Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the (...) borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in (...) order to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog.One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A."This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek. For Socrates, Aristotle, and Plato, arts were simply any skilled practice. Poetry, for Aristotle at least, was an art, but so were navigation, medicine, and statecraft. And there were, of course, the martial arts. What happens with the emergence of the Modern System of the Arts—otherwise known as the Fine Arts, or the Beaux Arts, or, for us, the Arts with a capital A—is that a subset of the arts in the Greco-Roman sense were selected out and christened as a class unto itself, [End Page 1] different from the other "small a" arts. Whereas once upon a time chemists and painters might have been grouped together in the same guild in virtue of the fact that both types of workers ground substances, such as pigment; with the advent of the Modern System of the Arts, chemists and painters became first and foremost categorically different.However, the consolidation of the class of Arts with a capital A demanded a theoretical answer to the question of what criterion an art form had to meet in order to gain membership in the Modern System of the Arts. The first suggestion was that a candidate practice had to possess the capacity to imitate the beautiful in nature. This was not a definition that had legs. For when absolute or pure instrumental music—or, as Peter Kivy calls it, music alone2 —took center stage as the most important form of music as well as the Art with a capital A to which all the other arts putatively aspired, the criteria for entry into the Modern System of the Arts had to be reconceived. Since music alone could not creditably be described as the imitation of the beautiful in nature (or, for that matter, the imitation of anything else), a new license for practicing Art with a capital A had to be found. And this has become one of the animating tasks of the analytic philosophy of art.But the analytic philosophy of art comes with a certain bias toward discharging this task. It is committed to finding an essentialist answer to resolving the question of what warrants citizenship in the republic of Art (with a capital A). That is, what makes something an Artistic practice or, for that matter, a work of Art such that it is different from other things? What separates the Arts and the artworks from everything else?Perhaps not surprisingly, one of the most popular and recurring proposals here is that the Arts are what are primarily intended to promote aesthetic experience where that has formerly been characterized as disinterested pleasure but, more recently, as experience valued for its own sake. Experience valued for its own sake, of course, is virtually by definition conceptually independent from any other end, whereas the practices that do not belong to the Modern System of the Arts are primarily devoted to securing other ends—useful or utilitarian ends, knowledge... (shrink)

This volume, reproducing a special issue of The Journal of Aesthetics and Art Criticism on &"The Philosophy of Music&" (Winter 1994) with a revised introduction and two new articles, is distinguished by its breadth of content, diversity of approaches, and clarity of argument, which should make it useful for classroom teaching. The topics covered include musical representation, the expression of feeling in music, the metaphysics of operatic speech and song, musical understanding, musical composition, feminist music theory, music and politics, music (...) and racial identity, music in non-Western cultures, and the ontological implications of recording technology for rock music. The approaches used are philosophical, historical, social and political, feminist, and ethnomusicological. The book includes discussions of a great many styles and historical periods of music, from ancient Greek music and music theory to instrumental and operatic music in the Western classical tradition, Persian music, music of the Blackfoot Indians, rock and the blues, and the avant-garde compositions and performances of John Cage. The contributors, all eminent scholars in the field, are Philip Alperson, No&ël Carroll, Stephen Davies, Claire Detels, John Andrew Fisher, Lydia Goehr, Peter Kivy, Jerrold Levinson, James Manns, Bruno Nettl, Jenefer Robinson, Joel Rudinow, G&öran S&örbom, Francis Sparshott, and Kendall Walton. (shrink)

Contemporary Anglophone philosophy of music has eschewed traditional philosophical concerns about the place of music in human affairs, concentrating instead on a more restricted domain of musical meaning related to aesthetic considerations which are ultimately tied to the concept of disinterested aesthetic experience. I argue that this emphasis needs to be supplemented by an attention to the “instrumentality” of music, understanding music in relation to questions of the social and cultural purposes that music might serve and thereby broadening the idea (...) of what it is to count as a musical practice. I illustrate how this re-orientation might proceed with reference to the case of musical improvisation. (shrink)

Recent philosophy of music in the Anglophone analytic tradition has produced many fine-grained analyses of musical practices within the context of the Western fine-art tradition. It has not for the most part, however, been self-conscious about the normative implications of that orienting tradition. As a result, the achievements of recent philosophical discussions of music have been unnecessarily constricted. The way forward is to enrich the range of musical practices philosophy takes as its target of examination.

In this paper I retrace the line of thought that led me to the position of a praxial philosophy of music education, from a perspective 20 years after the inaugural meeting of the International Society for the Philosophy of Music Education. I discuss how I conceive of the general project of the philosophy of music education and recapitulate some of the strategies that might be deployed. In doing this I stress the “robust” or radical nature of the praxial program. I (...) then address what I call the “anti-aesthetic” turn that some writers have taken with respect to the praxial position. I argue that there is no principled reason to adopt such a position and that, among other things, such a position undermines the reach and threatens the cogency of a robust praxial program. I end with a few comments on what I take to be the prospects of a praxial approach to the philosophy of music education. (shrink)

Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts " and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on (...) the borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts. (shrink)

In ‘Vollkommenes hält sich fern’ (‘Perfection keeps itself aloof’) – the book title is drawn from a verse of American poet Kimberly Johnson (*1971) –, Philip Alperson and Andreas Dorschel discuss issues in the philosophy of music and general aesthetics related to the body, to practices and genres, values and education.

_Diversity and Community: An Interdisciplinary Reader _is a collection of essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. A collection of specially commissioned essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. Discusses the idea of community in its full, cultural context. Deals with issues confronting many diverse groups, including African American, Franco-Canadian, computer-mediated, and gay and lesbian communities. Includes contributions by both eminent schlars and new voices, among them (...) Martha Nussbaum, Jean Bethke Elsthain, D.A. Masolo, Mary Hawkesworth, Lewis Gordon, Maria Lugones, Crispin Sartwell, Duane Champagne, and Frank Cunningham. (shrink)

_Diversity and Community: An Interdisciplinary Reader_ is a collection of essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. A collection of specially commissioned essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. Discusses the idea of community in its full, cultural context. Deals with issues confronting many diverse groups, including African American, Franco-Canadian, computer-mediated, and gay and lesbian communities. Includes contributions by both eminent schlars and new voices, among them (...) Martha Nussbaum, Jean Bethke Elsthain, D.A. Masolo, Mary Hawkesworth, Lewis Gordon, Maria Lugones, Crispin Sartwell, Duane Champagne, and Frank Cunningham. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Philip Alperson, “Robust Praxialism and the Anti-aesthetic Turn”Thomas A. RegelskiDue to space limitations, only a few points of Philip Alperson’s paper can be briefly addressed.1Concerning praxialism, Alperson confirms that regarding “music as a species of art” leaves out much of what music has to offer. He acknowledges that “music is produced and enjoyed in a wide range of contexts and circumstances in (...) which music can be understood as having many different kinds of functions” and that it “comprises a network of multiple overlapping and at times even conflicting sub-practices” worthy of preservation and transmission via education. Yet these diverse but central praxial functions have been ignored, even denigrated, by traditional aesthetics and music education philosophy predicated on aesthetics.In contrast, Alperson notes that praxial philosophy argues inductively from the empirical evidence of music’s many functional values. Thus, he argues, philosophical inquiry should start with the ample evidence of music’s praxial diversity instead of “attempting a totalizing account of the philosophy of music education based on some essentialized notion of music.” [End Page 196]Yet his “robust praxialism” is predicated on an essentialized notion: that music’s praxial appeal depends on its aesthetic essence. Despite frequent aesthetic qualifiers, he altogether fails to distinguish aesthetic experiences ontologically from prosaic experiences, aesthetic properties epistemologically from non-aesthetic properties, or aesthetic values from musical values or praxial benefits.2 Instead, he equivocates that “there are many ways to construe the idea of aesthetic experience and aesthetic qualities.”3Then he claims that, lacking aesthetic essentialism, the praxialism of David Elliott, Wayne Bowman, and Thomas Regelski fails to robustly account for why people are drawn to music.4 He ignores Elliott’s account of music’s capacity for eliciting affective experience and “flow”5 and fails to engage Bowman’s arguments against the philosophical imprecision of aesthetic theorizing. Against these straw-man tactics, I will briefly summarize why praxialism does without aesthetics.“Aesthetics” has traditionally been used to refer to (conflicting) theories of a transcendental, other-worldly ontology experienced contemplatively, via a disinterested aesthetic attitude, practiced competently by ideally informed listeners, in special moments of leisure. Praxialism eschews such metaphysical speculations and stresses music’s down-to-earth values, appeal, and pragmatic benefits. Thus, a more robust rationale and pragmatic basis for music education results that is intelligible to music teachers, students, and society.For praxial theory, meaning, value, and appreciation are seen in use. Following Wittgenstein, “we don’t start from certain words”—that is, from aesthetic terms— “but from certain occasions or activities”—respectively, from particular musical practices. “Appreciation” is thus shown empirically by people’s musical choices.6Secondly, praxialism dispenses with aesthetics because, as Alperson admits, the many terms, concepts, and speculative aporia7 upon which conventional aesthetics depends are irreparably contested.8 Aestheticians agree on just about nothing!9 In fact, Alperson himself critiques the leading schools of aesthetics. However, analytic philosophers increasingly have noted the problems of aesthetics; 10 have criticized aesthetics for lacking philosophical substance and rigor;11 and one concludes that, “viewed as a univocal concept, aesthetic experience seems too confused to be redeemed as useful”12 and thus deserves critique.13Concerning the relevance of aesthetics, Christopher Small writes of a history of musical aesthetics:14[I]t bore very little relation to anything I recognized in my own musical experience, as listener, or as performer, or as composer.... I just could not make myself believe that so universal, and so concrete a human practice as music should need such complicated and abstract explanations.15 [End Page 197]Philosopher Michael Proudfoot agrees thatsuch an inadequacy to our experience of art has been evident, a result, I believe, partly of aestheticians’ preoccupation with what it is to treat something ‘aesthetically’, and partly from a concentration on works of art in isolation from the circumstances in which they are actually created or appreciated.16Alperson does acknowledge music’s praxial circumstances, but argues that “it is possible to save the idea of aesthetic experience and the attitude appropriate to its contemplation by widening the range of what might be thought to be a candidate for appreciation... (shrink)

Mountaineering is a dangerous activity. For many mountaineers, part of its very attraction is the risk, the thrill of danger. Yet mountaineers are often regarded as reckless or even irresponsible for risking their lives. In this paper, we offer a defence of risk-taking in mountaineering. Our discussion is organised around the fact that mountaineers and non-mountaineers often disagree about how risky mountaineering really is. We hope to cast some light on the nature of this disagreement – and to argue that (...) mountaineering may actually be worthwhile because of the risks it involves. Section 1 introduces the disagreement and, in doing so, separates out several different notions of risk. Sections 2–4 then consider some explanations of the disagreement, showing how a variety of phenomena can skew people's risk judgements. Section 5 then surveys some recent statistics, to see whether these illuminate how risky mountaineering is. In light of these considerations, however, we suggest that the disagreement is best framed not simply in terms of how risky mountaineering is but whether the risks it does involve are justified. The remainder of the paper, sections 6–9, argues that risk-taking in mountaineering often is justified – and, moreover, that mountaineering can itself be justified by and because of the risks it involves. (shrink)

In the introductory remarks to his Mulierum Virtutes, Plutarch notes the value of comparisons for establishing the diverse manifestations of the same virtue: ‘Achilles was brave in one way, Ajax in another; and the intelligence of Odysseus differed from that of Nestor, nor were Cato and Agesilaus just in the same way, nor was Irene loving of her husband () as Alcestis was, nor Cornelia high-minded in the manner of Olympias’ . All the examples are well known, and quite apposite, (...) except for Irene (). Who is this paragon of wifely love? A search through encyclopedias and mythological handbooks proves fruitless. Wyttenbach in his note ad loc. suggested the courtesan friend of a minor Ptolemy killed at Ephesus , yet this extremely obscure figure hardly merits mention in the same breath with Alcestis. The name must be corrupt. (shrink)

This is the first complete English translation of Gottlob Frege's Grundgesetze der Arithmetik, with introduction and annotation. The importance of Frege's ideas within contemporary philosophy would be hard to exaggerate. He was, to all intents and purposes, the inventor of mathematical logic, and the influence exerted on modern philosophy of language and logic, and indeed on general epistemology, by the philosophical framework.

In this paper, we present the results of two surveys that investigate subjects’ judgments about what can be known or justifiably believed about lottery outcomes on the basis of statistical evidence, testimonial evidence, and “mixed” evidence, while considering possible anchoring and priming effects. We discuss these results in light of seven distinct hypotheses that capture various claims made by philosophers about lay people’s lottery judgments. We conclude by summarizing the main findings, pointing to future research, and comparing our findings to (...) recent studies by Turri and Friedman. (shrink)

Abstract In this essay, a new approach for the ethical study of emerging technology ethics will be presented, called anticipatory technology ethics (ATE). The ethics of emerging technology is the study of ethical issues at the R&D and introduction stage of technology development through anticipation of possible future devices, applications, and social consequences. I will argue that a major problem for its development is the problem of uncertainty, which can only be overcome through methodologically sound forecasting and futures studies. I (...) will then consider three contemporary approaches to the ethics of emerging technologies that use forecasting: ethical technology assessment, the techno-ethical scenarios approach and the ETICA approach, and I considered their strengths and weaknesses. Based on this critical study, I then present my own approach: ATE. ATE is a conceptually and methodologically rich approach for the ethical analysis of emerging technologies that incorporates a large variety of ethical principles, issues, objects and levels of analysis, and research aims. It is ready to be applied to contemporary and future emerging technologies. Content Type Journal Article Category Original Paper Pages 1-13 DOI 10.1007/s11569-012-0141-7 Authors Philip A. E. Brey, Department of Philosophy, School of Behavioral Sciences, University of Twente, P.O. Box 217, 7500 AE Enschede, The Netherlands Journal NanoEthics Online ISSN 1871-4765 Print ISSN 1871-4757. (shrink)

The notion of risk plays a central role in economics, finance, health, psychology, law and elsewhere, and is prevalent in managing challenges and resources in day-to-day life. In recent work, Duncan Pritchard (2015, 2016) has argued against the orthodox probabilistic conception of risk on which the risk of a hypothetical scenario is determined by how probable it is, and in favour of a modal conception on which the risk of a hypothetical scenario is determined by how modally close it is. (...) In this article, we use Pritchard’s discussion as a springboard for a more wide-ranging discussion of the notion of risk. We introduce three different conceptions of risk: the standard probabilistic conception, Pritchard’s modal conception, and a normalcy conception that is new (though it has some precursors in the psychological literature on risk perception). Ultimately, we argue that the modal conception is ill-suited to the roles that a notion of risk is required to play and explore the prospects for a form of pluralism about risk, embracing both the probabilistic and the normalcy conceptions. (shrink)

Abstractionism, which is a development of Frege's original Logicism, is a recent and much debated position in the philosophy of mathematics. This volume contains 16 original papers by leading scholars on the philosophical and mathematical aspects of Abstractionism. After an extensive editors' introduction to the topic of abstractionism, the volume is split into 4 sections. The contributions within these sections explore the semantics and meta-ontology of Abstractionism, abstractionist epistemology, the mathematics of Abstractionis, and finally, Frege's application constraint within an abstractionist (...) setting. (shrink)

Fodor & Pylyshyn (1981) criticize J. J. Gibson's ecological account of perception for failing to address what I call the 'correlation problem' in visual perception. That is, they charge that Gibson cannot explain how perceivers learn to correlate detectable properties of the light with perceptible properties of the environment. Furthermore, they identify the correlation problem as a crucial issue for any theory of visual perception, what I call a 'primary problem'—i.e. a problem which plays a definitive role in establishing the (...) concerns of a particular scientific research program. If they are correct, Gibson's failure to resolve this problem would cast considerable doubt upon his ecological approach to perception. In response, I argue that both Fodor & Pylyshyn's problem itself and their proposed inferential solution embody a significant mistake which needs to be eliminated from our thinking about visual perception. As part of my response, I also suggest a Gibsonian alternative to Fodor & Pylyshyn's primary problem formulation. (shrink)

Mountaineering is a dangerous activity. For many mountaineers, part of its very attraction is the risk, the thrill of danger. Yet mountaineers are often regarded as reckless or even irresponsible for risking their lives. In this paper, we offer a defence of risk-taking in mountaineering. Our discussion is organised around the fact that mountaineers and non-mountaineers often disagree about how risky mountaineering really is. We hope to cast some light on the nature of this disagreement – and to argue that (...) mountaineering may actually be worthwhile because of the risks it involves. Section 1 introduces the disagreement and, in doing so, separates out several different notions of risk. Sections 2–4 then consider some explanations of the disagreement, showing how a variety of phenomena can skew people's risk judgements. Section 5 then surveys some recent statistics, to see whether these illuminate how risky mountaineering is. In light of these considerations, however, we suggest that the disagreement is best framed not simply in terms of how risky mountaineering is but whether the risks it does involve are justified. The remainder of the paper, sections 6–9, argues that risk-taking in mountaineering often is justified – and, moreover, that mountaineering can itself be justified (in part) by and because of the risks it involves. (shrink)

What is the relation between ‘full’ or ‘outright’ belief and the various levels of confidence that agents can have in the propositions that concern them? This paper argues for a new answer to this question. Decision theory implies that in making decisions, rational agents must treat certain propositions as though they were completely certain; but on most forms of decision theory, these propositions are not ones for which any finite agent could have maximal justification – the agent will clearly have (...) less justification for these propositions than for elementary logical truths. Thus, every adequate model of a finite rational agent's belief‐system must involve two set of credences – theoretical credences and practical credences . A full or outright belief in p can be defined as the state of being stably disposed to assign a practical credence of 1 to p, for all normal practical purposes. This definition allows for a kind of reconciliation between the pragmatist and intellectualist approaches in epistemology. (shrink)

In the introductory remarks to his Mulierum Virtutes, Plutarch notes the value of comparisons for establishing the diverse manifestations of the same virtue: ‘Achilles was brave in one way, Ajax in another; and the intelligence of Odysseus differed from that of Nestor, nor were Cato and Agesilaus just in the same way, nor was Irene loving of her husband () as Alcestis was, nor Cornelia high-minded in the manner of Olympias’. All the examples are well known, and quite apposite, except (...) for Irene (). Who is this paragon of wifely love? A search through encyclopedias and mythological handbooks proves fruitless. Wyttenbach in his note ad loc. suggested the courtesan friend of a minor Ptolemy killed at Ephesus, yet this extremely obscure figure hardly merits mention in the same breath with Alcestis. The name must be corrupt. (shrink)

W.V.O.Quine’s doctrine of referential inscrutability (RI) is the thesis that, first, linguistic reference must always be determined relative to an interpretation of the discourse and, second, that the empirical evidence always underdetermines our choice of interpretation--at least in principle. Although this thesis is a central result of Quine’s theory of language, it was long unclear just how much force RI actually carried. At best, Quine’s discussions provided localized examples of RI (e.g., ‘gavagai’), supplemented merely by arguments for the (in principle) (...) constructability of more general referentially divergent manuals. In defense of Quine, Gerald Massey provides a method for generating large-scale referentially divergent manuals for a complex language. I argue that, while Massey’s rival manuals do meet Quine’s translational criteria, they are demonstrably inferior to their commonsensical “homophonic” competitor. This result provides a clear indication of seminal deficiencies in Quine’s behaviorial approach to the theory of language. Next I argue that Quine’s acceptance of standard assumptions about the nature of perception strongly influences the shape of his semantical theory. Finally, I suggest how an alternative to the standard account of perception might provide grounds for a more adequate understanding of language. (shrink)

In recent years, interest has increased in regenerative practices as a strategy for transforming food systems and solving major environmental problems such as biodiversity loss and climate change. However, debates persist regarding these practices and how they ought to be defined. This paper presents a framework for exploring the regenerative potential of food systems, focusing on how food systems activities and technologies are organized rather than the specific technologies or practices being employed. The paper begins with a brief review of (...) debates over sustainable food systems and the varying ways that regenerative food systems have been defined and theorized. Then, it provides the theoretical backing of the framework—the conservation of change principle—which is an interpretation of the laws of thermodynamics and theories of adaptive change as relevant to the regenerative capacity of living systems. Next, the paper introduces the framework itself, which comprises two independent but intersecting dimensions of food systems organization: resource diversity and livelihood flexibility. These two dimensions result in four archetypical regimes for food systems: degenerative, regenerative, impoverished, and coerced. The paper defines each and offers real-world examples. Finally, the paper concludes with a discussion of pathways for transforming food systems and opportunities for additional research. (shrink)

In this essay, a new approach to the ethics of emerging information technology will be presented, called anticipatory technology ethics (ATE). The ethics of emerging technology is the study of ethical issues at the R&D and introduction stage of technology development through anticipation of possible future devices, applications, and social consequences. In the essay, I will first locate emerging technology in the technology development cycle, after which I will consider ethical approaches to emerging technologies, as well as obstacles in developing (...) such approaches. I will argue that any sound approach must centrally include futures studies of technology. I then present ATE and some applications of it to emerging information technologies. In ATE, ethical analysis is performed at three levels, the technology, artifact and application levels, and at each levels distinct types of ethical questions are asked. ATE analyses result in the identification and evaluation of a broad range of ethical issues that can be anticipated in relation to an emerging information technology. This ethical analysis can then be used for ethical recommendations for design or governance. (shrink)

In this paper I will argue that Boghossian's explanation of how we can acquire a priori knowledge of logical principles through implicit definitions commits a transmission of warrant-failure. To this end, I will briefly outline Boghossian's account, followed by an explanation of what a transmission of warrant-failure consists in. I will also show that this charge is independent of the worry of rule-circularity which has been raised concerning the justification of logical principles and of which Boghossian is fully aware. My (...) argument comes in two steps: firstly, I will argue for the insufficiency of Boghossian's template which is meant to explain how a subject can acquire a warrant for logical principles. I will show however that this insufficiency of his template can be remedied by adopting what I call the Disquotational Step. Secondly, I will argue that incorporating this further step makes his template subject to a transmission of warrant-failure, assuming that certain rather basic and individually motivated principles hold. Thus, Boghossian's account faces a dilemma: either he adopts the Disquotational Step and subjects his account to the charge of a transmission of warrant-failure, or he drops this additional step leaving the account confronted with explaining the gap that has previously been highlighted. I will then suggest various rejoinders that Boghossian might adopt but none of which - I will argue - can resolve the dilemma. Lastly, I will raise and briefly discuss the question whether this worry generalizes to other accounts, such as Hale and Wright's that aim to explain our knowledge of logic and/or mathematics in virtue of implicit definitions. (shrink)

How does Hume determine what qualities of the mind count as virtues and what qualities count as vices? By what standard, for example, does Hume dismiss the so-called “monkish virtues”? Hume’s commentators have proposed various possibilities for the standard of virtue, among them the general point of view and the usefulness/agreeableness of qualities. I consider the case for these standards and argue that Hume contends ultimately that consensus decides controversial questions about the status of virtues and vices. I try especially (...) to show that while the usefulness of any quality is not a means by which we can identify virtues or vices, it can be relevant to moral evaluations in so far as it influences what people tend to approve of. (shrink)

McCullough and colleagues draw an historical line from the writings of Percival, who found himself resolving arguments (sometimes violent) between physicians, surgeons and apothecaries, to the concept of civility as a professional virtue and duty. The authors show that civility is a prerequisite to effective cooperation, which itself underpins patient safety and positive clinical outcomes—desirable endpoints of any discussion about healthcare. They exhort academic leaders to teach, role model and reward correct behaviours.1 Why then, as a clinician manager with a (...) deep interest in fostering civility and psychological safety, am I not satisfied? Three reasons: the paper does not adequately explore the reasons why, its focus is largely restricted to academic institutions, and it does not encompass the non-clinical workforce; as a result, its proposed solutions appear ungrounded. Why are ‘good people’, who were attracted to careers that demand altruism and empathy, uncivil in the workplace? What are the competing goals that result in curt, disrespectful or downright rude exchanges? This has been studied. Leape et al concluded that endogenous factors such as personality, insecurity, anxiety, depression, narcissism and responses to prior …. (shrink)

In this article I argue that vanity, the desire for and delight in the favorable opinion of others, plays a fundamental role in Hume's account of moral motivation. Hume says that vanity and virtue are inseparable, though he does not explicitly say how or why this should be. I argue that Hume's account of sympathy can explain this alliance. In resting moral sentiment on sympathy, Hume gives a fundamental role to vanity as it becomes either a mediating motive to virtue (...) or else strengthens the otherwise weak motive of moral sentiment. (shrink)

The paper challenges a widely held interpretation of Frege's conception of logic on which the constituent clauses of basic law V have the same sense. I argue against this interpretation by first carefully looking at the development of Frege's thoughts in Grundlagen with respect to the status of abstraction principles. In doing so, I put forth a new interpretation of Grundlagen §64 and Frege's idea of ‘recarving of content’. I then argue that there is strong evidence in Grundgesetze that Frege (...) did not hold the relevant sense-identity claim regarding basic law V. (shrink)

This paper develops a 'conceptual map' by which to chart contemporary developments in policy on school diversity. In part this has been prompted by the prospect in England of (private) Steiner schools becoming more closely involved in mainstream state-funded education. Whilst generated principally by policy developments within the UK, the conceptual thinking may also have wider applicability. We conceptualise diversity in the context of a differentiating public domain and a concern with existential questions which, arguably, persists in educational policy even (...) where narrow 'performative' criteria are dominant. Four diversity models are outlined and a policy path over time suggested in relation to these. We suggest that this may be leading towards diversity policy which affords greater recognition to different conceptions of valued learning and encourages co-operative exploration of these, though it is acknowledged that there remain strong contrary pressures. (shrink)