In light of the environmental pressure humans are currently placing on the biosphere, there is overwhelming evidence to think that we have entered the early stages of a major extinction event. Inde...

In critical thinking courses, informal fallacies are often best taught through using myriad examples that illustrate the subtle differences between the different fallacies. However, since a heavy reliance can become tedious for students and instructors, one challenge that teaching a critical thinking course involves is striking an appropriate balance between presenting too many and too few examples. This paper presents a way to introduce informal fallacies through an acted-out dialogue, while reserving more traditional examples for homework or in-class discussion.

One of the more striking aspects of Adam Smith's moral theory is the degree to which it depends on and appeals to aesthetic norms. By considering what Smith says about judgments of propriety – the foundational type of judgment in his system – and by tying what he says in The Theory of Moral Sentiments to certain of his other writings, I argue that Smith ultimately defends an aesthetic morality. Among the challenges that any aesthetic morality faces is that it (...) seems to entail moral relativism. This problem is magnified by Smith's reliance on the judgments of the impartial spectator, which also seems to make his theory more vulnerable to a Euthyphro-type objection. I suggest that Smith can potentially get around these problems, given his presumption of aesthetic naturalism. While there is certainly some variation in our aesthetic judgments, Smith claims that we naturally find certain actions and sentiments odious, while others we find agreeable. The reason, he argues, is that any society that judged otherwise would not survive. (shrink)

The theory I present and defend in this paper—what I term the art type theory— holds that something is a work of art iff it belongs to an established art type. Something is an established art type, in turn, either because its paradigmatic instances standardly satisfy eight art-making conditions, or because the art world has seen fit to enfranchise it as such. It follows that the art status of certain objects is independent of what any individual or culture might say (...) about it, while the art status of others fundamentally depends on the judgment of the art world. Because of the theory's quasi-institutional component, I conclude by defending it against four objections that have been raised against institutional definitions. (shrink)

Abstract Disagreement persists concerning whether aesthetic properties supervene on non-aesthetic properties. This issue is complicated by the fact that the notion of an aesthetic property is itself contentious. In this paper, I begin by identifying three conditions that arguably characterize a large number of aesthetic properties. After defending aesthetic supervenience against a number of objections, I argue that a strong version of the supervenience thesis applies to those properties that satisfy my initial conditions.

Employees face an array of moral issues in their everyday decision making. Environmental concerns, employee and community welfare, and the interests of other companies (competitors, customers, and suppliers) are only a few examples. Yet, businesses do not always address the issue of how employees should assess the moral import of their actions and incorporate these considerations into their decisions. As a result, moral considerations are often ignored, leading to unethical practices which may hurt the long-term interests of the company. In (...) this paper, we present a model to help eliminate this problem. Our model uses expectancy theory, a process theory of motivation, to show that teaching employees to engage in moral reasoning, and creating a corporate culture in which ethical behavior is both encouraged and rewarded, can increase the likelihood that a company's employees will act ethically. (shrink)