El artículo muestra que, en numerosos contextos, Agustín reflexiona sistemáticamente sobre la teología de la escucha transformadora, y da en la práctica un destacado ejemplo de ella. Se centra en los tres últimos libros de las Confesiones, particularmente el libro 11, donde Agustín presenta una versión única, pero también paradigmática, del arte y práctica de oír.

How should politicians act? When should they try to lead public opinion and when should they follow it? Should politicians see themselves as experts, whose opinions have greater authority than other people's, or as participants in a common dialogue with ordinary citizens? When do virtues like toleration and willingness to compromise deteriorate into moral weakness? In this innovative work, Andrew Sabl answers these questions by exploring what a democratic polity needs from its leaders. He concludes that there are systematic, principled (...) reasons for the holders of divergent political offices or roles to act differently. Sabl argues that the morally committed civil rights activist, the elected representative pursuing legislative results, and the grassroots organizer determined to empower ordinary citizens all have crucial democratic functions. But they are different functions, calling for different practices and different qualities of political character. To make this case, he draws on political theory, moral philosophy, leadership studies, and biographical examples ranging from Everett Dirksen to Ella Baker, Frances Willard to Stokely Carmichael, Martin Luther King Jr. to Joe McCarthy. Ruling Passions asks democratic theorists to pay more attention to the "governing pluralism" that characterizes a diverse, complex democracy. It challenges moral philosophy to adapt its prescriptions to the real requirements of democratic life, to pay more attention to the virtues of political compromise and the varieties of human character. And it calls on all democratic citizens to appreciate "democratic constancy": the limited yet serious standard of ethical character to which imperfect democratic citizens may rightly hold their leaders--and themselves. (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)

Police officers are vital to maintaining security and the continuity of national functions. Thus, Police officers are more exposed to different kinds of psychological concerns. However, a female in this kind of profession, based on various studies, experienced higher levels of stress because of other factors. Further, the primary goal of this study is to investigate the psychological well-being, lived experiences, challenges, and coping mechanisms of female police officers. Employing the Interpretative Phenomenological Analysis, the findings of this study were: (1) (...) Female police officers had conceptualized themselves as brave, flexible, and adaptive. And they cope with stress with positive thinking that results in healthy psychological well-being. (2) Female police officers showed dedication and engagement to serve the people. They even used their resources for the public and sacrificed most of their time in the office. (3) Female police officers' primary motivation to continue their careers is their families, and serving the public brings joy to them. (4) However, female police officers experience disrespect while working in the field, and they always have fear in their life as police officers. Moreover, they need more time to spend with their families. Furthermore, it is highly suggested to provide opportunities for enhancing quality time with their family, specifically with their children. (shrink)

Universality has been an important concept in computable structure theory. A class C of structures is universal if, informally, for any structure of any kind there is a structure in C with the same computability-theoretic properties as the given structure. Many classes such as graphs, groups, and fields are known to be universal. This paper is about the class of finitely generated groups. Because finitely generated structures are relatively simple, the class of finitely generated groups has no hope of being (...) universal. We show that finitely generated groups are as universal as possible, given that they are finitely generated: for every finitely generated structure, there is a finitely generated group which has the same computability-theoretic properties. The same is not true for finitely generated fields. We apply the results of this investigation to quasi Scott sentences, and also answer a question of Alvir, Knight, and McCoy. (shrink)

If someone claims that individuals behave as if they violate the independence axiom when making decisions over simple lotteries, it is invariably on the basis of experiments and theories that must assume the IA through the use of the random lottery incentive mechanism. We refer to someone who holds this view as a Bipolar Behaviorist, exhibiting pessimism about the axiom when it comes to characterizing how individuals directly evaluate two lotteries in a binary choice task, but optimism about the axiom (...) when it comes to characterizing how individuals evaluate multiple lotteries that make up the incentive structure for a multiple-task experiment. We reject the hypothesis about subject behavior underlying this stance: we find that preferences estimated with a model that assumes violations of the IA are significantly affected when one elicits choices with procedures that require the independence assumption, as compared to choices elicited with procedures that do not require the assumption. The upshot is that one cannot consistently estimate popular models that relax the IA using data from experiments that assume the validity of the RLIM. (shrink)

This article builds on Humberstone’s idea of defining models of propositional modal logic where total possible worlds are replaced by partial possibilities. We follow a suggestion of Humberstone by introducing possibility models for quantified modal logic. We show that a simple quantified modal logic is sound and complete for our semantics. Although Holliday showed that for many propositional modal logics, it is possible to give a completeness proof using a canonical model construction where every possibility consists of finitely many formulas, (...) we show that this is impossible to do in the first-order case. However, one can still construct a canonical model where every possibility consists of a computable set of formulas and thus still of finitely much information. (shrink)

There have been a number of developments within religious epistemology in recent years. Currently, the dominant view within mainstream philosophy of religion is, arguably, reformed epistemology. What is less well known is that feminist epistemologists have also been active recently within the philosophy of religion, advancing new perspectives from which to view the link between knowledge and religious experience. In this article I examine the claim by certain feminist religious epistemologists that women are both epistemically oppressed and epistemically privileged, and (...) I consider whether or not this justifies the specific re-conceptualisations of religious terms that such epistemologists have proposed. (shrink)

Normative error theory is thought by some to be unbelievable because they suppose the incompatibility of believing a proposition at the same time as believing that one has no normative reason to believe it—which believing in normative error theory would seem to involve. In this article, I argue that normative holism is believable and that a normative holist will believe that the truth of a proposition does not invariably generate a normative reason to believe it. I outline five different scenarios (...) in which this is believably the case. I then show how each example can be used to generate a counterexample to the incompatibility claim. I conclude that believing a proposition is compatible with believing there is no reason to believe it and that as such normative error theory has not yet been shown to be unbelievable. (shrink)

This chapter contains sections titled: The Central Idea Bentham's Use of Utility Traditional Interpretation: Mill Reinterpretation (1): The Art of Life Reinterpretation (2): Happiness and Indirect Utilitarianism Mill's Metaphysics and Logic Proof of the Principle of Utility Bentham on Clarification Sidgwick.

Mahāyāna sūtras are obviously texts in the conventional sense of the word, but how they work as texts, the purposes they serve, and the manner in which they are constructed have so far attracted comparatively little sustained theoretical attention of the sort that goes beyond specific examples. This paper addresses itself to two well-known formal features of this voluminous genre which have yet to receive the critical reflection they deserve. The first is a pervasive self-referentiality, taking various forms, some of (...) them fairly straightforward, even banal, others highly challenging and paradoxical in their effect. The second feature is the use of formulas and lists, not singly, but in combination, in a way which expands a theme along two or more axes or vectors concurrently. These two features, while by no means exhaustive of all the things that make Mahāyāna sūtras the distinctive type of scripture they are, provide evidence of a passion for complexity which seems to be part of their DNA. Intensely generative of ever greater amounts of text, these features blur and even erase the boundaries between the creators of texts, the writers and speakers, and their consumers, the readers and hearers. In this paper they are explored with special reference to a small number of sūtras, some of which are demonstrably early productions of the Mahāyāna movement. (shrink)

It has been argued that a successful counterexample to the principle of alternative possibilities must rule out any possibility of the agent making an alternative decision right up to the moment of choice. This paper challenges that assumption. Distinguishing between an ability and an opportunity, this paper presents a Frankfurt-style case in which there is an alternative possibility, but one it is highly improbable that the agent will access. In such a case the agent has only the opportunity, not the (...) ability to do otherwise. (shrink)

There have been a number of developments within religious epistemology in recent years. Currently, the dominant view within mainstream philosophy of religion is, arguably, reformed epistemology. What is less well known is that feminist epistemologists have also been active recently within the philosophy of religion, advancing new perspectives from which to view the link between knowledge and religious experience. In this article I examine the claim by certain feminist religious epistemologists that women are both epistemically oppressed and epistemically privileged, and (...) I consider whether or not this justifies the specific re‐conceptualisations of religious terms that such epistemologists have proposed. (shrink)

On August 30, 2013, the American Political Science Association sponsored a roundtable on political epistemology as part of its annual meetings. Co-chairing the roundtable were Jeffrey Friedman, Department of Government, University of Texas at Austin; and Hélène Landemore, Department of Political Science, Yale University. The other participants were Scott Althaus, Department of Political Science, University of Illinois at Urbana-Champaign; Mark Bevir, Department of Political Science, University of California at Berkeley; Rogers Smith, Department of Political Science, University of Pennsylvania; and Susan (...) Stokes, Department of Political Science, Yale University. We thank the participants for permission to republish their remarks, which they subsequently edited for clarity. (shrink)

Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not have been tokened before the time (...) it is in fact tokened, relative to the agent in question. Thoughts that meet these three conditions—agency, psychological novelty, and modal—are what may be called cognitive breakthroughs. Even if such breakthroughs are not necessary to or definitive of richer creativity, they are indeed central to much of creativity. The minimal analysis provides a more workable explanandum for theories of creativity of varied motivation and method. (shrink)

This volume is about the many ways we perceive. Contributors explore the nature of the individual senses, how and what they tell us about the world, and how they interrelate. They consider how the senses extract perceptual content from receptoral information. They consider what kinds of objects we perceive and whether multiple senses ever perceive a single event. They consider how many senses we have, what makes one sense distinct from another, and whether and why distinguishing senses may be useful. (...) They consider the extent to which the senses act in concert, rather than as discrete modalities, and whether this influence is epistemically pernicious, neutral, or beneficial. They explore both the familiar five sense modalities and other candidate sense modalities, including a sense for flavour, inner senses (e.g., a sense for pain), and various senses that may result from using sensory substitution devices. Contributors often represent competing views, and the methods they deploy sometimes differ from one essay to the next—with some drawing upon the sciences and engineering and others relying upon conceptual analysis. All contributors agree, nonetheless, that traditional theorizing about the senses is hampered by a neglect of the senses other than vision, and by the misconception that vision is a passive receptacle for an image thrown by a lens. And many contributors believe that it is unduly restrictive to think of perception as a collation of contents provided by individual sense modalities; they think that to understand perception properly, we need to build into our accounts the idea that the senses work together. The ambition of the volume is to begin to develop better paradigms for understanding the senses, and thereby to move toward a better understanding of perception. (shrink)

Computer programs are generating artworks of astonishing novelty and aesthetic value. By the standard definition of creativity, these programs would count as being creative. But if you still hesitate to call a program creative, that's for good reason, we argue. It's because real creativity requires AGENTS who are responsible for what they make, and it's not at all clear that these programs are agents. -/- (The title was imposed by the editor. It was supposed to be called, "ARE COMPUTERS CREATIVE?").

Consider a terrible situation that too many women find themselves in: 85,000 women are raped in England and Wales alone every year. Many of these women do not bring their cases to trial. There are multiple reasons that they might not want to testify in the courts. The incredibly low conviction rate is one. Another reason, however, might be that these women do not want the fact that they were raped to become the most salient thing about them. More specifically, (...) they do not want it to be the thing that others attend to the most—that others find most noticeable and memorable. In this paper, I introduce the notion of ‘harmful salience perspectives’ to help to explain this and related phenomena. This refers either to attention on things that should not be salient, or not enough attention on things that deserve to be made salient. Following ideas within the feminist literature on objectification, I argue that we can be harmed when aspects of our identity that do not reflect our personhood—our agency, rationality, personality, and so on—are more prominent in the minds of others than aspects that do reflect our personhood. Crucially, these ways of attending do not need to implicate false beliefs and harmful ideologies to be harmful, but can be harmful in their own right. (shrink)

Jonathan Harrison teases our minds with two short stories ….

One theme in complaints from those with marginalized social identities is that they are seen primarily in terms of that identity. Some Black artists, for instance, complain about being seen as Black first and artists second. These individuals can be understood as objecting to a particularly subtle form of morally problematic attention: “relative attentional surplus on the wrong property.” This attentional surplus can coexist with another type of common problematic attention affecting these groups, including attentional deficits; marginalized individuals and groups (...) themselves are routinely insufficiently attended to in virtue of the surplus attention given to their social identity properties. (shrink)

We offer a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. We then survey some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural (as opposed to magical, occult, or supernatural) and is therefore amenable to scientific inquiry. This work is divided into two categories. The broader category is empirical philosophy, which draws on empirical research while (...) addressing questions that have traditionally been regarded as philosophical. The second category is experimental philosophy, a special branch of empirical philosophy in which experiments are designed (by philosophers) with the explicit purpose of addressing philosophical questions. All of this highlights the relative theoretical neglect of creativity, while at the same time suggesting ample opportunity for experimentally minded philosophers to break new ground. (shrink)

Perception is typically distinguished from cognition. For example, seeing is importantly different from believing. And while what one sees clearly influences what one thinks, it is debatable whether what one believes and otherwise thinks can influence, in some direct and non-trivial way, what one sees. The latter possible relation is the cognitive penetration of perception. Cognitive penetration, if it occurs, has implications for philosophy of science, epistemology, philosophy of mind, and cognitive science. This paper offers an analysis of the phenomenon, (...) its theoretical consequences, and a variety of experimental results and possible interpretations of them. The paper concludes by proposing some constraints for analyses and definitions of cognitive penetrability. (shrink)

Amongst philosophers and cognitive scientists, modularity remains a popular choice for an architecture of the human mind, primarily because of the supposed explanatory value of this approach. Modular architectures can vary both with respect to the strength of the notion of modularity and the scope of the modularity of mind. We propose a dilemma for modular architectures, no matter how these architectures vary along these two dimensions. First, if a modular architecture commits to the informational encapsulation of modules, as it (...) is the case for modularity theories of perception, then modules are on this account impenetrable. However, we argue that there are genuine cases of the cognitive penetrability of perception and that these cases challenge any strong, encapsulated modular architecture of perception. Second, many recent massive modularity theories weaken the strength of the notion of module, while broadening the scope of modularity. These theories do not require any robust informational encapsulation, and thus avoid the incompatibility with cognitive penetrability. However, the weakened commitment to informational encapsulation greatly weakens the explanatory force of the theory and, ultimately, is conceptually at odds with the core of modularity. (shrink)

A fiction may prescribe imagining that a pig can talk or tell the future. A fiction may prescribe imagining that torturing innocent persons is a good thing. We generally comply with imaginative prescriptions like the former, but not always with prescriptions like the latter: we imagine non-evaluative fictions without difficulty but sometimes resist imagining value-rich fictions. Thus arises the puzzle of imaginative resistance. Most analyses of the phenomenon focus on the content of the relevant imaginings. The present analysis focuses instead (...) on the character of certain kinds of imaginings, arguing that we resist in such cases given the rich evaluative character of the imaginings prescribed, and the agent-dependent constraints on imagining in such ways. (shrink)

Paolo Diego Bubbio's Sacrifice in the Post-Kantian Tradition offers a valuable and insightful discussion of the place of sacrifice plays in nineteenth century European philosophy, setting the stage for its emergence as a central theme in subsequent continental thought. Bubbio offers a strong case for the claim that the foundational move of the post-Kantian tradition is a fundamentally kenotic one. Bubbio is also critical of certain excesses in the way sacrifice is discussed in more recent work. However, the case of (...) Kierkegaard in particular suggests kenosis is not so easily kept within the comfortable boundaries Bubbio prescribes for it: its excesses may be an integral part, rather than a hyperbolic distortion, of the logic of sacrifice. (shrink)

Originally published by the Center for Hellenic Studies, this book investigates the extent to which the Presocratics were hamstrung by their lack of detailed conceptual framework in the case of the words "one" and "many." This investigation is based on Aristotle's analyses.