to cases that involve infinite quantities of such things as suffering and happiness. That's a worry, but it doesn't undermine our confidence in the theories that can handle cases with only finite quantities. (shrink)

In his book _The Nature of Fiction_ Greg Currie makes the following proposal concerning the contents of works of fiction: 'Fs' is an abbreviation of 'P is true in fiction S', where P is some proposition and S is some work of fiction. 'Fs' is true iff it is reasonable for the informed reader to infer that the fictional author of S believes that P. In reading a fiction we engage in a make-believe, and the fictional author is that fictional (...) character constructed within our make-believe whom we take to be telling us the story as known fact. Currie's view applies a general account of communication to understanding fiction. This is an advantage for a number of reasons, not least that the capacities I use to understand a novel do seem to be those I use in understanding written factual information. From what the fictional author 'says', we infer what he believes; reading a book is 'an exploration of the fictional author's belief structure'. From this simple and plausible basis, Currie gives a convincing philosophical account of the nature of fiction. Convincing though the account is, it cannot be quite right. (shrink)

The re-emergence of virtue ethics (henceforth VE) as both an academic theory and as an approach to applied ethics has contributed to the re-invigoration of ethical debate. It has encouraged reflective consideration of the nature of professionals' commitments to various values that constitute their personal and professional character, both collectively and individually. This paper argues that whilst there may be some value in the re-orientation of applied ethics towards questions of character, it has its limitations, including a tendency to be (...) reduced rather too easily to self-serving ends that ultimately favour dominant social groups. It should therefore be treated with caution by social professionals. (shrink)

In the third issue of the J. Paul Getty Trust Occasional Papers in Cultural Heritage Policy series, authors Helen Frowe and Derek Matravers pivot from the earlier tone of the series in discussing the appropriate response to attacks on cultural heritage with their paper, “Conflict and Cultural Heritage: A Moral Analysis of the Challenges of Heritage Protection.” While Frowe and Matravers acknowledge the importance of cultural heritage, they assert that we must more carefully consider the complex moral dimensions—the inevitable (...) serious consequences to human beings—before formulating policy to forcefully protect it. -/- A number of writers and thinkers working on the problem of preserving the world’s most treasured monuments, sites, and objects today cite what Frowe and Matravers call extrinsic and intrinsic justifications for the protection of cultural heritage. These are arguments that maintain that protecting heritage will be a key means to achieve other important goals, like the prevention of genocide, or arguments that heritage deserves to be forcefully protected for its own sake. Frowe and Matravers deconstruct both types of justifications, demonstrating a lack of clear evidence for a causal relationship between the destruction of cultural heritage and atrocities like genocide and arguing that the defense of heritage must not be treated with the same weight or urgency, or according to the same international policies, as the defense of human lives. -/- By calling for expanded theory and empirical data and the consideration of morality in the crafting of international policy vis-à-vis cultural heritage protection, Frowe and Matravers present a thoughtful critique that enriches this important series and adds to the ongoing dialogue in the field. (shrink)

This paper will suggest some key elements needed to adequately ground a concept of oppression relevant to the ethics of the social professionsFootnote11. The ‘social professions’ is a useful phrase employed by Sarah Banks (2004) and includes social work, community and youth work, and other professions where human services are offered., and demonstrate how a coherent account of such a concept can be offered, drawing on recent work in social, moral and political philosophy: an account that both supports and challenges (...) the social professional. The ethical commitment of social professionals in many countries to an ‘anti-oppressive’ approach to their work has not always been well understood by those who have supported the idea, or by those critical of it. The aim of this paper is to contribute to the understanding and development of anti-oppressive values and practice in the social professions through a review of recent work relevant to the concept of oppression. It argues that a substantial, critical concept of oppression should underpin any social professional ethics. (shrink)

Wittgenstein as Shakespearean critic. Because Wittgenstein’s commentators agree that Shakespeare is the world’s greatest ever playwright, they have to account for those few remarks of his that may suggest a negative evaluation of Shakespeare as a poet. But these remarks can also be used to reveal that Shakespeare is a poet of a kind uniquely different to the majority of those whom Wittgenstein admired. This view is central to John Middleton Murry’s interpretation of Shakespeare and Keats. In a more positive (...) light, he echoes those remarks of Wittgenstein that are often assumed to embody a critical devaluation or “misunderstanding” of Shakespeare’s work.Recent commentators: Wolfgang Huemer and William Day. If we were... (shrink)

This outstanding collection is designed to address the fundamental issues and principles underlying the task of Artificial Intelligence.

Many of the judgements we make of particular works of art employ the vocabulary of feelings or emotions. Typically, the critic uses terms such as 'sad', 'joyful', 'optimistic', 'gloomy', 'angry', 'lusty', 'exuberant' and so forth to describe aspects of works of art. Such descriptions generate one of the most intractable problems in aesthetics: that of specifying the relation between art and the feelings and emotions thus ascribed to them.

The Private Language Sections of Ludwig Wittgenstein’s Philosophical Investigations, -/- generally agreed to run from §§ 243 - 271, but extending to § 315 with the book’s continued -/- treatment of the private object model and the inner and outer conception of the mind, have -/- proved remarkably resistant to any generally agreed interpretation. Even today, ways of -/- looking at these sections which were first in vogue half a century ago when discussions of -/- this aspect of Wittgenstein’s work (...) were at their height, still have their adherents, at a time -/- when the emphasis in Wittgenstein exegesis has graduated towards anti-theoretical, -/- non-doctrinal, and therapeutic conceptions of his entire methodology. Discussion about -/- the rule-following considerations after Saul Kripke’s new interpretation of the argument -/- against private language, which predominated during the last quarter of the 20th century, -/- has tended to be superseded into the new millennium by controversy over substantial v -/- resolute conceptions of nonsense in the Tractatus Logico-Philosophicus, a debate now -/- seen by some interpreters to illuminate Wittgenstein’s later work.This paper sheds light -/- on these complex matters firstly by studying a very popular interpretative approach to the -/- relevant sections within its historical context, and secondly by attempting to grasp his overall -/- methodology, primarily as practised in the private language passages themselves. This can -/- help to show how they may reflect the content of §§ 89 -133. However, just as it can be argued -/- that Hume never fully reconciles the sceptical and naturalistic tendencies in his writing, it can -/- be surmised that Wittgenstein never really finds a proper balance between the avowedly -/- therapeutic intent of those stated passages and what, at least for some commentators, are -/- the clearly discoverable argumentative strategies that he employs throughout his treatment -/- of private language and, indeed, throughout Part 1 of the Philosophical Investigations. (shrink)

An act utilitarian tries to maximize expected utility. This is the sum of possible benefits, minus possible costs, with each benefit or cost multiplied by the chance that his act will produce it. Two recent essays claim that, in this calculation, the act utilitarian should ignore very tiny chances. If this is so, he will have no reason to vote, support revolutionary movements, or contribute to countless other public..

Argues whether an outcome could be made worse by the mere addition of extra people who have lives worth living;why we should reject the view that it is best if the average quality of life is as high as possible. It discusses a paradox involving mere addition and the attempted solutions. It also explores new versions of this paradox.

The notion of specification plays a key role in the developing science of computing. It is typically considered to be the keystone in the software development process. However, there is no single, generally agreed meaning of specification that bears close scrutiny. Instead there is a variety of different, although partially interlocking and overlapping interpretations of the term.We catalogue this varietal profusion and attempt to lay bare both the sources and consequences of each major alternative. We attempt to present the full (...) range of possibilities, and the biases inherent in each style of interpretation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Education in the Virtues: Tragic Emotions and the Artistic ImaginationDerek L. Penwell (bio)IntroductionThe profoundly thoughtful—not to mention extensive—character of the scholarship historically applied to the nature of the difference between Plato and Aristotle on the issue of the tragic emotions raises the obvious question: What new is there left to say? In this article I seek to hold together two separate issues that have occupied much of the scholarship (...) on this topic but that typically have not been considered together: (1) What is the moral value of the tragic emotions? and (2) If the tragic emotions are morally significant, how can we engage tragedy without viewing it instrumentally? By approaching the tragic emotions in this way, I hope to suggest an Aristotelian analysis of tragedy that appreciates tragedy's ability to expand our resources for confronting an often chaotic world, while at the same time avoiding the notion of art as merely useful in the pursuit of larger moral projects.Plato, in Republic X, offers his seminal critique of art and the artist in relationship to the ideal republic. In particular, poetry comes under harsh criticism for encouraging emotions, which, according to Plato, ought to be kept under strict control. In the end, Plato reluctantly declares that poets must be banished as a way of preserving the order and moral integrity of the republic. Poetry, if permitted, will make "pleasure and pain the twin kings in your city in place of established custom and the thing which has always been generally accepted as best—reason."1Aristotle challenges his old teacher, Plato, in his treatise on tragedy in the Poetics. To say that Aristotle challenges Plato, however, is not say that he confronts Plato directly; rather the scope of Aristotle's argument addresses the issue of poetry, which Plato had denounced in the Republic. Specifically, Aristotle calls into question Plato's account of the value of the emotions. [End Page 9] Whereas Plato contends that emotions are a potentially disruptive force, the power of which must always be controlled by reason, Aristotle maintains, as I will argue, that the cultivation of the appropriate emotional response (that is, the correct emotional response at the correct time) is essential to the development of virtue. Moreover, according to Aristotle's view, the cultivation of appropriate emotional response has implications not only for the development of individual virtue but also for the health of the body politic.I must be careful to point out that I am not attempting to elicit Aristotle's endorsement for a view that says reason is not somehow responsible for properly informing the emotions. Aristotle's position with respect to emotions—while different from Plato's in the belief that emotions can be educated—still identifies reason both as the faculty that differentiates us as a species as well as the faculty that occupies the primary place in establishing knowledge and directing action. My goal in the first section of this article is much more modest: I only wish to argue that an Aristotelian critique of Plato on emotions suggests the beginnings of a way of viewing emotions, such that emotions have a significant role to play in moral development.2However, the nature of Aristotle's argument in his implicit response to Plato raises the important question of whether the view of art he advances (in particular, of tragedy) is purely an instrumental one—a question to which I will attend in the second section. Does Aristotle understand art as a tool in the service of some higher good, such as moral education? Art, if this is the case, loses its integrity as an end in itself. Inasmuch as Aristotle believes that art is conducive to moral education, he is in danger of being charged with inhabiting the dubious aesthetic stance that art is always the means to some higher end. That is to say, it could be argued that the theory of art that Aristotle places on offer is what R. W. Beardsmore calls moralism3 and what Berys Gaut calls ethicism.4 Moralism at its most radical is the aesthetic position that finds art as merely a useful tool in dressing... (shrink)

Projectivism is the thesis that we project at least some subjective aspects of perception into what we experience as the world outside ourselves. It is familiar from various phantom pains, afterimages, and hallucinations. Strong Projectivism asserts that all perceptual experiences involve and only involve direct awareness of projected elements. Strong Projectivism is an unpopular and I argue underappreciated variety of intentionalism (or representationalism). It straightforwardly explains the transparency of experience (section 2) and phenomena qualia theorists offer to avoid intentionalism such (...) as blurry vision and spectrum inversion (section 3). Finally, projectivism illuminates residual qualia-friendly cases involving imagination and emotion (section 4). Ultimately, instances of non-projected, non-intentional aspects of experience are hard to identify. Thus, the notion of phenomenal presence drawn from projectivism does justice to a great many of the forces at play in debates surrounding qualia and intentionalism. We should bound toward Strong Projectivism. (shrink)

This is a critical review of the current state of the debate in the philosophy of music, and defends the author's view as the phenomenology of the experience.

In this paper I argue against the current consensus that there is such a thing as 'the philosophy of fiction'. I argue instead that what are taken to be problems with fiction, are in fact problems with narrative more generally.

There are several interconnected themes in Roger Scruton’s The Aesthetics of Architecture, including an account of aesthetic experience, a criticism of reductive theories of architecture, and an account of the self. Through each of these themes Scruton spins a web of argument which supports some manner of conservatism about architecture, and, even more broadly, a conservatism about culture. In this paper I want, from a broadly Scrutonian perspective, to discuss whether it would be appropriate to use architecture in the same (...) way as some have used the visual arts this century, particularly in 1950s and 60s New York, as a vehicle for criticising certain ingrained habits of seeing. By this I mean art which deliberately frustrates prior expectations of what would be something pleasing to look at. I shall work with an example, which I take to be only a placeholder for any number of candidates, of architecture which pays no regard to symmetry and what I will broadly call ‘laws of proportion’. (shrink)

This study asserts that philosophical interest in the connection between music and the emotions lies in the light it could throw on the nature of expression. Expression in turn is interesting because of the light it could throw on the nature of understanding and of value. Three different sorts of theory are considered: those that rely on experienced resemblance, those that rely on some imaginative state and those that rely on an aroused feeling. It is suggested, following Malcolm Budd, that (...) room might be found for all these accounts. (shrink)

This paper draws on Philosophy and Art History to consider the relation of Conceptual Art to Modernism. It is sceptical of the justification that Conceptual Art arose out of some necessary poverty of the Modernist project.

This paper draws on Philosophy and Art History to consider the relation of Conceptual Art to Modernism. It is sceptical of the justification that Conceptual Art arose out of some necessary poverty of the Modernist project.

This paper is a response to that of Christopher New. It argues that New has no alternative to an earlier solution I proposed to the problem of specifying the content of a fiction fails, as his solution is in terms of facts external to the game of make-believe being played, while mine was internal. It argues that understanding fiction is only a special case of understanding representation, which can be given a Gricean analysis. It proposes that the inferences crucial to (...) our understanding should be those we think reasonable of the world of the fiction. (shrink)

Richard Wollheim was born in 1923 in London. His father was Eric Wollheim who was at the time the London manager for Diaghilev. His mother had been a Gaiety girl; she left the stage when she married. Wollheim was educated at Westminster School and then, after active service in the Second World War, he went to Oxford to complete degrees in history and PPE. Despite relatively little study of the subject he was recruited by A. J. Ayer for the Philosophy (...) Department at University College London. He remained there for thirty-three years, becoming Grote Professor in 1963. In 1983 he moved to America where he taught at various universities before returning to England shortly before his death in 2003. (shrink)

Relative price stability is central to the security of valued forms of life in contemporary liberal democracies, and disruptions to price stability can be and have been understood and experienced as emergencies. However, while the relation between price and emergency can be understood in juridico–political terms, this article argues for the importance of attending to the affective dimensions of this relation. This argument is developed through a discussion of the affective life of price in relation to the disruptive event of (...) inflation, an event characterized by an atmosphere of emergency that takes place as a disturbance of the rhythms and relations of which everyday life consists. Haunted by the spectre of this emergency, governing price in liberal democracies needs to be understood not only through regulatory measures designed to act directly upon price, but also in terms of efforts to act upon the affective spacetimes from which price-emergencies can emerge. (shrink)

T. Mels (ed.), Reanimating Places : a Geography of Rhythms, Aldershot : Ashgate, 2004, 278 p. Quelques pages sont accessibles ici. For geographers, rhythm is one of the most seductive and elusive of concepts. And, as Tom Mels's expansive introductory essay to this collection demonstrates, it is possible to trace the 'lineage of a geography of rhythms' through various theoretical and empirical trajectories. The content and tone of this volume is, however, dominated by one particular (...) - Recensions.

In his exceptionally well-received history of analytic philosophy,1 Scott Soames presents accounts of the work of Wittgenstein and Ryle that rest on his acceptance of metaphysical preconceptions that these philosophers implicitly question in their writings. Their shared expressive third-person treatments of the mind, for example, serve to emphasise the inadequacy of Soames's distinction between private mental states and physical states/behaviour, which he regularly employs in assessing their views. His treatment of Gilbert Ryle in particular, reflects the radically different conceptions held (...) by Ryle and Soames of the nature of philosophical investigation. Soames charges Ryle with a failure to recognise the distinction between the necessary and the analytic. He also harbours a clear understanding that philosophical problems arise naturally and directly from “our ordinary ways of thinking,”2 where these ways of thinking, the reader discovers, involve metaphysical preconceptions. This is at odds with Ryle's claim that certain category mistakes, playing the role, roughly, of Wittgenstein's misleading pictures, underlie some of the main problems of philosophy. The purpose of this paper is to assess how well Ryle, occasionally aided by Wittgenstein, can be seen to parry Soames's direct onslaught on his work in parts of Dilemmas and in The Concept of Mind. (shrink)

Need the moral be repeated? There exist two distinct circuits, each with its own final market. The equilibrium of the economic process is conditioned by the balance of the two circuits: each must be allowed the possibility of continuity, of basic outlay yielding an equal basic income and surplus outlay yieldingan equal surplus income, of basic and surplus income yielding equal basic and surplus expenditure, and of these grounding equivalent basic and surplus outlay. But what cannot be tolerated, much less (...) sustained, is for one circuit to be drained by the other. That is the essence of dynamic disequilibrium. (shrink)