In Rediscovering Colors: A Study in Pollyanna Realism, Michael Watkins endorses the Moorean view that colors are simple, non-reducible, properties of objects. Consequently, Watkins breaks from what has become the received view that either colors are reducible to certain properties of interest to science, or else nothing is really colored. What is novel about the work is that Watkins, unlike other Mooreans, takes seriously the metaphysics of colors. Consequently, Watkins provides an account of what colors are, how they are related (...) to the physical properties on which they supervene, and how colors can be causally efficacious without the threat of causal overdetermination. Along the way, he provides novel accounts of normal conditions and non-human color properties. The book will be of interest to any metaphysician and philosopher of mind interested in colors and color perception. (shrink)

Epiphenomenalism => qualia don't cause beliefs => we don't know about qualia.

By treating colours as sui generis intrinsic properties of objects we can maintain that (1) colours are causally responsible for colour experiences (and so agree with the physicalist) and (2) colours, along with the similarity and difference relations that colours bear to one another, are presented to us by casual observation (and so agree with the dispositionalist). The major obstacle for such a view is the causal overdetermination of colour experience. Borrowing and expanding on the works of Sydney Shoemaker and (...) Stephen Yablo, the paper offers a solution. (shrink)

The dominant view about the nature of aesthetic value holds it to be response-dependent. We believe that the dominance of this view owes largely to some combination of the following prevalent beliefs: 1 The belief that challenges brought against response-dependent accounts in other areas of philosophy are less challenging when applied to response-dependent accounts of aesthetic value. 2 The belief that aesthetic value is instrumental and that response-dependence about aesthetic value alone accommodates this purported fact. 3 The belief that response-dependence (...) about aesthetic value alone accommodates the widely acknowledged anthropocentricity of aesthetic value. 4 The belief that response-dependence about aesthetic value alone accommodates aesthetic normativity. We argue that each of these beliefs is false, and that the dominance of response-dependent accounts of aesthetic value is therefore largely without foundation. (shrink)

For those open to the possibility that philosophical thought can improve life, David Hume's Essays: Moral, Political, and Literary have something to say. In the first comprehensive study of the Essays, Margaret Watkins engages closely with these neglected texts and shows how they provide important insights into Hume's perspective on the breadth and depth of human life, arguing that the Essays reveal his continued commitment to philosophy as a discipline that can promote both social and individual progress. Addressing topics such (...) as politics, war, slavery, the priesthood, the development of industry, aesthetics, emotional disorders, egoism, friendship, sexuality, gender relations, and the nature of philosophy itself, the volume examines Hume's purposes and aims against the backdrop of the eighteenth century society in which he lived. It will be of interest to scholars of modern thought in philosophy, politics, history, and economics. (shrink)

Aestheticians generally agree that the aesthetic features of an object depend upon the non-aesthetic features of an object, and that this dependence can be captured by some formulation of the supervenience relation. I argue that the aesthetic depends upon the non-aesthetic in various and importantly different ways; that these dependence relations cannot be explained by supervenience; that appeals to supervenience create puzzles that aestheticians have neither fully appreciated nor resolved; and that appealing to various realization relations avoids these puzzles and (...) allows for a richer description of how the aesthetic depends upon the non-aesthetic. (shrink)

This article examines the issues that are at stake in the current resurgence of interest in the subject of habit. We focus on the role that habit has played in conceptions of the relations between body and society, and the respects in which such conceptions have been implicated in processes of governance. We argue that habit has typically constituted a point of leverage for regulatory practices that seek to effect some realignment of the relations between different components of personhood – (...) will, character, memory and instinct, for example – in order to bring about a specific end. In reviewing its functioning in this regard across a range of modern disciplines – philosophy, psychology, sociology – we explore the tensions between its use and interpretation in different lineages: in particular, the Cartesian–Kantian/ravaisson–bergson–deleuze lineages. The article then identifies how these questions are addressed across the contributions collected in this special issue. (shrink)

Recent criticisms of non-reductive accounts of color assume that the only arguments for such accounts are a priori arguments. I put forward a posteriori arguments for a non-reductive account of colors which avoids those criticisms.

This article argues that Hume's brief essay, "Of the Delicacy of Taste and Passion," offers resources for three claims: (1) Delicate taste correlates with self-sufficiency and thus with a particularly Humean form of Magnanimity -- greatness of mind; (2) Delicate taste improves the capacity for profound friendships, characterized by mutual admiration and true compassion; and (3) magnanimity and compassion are thus not necessarily in tension with one another and may even proceed from and support harmony of character. These claims, in (...) turn, provide reasons to take seriously Hume's view that moral character depends, in part, on aesthetic character. (shrink)

RésuméFrank Jackson et Robert Pargetter défendent l'idée que la couleur rouge est lapropriété, quelle qu'elle soit, qui cause ou causerait l'apparition de rouge dans notre expérience visuelle. Ceci empêche la couleur rouge d'être une propriété dispositionnelle, soutiennent-ils, puisque les propriétés dispositionnelles sont causalement inertes. Pour des raisons similaires, Us concluent aussi que la couleur rouge ne peut pas être une propriété disjonctive. Mais, comme ils s'en rendent bien compte, plusieurs propriétés physiques différentes sont telles qu'elles causeraient l'apparition de rouge. Ils (...) suggèrent done de relativiser la couleur rouge aux observateurs, aux conditions d'observation et aux moments du temps. Je soutiens, contre Jackson et Pargetter, que leur solution se heurte aux mêmes objections que celles qu'ils adressent aux interprétations dispositionnelle et disjonctive. (shrink)

Argues that although the phenomenon of negative recency in secondary memory is usually attributed to the reduced amount of rehearsal associated with recency items, this phenomenon can be explained by the adoption of a different type of processing for recency items. An experiment with 122 undergraduates is reported in which the recall of recency items was reduced in an immediate test, but increased in a subsequent test, under conditions in which the recency items could not be identified as such during (...) their presentation. Results support the conclusion that the mode of processing items for an immediate free-recall test is normally modified for recency items. ((c) 1997 APA/PsycINFO, all rights reserved). (shrink)

Recent moral philosophy emphasizes both the particularity of ethical contexts and the complexity of human character, but the usual abstract examples make it difficult to communicate to students the importance of this particularity and complexity. Extended study of a literary text in ethics classes can help overcome this obstacle and enrich our students’ understanding and practice of mature ethical reflection. Jane Austen’s Persuasion is an ideal text for this kind of effort. Persuasion augments the resources for ethical reflection that students (...) bring to our courses, provides a multitude of fecund examples to inspire discussion, and introduces philosophical points of its own. I explain specific ways to integrate this novel into courses and why some approaches work better than others, and I highlight themes for three different levels of study: reflection on particular virtues and vices, illustration of broader ethical issues, and discussion of virtues that the philosophical literature neglects. In each case, I discuss a particular example in detail: the question of whether or not pride can be a virtue, the varieties of friendship and their relation to virtue, and the virtue of proper persuadability. These examples suggest ways in which ethics teachers might explore the resources of other literary works towards similar ends. (shrink)

I show that the common reading of Thomson, that she argues by analogy for the conclusion that abortion is permissible, is mistaken. The correct reading of Thomson is that she argues by counterexample, showing that arguments against abortion are unsound. The remainder of the paper highlights the lessons learned from Thomson once we read her aright.

This article introduces several aspects of eighteenth-century discussions of slavery that may be unfamiliar or surprising to present-day readers. First, even eighteenth-century philosophers who were opponents of slavery often exhibited marked racism and helped develop racial concepts that would later serve pro-slavery theorists. Such thinkers include Hume, Voltaire, and Kant. Second, we must see slavery debates in the context of larger scientific and political debates, including those about climate and character, just political systems, the superiority or inferiority of the moderns (...) to the ancients, and the status of women. This section of the paper discusses the views of Montesquieu, Edmund Burke, Adam Smith, Sarah Chapone, and Mary Astell. Finally, many anti-slavery arguments of the time may seem too ‘soft’ to contemporary readers, as they appeal to negative effects or aspects of slavery rather than arguing for its absolute injustice. The last section of the paper compares Rousseau's arguments against slavery in The Social Contract with such arguments and concludes with a discussion of how Hume's understanding of humanity as a virtue may serve as a bridge between the two. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Testimony of Sense: Empiricism and the Essay from Hume to Hazlitt by Tim MilnesMargaret WatkinsTim Milnes. The Testimony of Sense: Empiricism and the Essay from Hume to Hazlitt. Oxford: Oxford University Press, 2019. Pp. viii + 278. Hardback. ISBN: 9780198812739. $91.00.In his brief autobiography, “My Own Life,” Hume reports that “almost all [his] life has been spent in literary pursuits and occupations” (E-MOL: xxxi). This is one (...) of at least ten places in this brief work in which he associates himself with “letters” or “literature”—as compared to at most four associations with philosophy. The moral to be inferred is not that Hume considered himself not to be a philosopher. Rather, he conceived of philosophy as a kind of literature. The Treatise was itself a “literary attempt.” Indeed, opposition between the “literary” and “philosophical” aspects of a text would have been foreign to Hume and his contemporaries—a notion for a later age, despite his occasional loose distinction between the relevant genres, as in his list of writings “historical, philosophical, or literary” in “My Own Life” (E-MOL: xxxvi).Yet despite Hume’s own understanding of the continuity between philosophy and literature, broadly conceived, it is still common for contemporary philosophers to ignore literary questions in their examination of Hume’s work, or to presume that one can easily distinguish the “philosophical” parts from the “literary” ones. Tim Milnes’s The Testimony of Sense is therefore a welcome addition to the Hume literature (pun intended). With a particular focus on the essay—a genre of great importance to Hume—Milnes contributes to the small set of engagements with Hume from the disciplinary perspective of English literature. With training in both philosophy and literature, as well as established expertise on Romanticism and its own essays, Milnes is well-qualified for the task. The Testimony of Sense includes sustained engagement with Hume’s contemporaries and successors, but for the purposes of this review, I engage the book primarily as a Hume scholar for Hume scholars.Milnes’s story plays out in three acts. The first establishes the need for public trust created by a skeptical crisis, itself a product of Hume’s criticism of the epistemic program of thinkers in the Cartesian and Lockean traditions. The second explains how the essays of the long eighteenth century constitute a response to that need in various ways. The third reveals in detail how the Romantic essayists, particularly William Hazlitt and Charles Lamb, both respond to and deviate from the “neoclassical” essayists, typified by Hume and Samuel Johnson.The first chapter, “Self and Intersubjectivity,” lays the groundwork by articulating how Hume, Adam Smith, Thomas Reid, and Dugald Stewart identify the need for what we now call intersubjectivity. Milnes describes the common thread as a kind of “natural transcendentalism.” In what sense are these thinkers properly understood as [End Page 175] transcendentalists? The central idea seems to be that all posit things other than reason as “conditions of meaningful thought” (72). For Hume, it is the social, linguistic experience of a community of virtuous judges. The intricate relations between self and other essential to such a community get “internalized within the specular drama of the impartial spectator” (72) in Smith’s writing, which itself takes part in the drama through his “halting, qualified syntax” that mimics “everyday speech” (44). Reid posits a “prescience” of trust, which grounds our reliance on both human testimony and the uniformity of nature, itself undergirded by the design of a benevolent God. Stewart, who posits axiomatic truths that help constitute the “stamina of intellect,” goes furthest, actually calling these truths transcendental (55). This chapter also puts these eighteenth-century thinkers in conversation with twentieth-century theorists, including Habermas, Davidson, and Rorty.Chapter 2, “The Subject of Trust,” deepens the analysis by situating these “natural transcendentalisms” in the broader enlightenment context. In contrast to Descartes, Bacon, and Locke, who were suspicious of our reliance on the opinions of others, the eighteenth-century thinkers understand trust as prior to reason in various ways—though not prior to solidarity. The particulars in each case depend on their responses to skepticism and their accounts of the relation between... (shrink)

We present the problem of perceptual agreement (of determinate color) and submit that it proves to be a serious and long overlooked obstacle for those insisting that colors are not objective features of objects, viz., nonobjectivist theories like C. L. Hardin’s (2003) eliminativism and Jonathan Cohen’s (2009) relationalism.

Arguments from perceptual variation challenge the view that colors are objective properties of objects, properties that objects have independent of how they are perceived. This paper attempts, first, to diagnose one central reason why arguments from perceptual variation seem especially challenging for objectivists about color. Second, we offer a response to this challenge, claiming that once we focus on determinate colors rather than the determinables they determine, a response to arguments from perceptual variation becomes apparent. Third, our nominal opponents are (...) relationalist (like Cohen in The red and the real: an essay on color ontology, Oxford University Press, Oxford, 2009) and we will argue that the main argument for rejecting objectivism commits the relationalist to a position that is more radical than the one he would wish to endorse. Fourth, we suggest that insight into which properties could be relational may be found by looking to our best scientific theories. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reply to My CriticsMargaret Watkins (bio)Science is related to wisdom as virtuousness is related to holiness; it is cold and dry, it has not love and knows nothing of a deep feeling of inadequacy and longing. It is as useful to itself as it is harmful to its servants, insofar as it transfers its own character to them and thereby ossifies their humanity. As long as what is meant (...) by culture is essentially the promotion of science, culture will pass the great suffering human being by with pitiless coldness, because science sees everywhere only problems of knowledge and because within the world of the sciences suffering is really something improper and incomprehensible, thus at best only one more problem.1When Nietzsche writes these words in “Schopenhauer as Educator” in 1874, nearly a century after Hume’s death, he is not using “science” (Wissenschaft) to refer only to what we now know as the natural sciences. Indeed, as another essay in the Untimely Meditations makes clear, history is as much, if not more, in Nietzsche’s sights as biology or physics. He is naming a peculiar irony here: in the quest for a certain kind of progress—the progress of knowledge—we can end up killing any hope of progress for life. Certain methods of historical study are forms of enquiry whose spiritless effect is to “let the dead bury the living.”2 Our relentless quest to catalog and preserve the old robs us of the higher ways we might learn from it, or overcome it. We “historians of philosophy” can do this by reading past philosophers as dead artifacts, focusing intently on how they were responding to their particular contexts and pursuing their own projects. As indispensable as such study is, it can kill the texts’ potential to continue to inspire and inform philosophical thought of our own. [End Page 163]In writing The Philosophical Progress of Hume’s “Essays,” my hope was to counteract this tendency in myself and in readers of Hume—to show that these works often neglected by contemporary philosophers are still capable of inspiring life-giving, generative philosophical thought. (I do not say they are of more than “mere” historical interest; abusing the study of history with such a pernicious adverb runs counter to every fiber of my being.) Such thought need not be optimistic, encouraging, or even morally admirable at every step. It need simply inspire our own thought, activate that love of truth that Hume says can never “be carried to too high a degree,” or (preferably and) show us how that truth matters for human life (EHU 5.1).3My attempts to achieve this aim have two primary modes: showing that the Essays can inspire vital philosophical reflection and arguing that they are themselves philosophical or works of philosophy. To put my cards on the table: the enemies within (and without) that run counter to this effort are the tendency to put a piece of philosophical writing under a microscope (whose lens might be analytic or historical) without ever asking why it matters, and the tendency to dismiss the writing as philosophical because it does not fit neatly into one of the current categories of our discipline or our understanding of “the” early modern philosophical project.I am therefore pleased that both my generous interlocutors, Jacqueline Taylor and Andre Willis, recognize my attempt to extend as well as explain Hume’s insights. There is far too much insight in their own contributions for me to do justice to. I will therefore limit my discussion to three main topics: the notion of Humean public spirit I attempt to elucidate in the book, the related problems of analytic distance, and the pressing question of the difference between Hume’s projects in other philosophical works—especially the two Enquiries—and his projects in the Essays.Although there is no essay called “Of Public Spirit,” it is still a significant concept for the Essays. The initial advertisement to the 1741 volume of Essays, Moral and Political included this observation: “Public Spirit, methinks, shou’d engage us to love the Public, and to bear an equal Affection to all our Country-Men; not... (shrink)

This essay argues that Hume’s criticism of slavery in “Of the Populousness of Ancient Nations,” despite its contribution to the British Enlightenment’s anti-slavery movement, is not truly abolitionist in character. Hume’s aim was not to put an end to contemporary slave practices or forestall their expansion. Nonetheless, the criticism of slavery proves significant for reasons that transcend the demographic questions of the essay. It supports an argument that Hume develops throughout the Essays and Political Discourses. The conclusion of this argument (...) warns against reverence for either ancient systems or modern progress. Like all forms of factionalism, these divisive tendencies threaten to compromise both our moral sensibility and our rational judgment. (shrink)

Elizabeth Anscombe tangos with Hume in the middle of her march toward the three theses of "Modern Moral Philosophy" that we should abandon moral philosophy "until we have an adequate philosophy of psychology"; that the concepts of moral obligation and moral duty, of what is morally right and wrong, and of the moral sense of 'ought' "ought to be jettisoned if this is psychologically possible;" and that "the differences between the well-known English writers on moral philosophy from Sidgwick to the (...) present day are of little importance." But the tango could have been a waltz: Hume could embrace at least the first two theses with pleasure. Indeed, Hume pursues the kind of philosophy of psychology that Anscombe recommends and offers resources for developing her reflections on the relationship between happiness, human need, and our particular desires. (shrink)

Taxonomies of the passions have long claimed to serve a quest for self-knowledge, by specifying conditions under which certain passions arise, formal objects they possess, and qualities essential to their particular feelings. I argue that David Hume's theory of the passions provides resources for a different kind of self-knowledge – a sceptical self-knowledge depending on our ability to articulate how the passions feel rather than always identifying our passions as tokens of an identifiable passion-type. These resources are distinctions between four (...) qualitative aspects that passions may possess – pleasantness or painfulness, calmness or violence, invigoration or softening, and directedness or lack thereof towards specific actions. Reflection on these aspects produces a more accurate understanding of the nature of our emotions and chastens our judgmental tendencies in ways that benefit both self and others. (shrink)

I develop resources from Hume to account for moral knowledge in the qualified sense developed by Bernard Williams, according to which the proper application of thick ethical terms constitutes moral knowledge. By applying to moral discernment the criteria of the good aesthetic critic, as explained in Hume's “ Of the Standard of Taste ”, we can see how Humean moral knowledge might be possible. For each of these criteria, an analogous trait would contribute to moral discernment. These traits would enable (...) moral judges to distinguish valid from invalid uses of thick moral terms. The deliverances of such judgments constitute mitigated moral knowledge, as opposed to knowledge in the stricter sense that Hume clearly says cannot be had of moral distinctions. This account has the potential to explain how moral judgments may be valid or invalid without appealing to unique operations of the understanding and how moral knowledge might escape the threat, identified by Williams, of reflective destruction. (shrink)

On July 19th 2021, the UK government lifted the COVID-19 restrictions that had been in place since March 2020, including wearing masks, social distancing, and all other legal requirements. The return to in-person events has been slow and gradual, showing that audiences are still cautious when they resume engaging in arts and culture. Patterns of audience behavior have also changed, shifting toward local attendance, greater digital and hybrid engagement, and openness to event format changes. As the arts and cultural industry (...) recovers from the pandemic, it is important to adopt an audience-oriented approach and look at the changing patterns of engaging in arts and culture. This study aims to better understand the impact of the pandemic on the patterns of cultural and arts engagement. Eight qualitative interviews were conducted to explore the changes in arts and cultural engagement since the restrictions were lifted, focusing particularly on the audience’s experiences of returning to in-person arts and cultural events in the Liverpool City Region. Using framework analysis, three themes were identified from the data: The new normal: reframing pre-pandemic and pandemic experiences of arts and culture, Re-adjusting to in-person provision, and Moving forward: online and blended provision. The findings show that the pandemic altered the ways that people engage in arts and culture. The “new normal,” a blend of pandemic and pre-pandemic experiences, illustrates how the pandemic has highlighted and reconfigured the importance of arts and culture, in terms of personal and cultural identity. Resuming in-person engagement after a long break, participants noted that they were able to feel more like themselves again. Arts and culture were perceived to be beneficial in rebuilding personal resilience and confidence. Engaging in arts and culture, following the isolating experience of the pandemic, has also helped participants feel reconnected to others through their shared experiences. Finally, the findings suggest that online provision remains vital for many, ensuring wider inclusivity, particularly for vulnerable audiences. At the same time, it is important to acknowledge the barriers to online inclusion and the possibility of this resulting in a growing digital divide. (shrink)

Museum education is a complex and specialized endeavour, even more so when involving partnerships with schools. In this paper, we engage with theories that support understanding of museum-educator pedagogies. Dewey's notion of occupations is explored as offering a better theorization of pedagogical possibilities than that available through ideas associated with identity. Museum-educator pedagogies shape occupations, as the coherence of interest-purpose-meaning. Such shaping is not a purely individual human action, as occupations are social and material, as being-in-the-world. Heidegger's phenomenological understanding of (...) the working of art, critiqued by Schapiro, enables further comprehension of this pedagogical working. Both theories together provide insights into museum-educator pedagogies as expressive of the always challenging art of education. (shrink)

Intentionalism holds that two experiences differ in their representational content if and only if they differ in phenomenal character. It is generally held that Intentionalism cannot allow for the possibility of spectrum inversion without systematic error, unless it abandons the idea that, for example, the qualitative character of color experience is inherited from the qualitative character of colors. The paper argues that the conjunction of all three -- the possibility of spectrum inversion, Intentionalism, and the inheritance thesis -- can be (...) consistently, and plausibly, accepted. (shrink)

KANT ARGUES AT GREAT LENGTH in the Critique of Pure Reason that the existence of God cannot be demonstrated by means of theoretical reason. For after dividing all traditional theistic proofs into three different kinds—the ontological, the cosmological, and the physico-theological—Kant argues first that the cosmological and physico-theological implicitly assume the ontological argument and then that the ontological argument is necessarily fallacious. By restricting knowledge in this manner Kant notoriously makes room for faith, that is, in this case, for a (...) practical proof of the existence of God, which he develops in the Critique of Practical Reason. Kant’s reasons for rejecting theoretical proofs of the existence of God have received considerable attention. In particular, Kant’s objection to the ontological argument, namely that existence is not a real predicate, still seems relevant in contemporary philosophy of religion. What has not received much attention, however, is the relationship between Kant’s rejection of theistic proofs in his critical period and his views on the matter in his pre-critical period. For throughout his pre-critical period, but especially in his The Only Possible Argument in Support of a Demonstration of the Existence of God, Kant believes that there is a theoretical proof of the existence of God. One would naturally expect Kant’s criticisms of theistic proofs as developed in the “ideal of pure reason” to apply in straightforward ways to his earlier attempts at a theistic proof. However, Kant rejects the three traditional arguments in The Only Possible Argument just as he does in the first Critique. Further, his reason for rejecting the ontological argument in particular is identical to the one presented in the first Critique: “Existence is not a predicate or a determination of a thing.” Accordingly, Kant understood himself to be developing a theistic proof in The Only Possible Argument that is distinct from the three traditional arguments and is also not subject to the objections he raises against them. Given that Kant rejects all theoretical proofs of God’s existence in his critical period and given that he did not take his critical objections to the traditional proofs to apply to the theistic proof developed in The Only Possible Argument, what is his justification for rejecting his pre-critical argument for God’s existence? (shrink)

While much of James O. Young’s Art and Knowledge is devoted to showing how works of art might be of cognitive value, we will focus on a prior claim, defended in the first chapter of Art and Knowledge, that “art” ought to be defined such that only works with cognitive value count as artworks. We begin by noting that it is not very clear—despite the considerable attention Young devotes to the matter—just what it is for an artwork to have cognitive (...) value. If by this claim he means only that we can learn something from a work, then the claim is trivial. We might learn from Marcel Duchamp’s Fountain, for example, that a urinal can become an artwork. But Young assumes that if Fountain is a work of art, then some works of art do not have cognitive value. So he must have a richer, narrower conception of cognitive value in mind. For the moment let us not worry what this richer, narrower conception of cognitive value is. Rather, let us just assume, along with Young, that Fountain does not have cognitive value. Why, then, is this not a counterexample to Young’s claim that “art” ought to be defined such that only works with cognitive value counts as artworks? Shouldn’t we define “art,” if we are going to define it, such that all and only works of art count as art? Why ought we adopt a definition of something which excludes from the category being defined things that, on the definer’s own grounds, are properly within that category. Surely, for any definiendum the definiens ought to pick out all and only those things that have the necessary and sufficient properties for being labeled by the definiendum. (shrink)