The current case study focused on a crucial match in the qualification for the Norwegian Premier League. In the match, the participants of the study experienced a radical change in performance toward the end of the second half, from being behind by several goals to scoring 3 goals in 6 min and winning the qualifying game. The purpose of this study was therefore to examine the perceptions and reflections of players and coaches on what occurred within their own team and (...) within the opposing team. The momentum shift in the opposition team can be described as a collective collapse. In the study, the theoretical collective collapse process model was used as a guide for the design of the interview questions where five semi-structured interviews were conducted with participants involved in the match. The participants watched excerpt clips from the match to recall the main events, which they subsequently reflected on. The results highlighted the importance of the “before-game” aspects, the “during-the-game” behavior and the cognitive and emotional reactions to the match unfolding. In addition, social contagion processes were evident in both teams relating to emotion and behavior. Overall, the data from this study investigated the general structure of the process model of collective sport team collapse and found support for the notion of a temporal cascade of causes for a team collapse. Future research is encouraged to examine this model, to provide guidance to teams, coaches, and sport psychologists in order to make recommendations for dealing with collective collapse in sport teams. (shrink)

Previous research has shown that moral failures increase compensatory behaviors, such as prosociality and even self-punishment, because they are strategies to re-establish one’s positive moral self-image. Do similar compensatory behaviors result from violations in normative eating practices? Three experiments explored the moral consequences of recalling instances of perceived excessive food consumption. In Experiment 1 we showed that women recalling an overeating (vs. neutral) experience reported more guilt and a desire to engage in prosocial behavior in the form of so-called self-sacrificing. (...) In Experimental 2 this logic was applied to actual spontaneous helping behaviors towards an experimenter, with participants who recalled an overeating (vs. neutral) experience exhibiting more such helping in the laboratory. Experimental 3 expanded the investigation to self-inflicted pain: Overeating (vs. neutral) recall led to higher levels of self-punishment as indicted by longer time periods spent engaging in the cold-pressor task. In sum, failures in normative food consumption can be viewed as moral transgressions that elicits both interpersonal and intrapersonal compensatory behaviors aimed at restoring a positive moral self-image. (shrink)

Reflection has been proclaimed as a means to help physicians deal with medicine’s inherent complexity and remedy many of the shortcomings of medical education. Yet, there is little agreement on the nature of reflection nor on how it should be taught and practiced. Emerging neuroscientific concepts suggest that human thought processes are largely nonconscious, in part inaccessible to introspection. Our knowledge of the world is fraught with uncertainty, ignorance and indeterminacy, and influenced by emotion, biases and illusions, including the illusion (...) of not having illusions. Neuroscience also documents that lifelong learning processes may hone nonconscious cognition to high levels of sophistication, allowing rapid and precise perceptions, judgments and actions in complex situations. We argue that knowledge of mechanisms underlying human thought may be useful in designing educational programs to foster desired attributes such as curiosity, critical self-awareness and intuitive acumen in medical professionals. The juxtaposition of neuroscientific insights with ideas from Kant on reflective judgement, van Manen on tact, and Aristotle on phronésis, supports a concept of reflection that manifests as wise practice. We suggest that reflection in medical education should be an imperative for educators seeking to guide learners to manage the complexity and “messiness” of medical practice, and a role-modelling mode of medical practice characterized by self-correcting behaviors that culminate in good and right professional actions. An example illustrates reflective practice in the teaching and learning of physicianship. (shrink)

In this important and impressive book, Gregory Currie tackles several fundamental topics in the philosophy of film and says much of general interest about the nature of imagination. The first part examines the nature of film representation, rejecting the view that spectators are subject to any kind of cognitive or perceptual illusions. Currie also argues against Walton’s transparency claim, which holds that when we look at a photograph we are literally seeing the object photographed. He instead defends perceptual realism, the (...) thesis that photographs resemble the objects they depict, where the resemblance is a matter of photographs triggering the same recognitional response as would the object photographed. He also argues convincingly that films should not be thought of as a language-like form of communication. (shrink)

Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text intends there to be (...) a mutual belief that the reader adopt this stance partly because of her recognition of the producer’s intention. To adopt the fictive stance is, at its most basic level, to entertain the sense of the text and to make-believe its truth and reference. Because appeal is made not to belief, but make-belief, there is no essential connection between fictionality and truth. Fictional content is aspectival, fictional objects being constituted by the properties expressed by the descriptions associated with the names of the objects. The account of literature is structurally similar to that for fiction. A text is literary when it is produced with the intention that its audience adopt the literary stance towards it, and a similar mutual belief condition holds. To adopt the literary stance to a text is to read it for literary aesthetic value, that is, with an expectation of finding humanly interesting content presented in a complex and coherent form. There is no requirement that the content be true, and hence there is no essential connection between literature or literary value and truth. Within this broad framework, Lamarque and Olsen develop a number of further points of interest, including a broadly Gricean account of metaphor that avoids the pitfalls into which Searle’s proposal stumbles, a distinction between different senses of “fiction” that usefully shows that logical fictions are distinct from make-believe fictions, and a sustained attack on structuralist and poststructuralist literary theories that one hopes will fall into the hands of aficionados of those theories. (shrink)

Adjustments of everyday life in order to prevent disease or treat illness afflict partly unconscious preferences and cultural expectations that are often difficult to change. How should one, in medical contexts, talk with patients about everyday life in ways that might penetrate this blurred complexity, and help people find goals and make decisions that are both compatible with a good life and possible to accomplish? In this article we pursue the question by discussing how Habermas’ theory of communicative action can (...) be implemented in decision-making processes in general practice. The theory of deliberative decision-making offers practical guidelines for what to talk about and how to do it. For a decision to be rooted in patients’ everyday life it has to take into consideration the patient’s practical circumstances, emotions and preferences, and what he or she perceives as ethically right behaviour towards other people. The aim is a balanced conversation, demonstrating respect, consistency and sincerity, as well as offering information and clarifying reasons. Verbalising reasons for one’s preferences may increase awareness of values and norms, which can then be reflected upon, producing decisions rooted in what the patient perceives as good and right behaviour. The asymmetry of medical encounters is both a resource and a challenge, demanding patient-centred medical leadership, characterised by empathy and ability to take the patient’s perspective. The implementation and adjustments of Habermas’ theory in general practice is illustrated by a case story. Finally, applications of the theory are discussed. (shrink)

In Only a Promise of Happiness Alexander Nehamas holds that beauty is the object of love. I raise three objections to this claim when formulated in terms of personal love: love is too narrow in scope to be the attitude whose formal object is beauty; one can experience a person's beauty but have no love for her; and love is of particulars, not of attributes, however specific, such as beauty. A second kind of love, hedonic love, is too broad in (...) scope to be the attitude whose formal object is beauty. I also argue, contra Nehamas, that inner beauty exists. (shrink)

With this book, any teacher can start teaching philosophy to children today! Co-written by a professor of philosophy and a practising primary school teacher, Philosophy for Young Children is a concise, practical guide for teachers. It contains detailed session plans for 36 philosophical enquiries - enough for a year's work - that have all been successfully tried, tested and enjoyed with young children from the age of three upwards. The enquiries explore a range of stimulating philosophical questions about fairness, the (...) environment, friendship, inclusion, sharing, right and wrong, manners, beauty, pictures, the emotions, dreaming and reality. All the stories, drawings and photographs that you'll need to carry out the enquiries are provided and can be used with your children directly from the book. Each step-by step enquiry includes: The philosophical topic and the aim of the enquiry The stimuli you'll need Questions to ask the children Possible answers to help move the discussion forward Ideas to help you summarise and extend the enquiry. If you are an Early Years or primary school teacher, this complete resource will enable you to introduce philosophy to your children quickly and with confidence. (shrink)

At the core of Kant's Groundwork of the Metaphysics of Morals lies his ‘derivation’ of the categorical imperative: his attempt to establish that, if there is a supreme principle of morality, then it is this imperative. Kant's argument for this claim is one of the most puzzling in his corpus. The received view, championed by Aune and Allison, is that there is a fundamental gap in the argument, which Kant elides by means of a simple but deadly confusion, thus robbing (...) the argument of all validity. We will here contest the received view, as well as Korsgaard's alternative interpretation of the argument. In place of these positions we will offer a reconstruction of the derivation which reveals its coherence and force. We will show that it illuminates some interesting grounds for rejecting certain candidates, including a utilitarian principle, for status as the supreme principle of morality. While certainly not free of all defects, the argument will be shown to be far more powerful and interesting than it has commonly been held to be. (shrink)

Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text intends there to be (...) a mutual belief that the reader adopt this stance partly because of her recognition of the producer’s intention. To adopt the fictive stance is, at its most basic level, to entertain the sense of the text and to make-believe its truth and reference. Because appeal is made not to belief, but make-belief, there is no essential connection between fictionality and truth. Fictional content is aspectival, fictional objects being constituted by the properties expressed by the descriptions associated with the names of the objects. The account of literature is structurally similar to that for fiction. A text is literary when it is produced with the intention that its audience adopt the literary stance towards it, and a similar mutual belief condition holds. To adopt the literary stance to a text is to read it for literary aesthetic value, that is, with an expectation of finding humanly interesting content presented in a complex and coherent form. There is no requirement that the content be true, and hence there is no essential connection between literature or literary value and truth. Within this broad framework, Lamarque and Olsen develop a number of further points of interest, including a broadly Gricean account of metaphor that avoids the pitfalls into which Searle’s proposal stumbles, a distinction between different senses of “fiction” that usefully shows that logical fictions are distinct from make-believe fictions, and a sustained attack on structuralist and poststructuralist literary theories that one hopes will fall into the hands of aficionados of those theories. (shrink)

In this important and impressive book, Gregory Currie tackles several fundamental topics in the philosophy of film and says much of general interest about the nature of imagination. The first part examines the nature of film representation, rejecting the view that spectators are subject to any kind of cognitive or perceptual illusions. Currie also argues against Walton’s transparency claim, which holds that when we look at a photograph we are literally seeing the object photographed. He instead defends perceptual realism, the (...) thesis that photographs resemble the objects they depict, where the resemblance is a matter of photographs triggering the same recognitional response as would the object photographed. He also argues convincingly that films should not be thought of as a language-like form of communication. (shrink)

Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text intends there to be (...) a mutual belief that the reader adopt this stance partly because of her recognition of the producer’s intention. To adopt the fictive stance is, at its most basic level, to entertain the sense of the text and to make-believe its truth and reference. Because appeal is made not to belief, but make-belief, there is no essential connection between fictionality and truth. Fictional content is aspectival, fictional objects being constituted by the properties expressed by the descriptions associated with the names of the objects. The account of literature is structurally similar to that for fiction. A text is literary when it is produced with the intention that its audience adopt the literary stance towards it, and a similar mutual belief condition holds. To adopt the literary stance to a text is to read it for literary aesthetic value, that is, with an expectation of finding humanly interesting content presented in a complex and coherent form. There is no requirement that the content be true, and hence there is no essential connection between literature or literary value and truth. Within this broad framework, Lamarque and Olsen develop a number of further points of interest, including a broadly Gricean account of metaphor that avoids the pitfalls into which Searle’s proposal stumbles, a distinction between different senses of “fiction” that usefully shows that logical fictions are distinct from make-believe fictions, and a sustained attack on structuralist and poststructuralist literary theories that one hopes will fall into the hands of aficionados of those theories. (shrink)

The aims of this paper are (1) to reconstruct the dialectic between two rival theories on the relation between art and morality, (2) to argue against Berys Gaut’s recent defense of ethicism, and (3) to elaborate some of my critical remarks and propose new considerations in favor of immoralism. To a first approximation, an ethicist maintains that the moral value of a work of art, when relevant, is an important element of its artistic value. In particular, assuming that the moral (...) value of a work, w, is relevant for its artistic value, if w has an immoral character (in a sense to be specified), then its aesthetic value is lessened. In addition, if w has a morally positive character, then w is also artistically more .. (shrink)

Berys Gaut has recently defended a theory according to which a moral defect of a work of art represents an aesthetic defect of the work itself. This theory, called ethicism, has been criticized by Matthew Kieran, who argued that, on the contrary, in certain cases moral defects can increase the artistic value of artworks. In this essay I clarify the main points of the debate and claim that Gaut’s defense of his theory is not convincing.

The purpose of this paper is to defend a particular kind of cinematic realism, anti-illusionism, which is the thesis that cinematic motion is real. Following a brief introduction to realism and cinema in Section 1, I analyse Berys Gaut’s taxonomy of cinematic realism and define anti-illusionism in Section 2. Section 3 contrasts the anti-illusionist theories of Gregory Currie and Trevor Ponech with the illusionist theories of Andrew Kania and Gaut. I reconceptualize the debate in terms of Tom Gunning’s cinematic animation (...) in Section 4, focusing on the question of cinematic singletons. In Section 5 I argue that cinematic singletons both exist and undergo objective displacement—and thus for anti-illusionism. I conclude, in Sections 6–7, with responses to potential objections to my argument from Kania and Gaut. (shrink)

Does the blasphemous nature of writing Koranic verses on naked women make for good art? Is not the very obscenity of ‘gangsta’ rap part of its appeal as music? In the face of an artist's claims to aesthetic autonomy from ethical evaluation, or even the expression of a kind of duty to transgress normal moral boundaries, Berys Gaut has dedicated 252 pages of crisp but rather dry academic review to a defence of a positive relationship between art and ethics.

In this book review I argue that, broadly speaking, there are three rival accounts of the relationship between having a normative reason to act and being motivated to act. Neo-Humeans argue that an agent has a normative reason to act if and only if so doing would satisfy some desire of the agent; consequently, their task is to show that there is an internal relation between an agent’s having a normative reason to act and an agent’s having a desire to (...) act. Kantians argue that any agent who has a normative reason to act, and who is practically rational (i.e., not suffering from some debilitating form of practical irrationality, such as weakness of will or depression), will act; consequently, their task is to show that normative reasons always have overriding authority and that it is always irrational not to act upon them. Neo-Aristotelians argue that normative reasons for action are derived from facts about human well-being, and that an agent will be motivated to act provided that she has been habituated into having desires, guided by reason, to act for her own well-being; consequently, their task is to show how normative reasons can be derived from facts about human well-being and whether it is always in an agent’s best interest to act morally. (shrink)

Moral pluralism of the kind associated with W. D. Ross is the doctrine that there is a plurality of moral principles, which in their application to particular cases can conflict, and that there is no further principle to determine which of these principles takes priority in cases of conflict. Two objections are commonly advanced against this kind of pluralism: that it proposes a rag-bag of moral principles lacking a unifying basis; and that it offers no way to adjudicate moral disputes (...) when our intuitions about what to do conflict. The present paper replies to both of these objections, in particular by responding to versions of them advanced by Brad Hooker. The tying together and justification of different moral principles may be achieved by a general rational justification procedure, rather than by a further moral principle; and such a rational justification procedure can help to adjudicate moral disputes. (shrink)

Despite medical leaders’ increasing acceptance of the idea that the whole person should be the focus of care, empirical studies show clinicians generally remain focused on narrower goals: disease categories, standardized treatment procedures, and objective measurements of health improvements. We assume doctors want to do a good job, consistent with their perception of the goals and norms of their profession, so they practice medicine based on the illusion that clinical medicine is “knowledge treating disease,” not people treating people. We believe (...) that doctors’ seeming reduction of patients to clinical objects results from not seeing themselves as leaders for their patients or accepting their constructive power in clinical encounters. (shrink)

The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.

A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

These thirteen new, specially written essays by a distinguished international line-up of contributors, including some leading contemporary moral philosophers, give a rich and varied view of current work on ethics and practical reason. The three main perspectives on the topic, Kantian, Humean, and Aristotelian, are all well represented. Issues covered include: the connection between reason and motivation; the source of moral reasons and their relation to reasons of self-interest; the relation of practical reason to value, to freedom, to responsibility, and (...) to feelings. The editors' introduction provides a valuable introductory survey of the topic, putting the individual essays in context. Ethics and Practical Reason will be essential reading for scholars, postgraduates, and upper-level undergraduates working in this area. (shrink)

This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.

Group creativity is vital in overcoming the numerous challenges that the world faces. Yet group creativity is deeply puzzling. It seems plausible that only agents can be creative, so group creativity requires group agency. But how could groups possess the mental states required to be agents, let alone the rich range of them required to be creative? It appears more reasonable to hold that group creativity is not a real phenomenon, but is merely the summed creativity of the individuals forming (...) the group. There is also much empirical evidence that groups are no more creative than their members. In this paper I examine the conceptual and empirical challenges to group creativity, defend its existence, and offer an explanation of how it is possible. (shrink)

So-called activation policies aiming at bringing jobless people into work have been a central component of welfare reforms across OECD countries during the last decades. Such policies combine restrictive and enabling programs, but their characteristic feature is that enabling programs are also mandatory, and non-compliers are sanctioned. There are four main arguments that can be used to defend mandatory activation of benefit recipients. We label them efficiency, sustainability, paternalism, and justice. Each argument is analysed in turn. First we clarify which (...) standards it invokes, thereafter we evaluate each argument according to its own standards and introduce competing normative concerns that have to be taken into account. (shrink)