Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not resolve the (...) issue. -/- Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. -/- Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. (shrink)

The aim of this paper is to defend the structural concept of representation, as defined by homomorphisms, against its main objections, namely: logical objections, the objection from misrepresentation, theobjection from failing necessity, and the copy theory objection. The logical objections can be met by reserving the relation.

The paper defends the structural concept of representation, defined by homomorphisms, against the main objections that have been raised against it: Logical objections, the objection from misrepresentation, the objection from failing necessity, and the copy theory objection. Homomorphic representations are not necessarily ‘copies’ of their representanda, and thus can convey scientific insight.

The study examines the relationship between the strength of an organizationÕs ethical climate and ethical problems involving human resource management. Data were collected through a survey of 1078 human resource managers. The results indicate a statistically significant negative relationship between the strength of an organization'ss ethical climate and the seriousness of ethical violations and a statistically significant positive relationship between an organization'ss ethical climate and success in responding to ethical issues. Thus, interventions that strengthen an organization'ss ethical climate may help (...) manage ethical behavior within organizations. (shrink)

FramesIn 1934 the Belgian artist René Magritte painted a room with a view. On an easel in front of the window stands a painting depicting the very piece of landscape blocked from sight. Magritte named his painting La Condition Humaine (“The Human Condition”), which is quite apt, for the life of everyone is determined by windows, doors, mirrors and many other frames. Indeed, to avert anxiety, one actually cultivates social behavior born of the fear of being “outside the frame.” Because (...) of this apprehension, we organize all reality into a series of preestablished frames. (shrink)

The visual brain consists of several parallel, functionally specialized processing systems, each having several stages (nodes) which terminate their tasks at different times; consequently, simultaneously presented attributes are perceived at the same time if processed at the same node and at different times if processed by different nodes. Clinical evidence shows that these processing systems can act fairly autonomously. Damage restricted to one system compromises specifically the perception of the attribute that that system is specialized for; damage to a given (...) node of a processing system that leaves earlier nodes intact results in a degraded perceptual capacity for the relevant attribute, which is directly related to the physiological capacities of the cells left intact by the damage. By contrast, a system that is spared when all others are damaged can function more or less normally. Moreover, internally created visual percepts-illusions, afterimages, imagery, and hallucinations-activate specifically the nodes specialized for the attribute perceived. Finally, anatomical evidence shows that there is no final integrator station in the brain, one which receives input from all visual areas; instead, each node has multiple outputs and no node is recipient only. Taken together, the above evidence leads us to propose that each node of a processing-perceptual system creates its own microconsciousness. We propose that, if any binding occurs to give us our integrated image of the visual world, it must be a binding between microconsciousnesses generated at different nodes. Since any two microconsciousnesses generated at any two nodes can be bound together, perceptual integration is not hierarchical, but parallel and postconscious. By contrast, the neural machinery conferring properties on those cells whose activity has a conscious correlate is hierarchical, and we refer to it as generative binding, to distinguish it from the binding that might occur between the microconsciousnesses. (shrink)

Music education is a social act oriented around interactions between people in public spaces. These spaces provide opportunities for what Hannah Arendt calls natality, which we interpret as new and unexpected actions that arise in a shared space. Drawing from a range of ideas and experiences of Arendt, bell hooks, Joan Baez, Martha Nussbaum, and music education philosophers and practitioners, we argue that it is important for music educators to make room for this space by becoming more critically aware of (...) their emotions. Opening up to the unexpected in human interactions can at times be difficult and elicit fear. It also calls for a civic love. Cultivating this kind of love includes recognizing that our emotions and matters of the heart are instruments of power that can support or hinder others from becoming actors in their own right. As agents within music education, we can strive to realize this by developing a critical pedagogic consciousness and reflecting on the unexpected and emotional spaces of interaction. (shrink)

ABSTRACTIf representative democracy is not about elected officials responding directly to voters’ preferences, and if the voters do a poor job of voting their interests in referendums, then what is democracy about? In our view, a satisfactory theory of democracy would focus normatively on the social identities and political interests of citizens rather than on their expressed policy preferences, and empirically on the ability of organized or attentive groups to get those identities and interests effectively recognized and acted on in (...) the governmental process. A group-theoretic version of democratic theory along these lines would dispense with the most important illusions of the conventional “folk theory” of democracy. However, much hard work remains to clarify how actual democracies make policy and to construct a wise normative standard—inspirational but not innocent—against which they can be judged. (shrink)

Engaging variously with the legacy of Paul L. Lehmann, these essays argue for a reorientation in Christian theology that better honours the formative power of ...

Dieses Lehrbuch behandelt zentrale naturphilosophische Probleme, die durch Theorien der modernen Naturwissenschaften aufgeworfen werden. Es fragt, welches Bild von Raum, Zeit, Materie, Leben und Bewusstsein sich aus ihnen ergibt, aber auch nach den Konsequenzen der aktuellen Umweltkrise für unser praktisches Verhältnis zur Natur. Der Autor Prof. em. Dr. Andreas Bartels hat Mathematik, Physik und Philosophie studiert und ist emeritierter Professor für Natur- und Wissenschaftsphilosophie an der Universität Bonn.

In the recent literature on concepts, two extreme positions concerning animal minds are predominant: the one that animals possess neither concepts nor beliefs, and the one that some animals possess concepts as well as beliefs. A characteristic feature of this controversy is the lack of consensus on the criteria for possessing a concept or having a belief. Addressing this deficit, we propose a new theory of concepts which takes recent case studies of complex animal behavior into account. The main aim (...) of the paper is to present an epistemic theory of concepts and to defend a detailed theory of criteria for having concepts. The distinction between nonconceptual, conceptual, and propositional representations is inherent to this theory. Accordingly, it can be reasonably argued that some animals, e.g., grey parrots and apes, operate on conceptual representations. (shrink)

Three studies test eight hypotheses about (1) how judgment differs between people who ascribe greater vs. less moral relevance to choices, (2) how moral judgment is subject to task constraints that shift evaluative focus (to moral rules vs. to consequences), and (3) how differences in the propensity to rely on intuitive reactions affect judgment. In Study 1, judgments were affected by rated agreement with moral rules proscribing harm, whether the dilemma under consideration made moral rules versus consequences of choice salient, (...) and by thinking styles (intuitive vs. deliberative). In Studies 2 and 3, participants evaluated policy decisions to knowingly do harm to a resource to mitigate greater harm or to merely allow the greater harm to happen. When evaluated in isolation, approval for decisions to harm was affected by endorsement of moral rules and by thinking style. When both choices were evaluated simultaneously, total harm -- but not the do/allow distinction -- influenced rated approval. These studies suggest that moral rules play an important, but context-sensitive role in moral cognition, and offer an account of when emotional reactions to perceived moral violations receive less weight than consideration of costs and benefits in moral judgment and decision making. (shrink)

Morgan Luck raises a potentially troubling problem for gamers who enjoy video games that allow the player to commit acts of virtual murder. The problem simply is that the arguments typically advanced to defend virtual murder in video games would appear to also support video games that allowed gamers to commit acts of virtual paedophilia. Luck’s arguments are persuasive, however, there is one line of argument that he does not consider, which may provide the relevant distinction: as virtual paedophilia involves (...) the depiction of sexual acts involving children, it is therefore an instance of child pornography. I argue that virtual paedophilia involves the depiction of sexual acts involving children, which amounts to child pornography. I then draw on arguments to show that child pornography is morally objectionable. Finally, depictions of virtual murder are not instances of pornography, and so are not morally objectionable for this reason. So, there is a relevant moral distinction to draw between virtual murder and virtual paedophilia that is able to justify the former but not the latter. (shrink)

The aim of this paper is to defend the structural concept of representation, as defined by homomorphisms, against its main objections, namely: logical objections, the objection from misrepresentation, theobjection from failing necessity, and the copy theory objection. The logical objections can be met by reserving the relation ‘to be homomorphic to’ for the explication of potential representation (or, of the representational content). Actual reference objects (‘targets’) of representations are determined by (intentional or causal) representational mechanisms. Appealing to the independence of (...) the dimensions of ‘content’ and ‘target’ also helps to see how the structural concept can cope with misrepresentation. Finally, I argue that homomorphic representations are not necessarily ‘copies’ of their representanda, and thus can convey scientific insight. (shrink)

Should we take into account an artist's personal moral failings when appreciating or evaluating the work? In this essay, I seek to expand Berys Gaut's account of ethicism by showing how moral judgment of an artist's private moral actions can figure in one's overall evaluation of their work. To expand Gaut's view, I argue that the artist's personal morality is relevant to our evaluation of their work because we may only come to understand the point of view of the work, (...) and therefore the work's prescribed attitude, by examining the values, attitudes, and behaviors of the artist. This view is defended against a rival account offered by Bernard Wills and Jason Holt, which holds that the artistic evaluation of an artist's work is independent from the moral evaluation of their life except in extreme cases. (shrink)

Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be defended on (...) the grounds that they are reflective of our actual musical practices. The problem facing philosophers within this debate is that there is no clear way to determine which of the two conflicting intuitions is more reflective of our musical practices. Finally, I offer discussion of an experimental study that was designed to test participants' intuitions regarding the repeatability of musical works. The evidence presented there suggests that the participants broadly accept the repeatability of musical works, but in a much narrower way than philosophers would likely accept. (shrink)

The paper defends the structural concept of representation, defined by homomorphisms, against the main objections that have been raised against it: Logical objections, the objection from misrepresentation, the objection from failing necessity, and the copy theory objection. Homomorphic representations are not necessarily ‘copies’ of their representanda, and thus can convey scientific insight.

Honor systems are a cheap and simple way for marketing low-price goods. These sale systems are dependent on the honesty of customers and can only tolerate a certain share of free-riders. In an experimental field study, we investigate a case where honesty has almost disappeared, namely an honor system for the sale of newspapers on weekends. In the chosen urban study area, only a minority of customers comply with payment norms. In this difficult setting, we tested the use of eye (...) images and descriptive social norms as cues to improving payment morale over a period of 24 weeks. We find that interventions based on eye cues as well as normative appeals do not evoke a transition from low to high levels of honesty. However, our results suggest that such interventions might still have the potential to marginally increase mean payments and therefore be economically profitable for operators of large-scale honor systems. (shrink)

Increasing numbers of marketers are turning to the crowd—members of the public engaged with brands via the Internet—to develop marketing and advertising campaigns. Some marketers use social media to connect directly with customers, while others use crowdsourcing agencies to harness the power of crowd labor. As more members of the public become aware of creative crowdsourcing, they look to the media to understand more about it. As a result, it is important to examine how the media currently frame creative crowdsourcing (...) to the public, particularly when numerous ethical issues about crowdsourcing have been identified. This study examines media coverage of creative crowdsourcing to examine how benefits and challenges are presented. Informed by a framework developed by Swain, results indicate that most media coverage focuses solely on benefits to the industry: benefits to the ‘crowd’ are rarely discussed, yet drawbacks to the crowd are mentioned more frequently than drawbacks for the industry. This provides a skewed vision of what creative crowdsourcing is and may affect participation in the practice. (shrink)

Sexual exploitation and abuse (SEA) by United Nations (UN) peacekeepers causes severe physical and psychological consequences. Where SEA leads to pregnancy and childbirth, peacekeepers typically absolve themselves of their paternal responsibilities and paternity suits are largely unsuccessful. The lack of support for peacekeeper-fathered children (PKFC) tarnishes the image of the UN who fails to implement a victim-centred approach to SEA. Analysing shortcomings in the provision of support, this article presents an evaluation of the UN’s accountability system from the perspective of (...) PKFC families. In-depth interviews with thirty-five PKFC and sixty mothers demonstrate local barriers to child support and paternity claims in eastern Democratic Republic of Congo. We discuss PKFC’s need for assistance and their mothers’ attempts to navigate an opaque international legal system. The findings cast light on their limited access to UN subsidies and offer recommendations to better implement existing UN goals of justice and victim-oriented policies. (shrink)

This paper examines people's reasoning about identity continuity and its relation to previous research on how people value one-of-a-kind artifacts, such as artwork. We propose that judgments about the continuity of artworks are related to judgments about the continuity of individual persons because art objects are seen as physical extensions of their creators. We report a reanalysis of previous data and the results of two new empirical studies that test this hypothesis. The first study demonstrates that the mere categorization of (...) an object as “art” versus “a tool” changes people's intuitions about the persistence of those objects over time. In a second study, we examine some conditions that may lead artworks to be thought of as different from other artifacts. These observations inform both current understanding of what makes some objects one-of-a-kind as well as broader questions regarding how people intuitively think about the persistence of human agents. (shrink)

Can a player be held morally responsible for the choices that she makes within a videogame? Do the moral choices that the player makes reflect in any way on the player’s actual moral sensibilities? Many videogames offer players the options to make numerous choices within the game, including moral choices. But the scope of these choices is quite limited. I attempt to analyze these issues by drawing on philosophical debates about the nature of free will. Many philosophers worry that, if (...) our actions are predetermined, then we cannot be held morally responsible for them. However, Harry Frankfurt’s compatibilist account of free will suggests that an agent can be held morally responsible for actions that she wills, even if the agent is not free to act otherwise. Using Frankfurt’s analysis, I suggest that videogames represent deterministic worlds in which players lack the ability to freely choose what they do, and yet players can be held morally responsible for some of their actions, specifically those actions that the player wants to do. Finally, I offer some speculative comments on how these considerations might impact our understanding of the player’s moral psychology as it relates to the ethics of imagined fictional events. (shrink)

The intuitive, folk concept of hypocrisy is not a unified moral category. While many theorists hold that all cases of hypocrisy involve some form of deception, I argue that this is not the case. Instead, I argue for a disjunctive account of hypocrisy whereby all cases of “hypocrisy” involve either the deceiving of others about the sincerity of an agent's beliefs or the lack of will to carry through with the demands of an agent's sincere beliefs. Thus, all cases of (...) hypocrisy can be described either as cases of deception or as cases of akrasia. If this analysis correct, then I suggest further that the moral status of all instances of hypocrisy must be reduced either to the moral blameworthiness of deception or to the moral blameworthiness of akrasia. There can be no unified account of the moral wrongness of “hypocrisy” that holds across the disjunction. (shrink)

In this paper Modern Essentialism is used to solve a problem of individuation of spacetime points in General Relativity that has been raised by a New Leibnizian Argument against spacetime substantivalism, elaborated by Earman and Norton. An earlier essentialistic solution, proposed by Maudlin, is criticized as being against both the spirit of metrical essentialism and the fundamental principles of General Relativity. I argue for a modified essentialistic account of spacetime points that avoids those obstacles.

Is it ever morally wrong for a consumer to imagine something immoral in a work of fiction, or for an author to prompt such imagining? Brandon Cooke has recently argued that it cannot be. On Cooke’s account, fictive imagining is immune to moral criticism because such cases of imagining do not amount to the endorsement of the immoral content, nor do they imply that the authors of such fictions necessarily endorse their contents. We argue against Cooke that in fact fictively (...) imagining something immoral can be morally blameworthy, specifically in cases where fictive imagining is engaged in the service of immoral desires. Taking one potent case—namely, rape-fantasy pornography—we argue that the proper engagement with pornography requires the engagement of the consumer’s desires. Insofar as it is morally wrong to desire something immoral, or to encourage others to desire something immoral, then consumers can be held morally blameworthy for engaging in such fictive imaginings and works of fiction that are crafted to fit these purposes can be open to moral condemnation. (shrink)

Traditional monist theories of art fail to account for the diversity of objects that intuitively strike many as belonging to the category art. Some today argue that the solution to this problem requires the adoption of some version of pluralism to account for the diversity of art. We examine one recent attempt, which holds that the correct account of art must recognize the plurality of concepts of art. However, we criticize this account of concept pluralism as being unable to offer (...) an explanation of why some concept is an art concept. Instead, many of the disagreements over the definition of art could be reconciled by recognizing that works of art can be valued in a plurality of ways. By recognizing a plurality of values for art, we claim further that the definition of art becomes a non-issue. (shrink)

What has the dispositional analysis of properties and laws (e.g. Molnar, Powers, Oxford University Press, Oxford, 2003; Mumford, Laws in nature, Routledge London, 2004; Bird, Nature’s metaphysics, Clarendon Press, Oxford, 2007) to offer to the scientific understanding of physical properties?—The article provides an answer to this question for the case of spacetime points and their metrical properties in General Relativity. The analysis shows that metrical properties are not ‘powers’, i.e. they cannot be understood as producing the effects of spacetime on (...) matter with metaphysical necessity. Instead they possess categorical characteristics which, in connection with specific laws, explain those effects. Thus, the properties of spacetime do not favor the metaphysics of powers with respect to properties and laws. (shrink)