Research has demonstrated that employee reactions to monitoring systems depend on both the characteristics of the monitoring system and how it is implemented. However, little is known about the role individual differences may play in this process. This study proposes that individuals have generalized attitudes toward organizational control and monitoring activities. We examined this argument by assessing the relationship between employees’ baseline attitudes toward a set of monitoring and control techniques that span the employment relationship. We further explore the effects (...) of employees’ generalized attitudes toward monitoring and their individual ethical orientations on their attitudinal reactions to an Internet monitoring system implemented in their workplace. Results of a longitudinal study indicate that as expected, prior beliefs and ethical orientation interact to affect employees’ reactions to monitoring systems. Implications for research and practice are discussed. (shrink)
In recent years, the practices of work organizations have raised increasing concerns regarding individual privacy at work. It is clear that people expect and value privacy in their personal lives. However, the extent to which privacy perceptions influence individuals’ work attitudes is less clear. Research has explored the extent to which employee perceptions of privacy derive from characteristics of the programs themselves. However, there is a paucity of research that examines how the characteristics of the individual employee may influence perceptions (...) of these programs. In this study we seek to shed light on this issue, as we examine how the individual ethical orientation of employees influences perceptions of a variety of human resource programs that have the potential to be perceived as invasive. Results indicate that ethical orientation exerts direct effects on perceived invasiveness of programs and exerts both direct and indirect effects on perceived appropriateness of programs. Implications for research and for managers adopting privacy-related programs are discussed. (shrink)
Alan Turing devised his famous test (TT) through a slight modificationof the parlor game in which a judge tries to ascertain the gender of twopeople who are only linguistically accessible. Stevan Harnad hasintroduced the Total TT, in which the judge can look at thecontestants in an attempt to determine which is a robot and which aperson. But what if we confront the judge with an animal, and arobot striving to pass for one, and then challenge him to peg which (...) iswhich? Now we can index TTT to a particular animal and its syntheticcorrelate. We might therefore have TTTrat, TTTcat,TTTdog, and so on. These tests, as we explain herein, are abetter barometer of artificial intelligence (AI) than Turing's originalTT, because AI seems to have ammunition sufficient only to reach thelevel of artificial animal, not artificial person. (shrink)
This paper examines various claims by Noël Carroll about narrative closure and its relationship to narrative connections, which are, roughly, causal connections generously conceived to include necessary conditions for sufficient conditions for an effect. I propose supplementing the expanded notion of a cause with Michael Bratman’s notion of a psychological connection to account for the particular role that human agents play in narratives. A novel and a film are used as examples to illustrate how the concept of a psychological (...) connection eliminates the need for Carroll's condition that narratives must be globally forward-looking. (shrink)
Noel Hendrickson believes that free will is separable from the “evaluative intuitions” with which it has been traditionally associated. But what are these intuitions? Answer: principles such as PAP, Β, and UR (6). The thesis that free will is separable from these principles, however, is hardly unique, as they are also eschewed by compatibilists who are unwilling to abdicate altogether evaluative intuitions. We are told in addition that there are “metaphysical senses” of free will that are not “relevant to responsibility” (...) (4). Yet Hendrickson’s rejection of the above principles depends upon them being less certain than his “intuitions of responsibility” (6). Moreover, he later speculates about the relationship between free will’s “metaphysical (and) responsibility securing roles” (8-10). Our evaluative intuitions are finally said to “concern when a person should be evaluated as responsible (and so blameworthy and praiseworthy)” (3). If these intuitions are not “evidence of the set of the conditions for responsibility,” as Hendrickson supposes, then those conditions entail neither blameworthiness (BW) nor praiseworthiness (PW). Thus, I shall take Hendrickson’s 1 thesis (A) to be that responsibility entailing either BW or PW (BW/PW) can be separated from free will (but not responsibility per se). Symbolically. (shrink)
In separate reviews of The Copernican Question published in the Summer 2012 issue of this journal, Noel Swerdlow and John Heilbron find little that meets their approval while failing to provide readers with a full and accurate summary of the book’s major claims and arguments.* The reviewers engage in an exercise in deconstructive surgery, essentially breaking down and reconstituting the work into separate studies. Swerdlow, who devotes most of his twenty-five page treatment to chapter 3 (with brief side-glances at the (...) introduction, chapters 1, 8, and 11), leaves the impression that my book is almost entirely about Copernicus. Heilbron, who confines himself mostly to what I have to say about Galileo, identifies a .. (shrink)
In “Defining the Moving Image” Noël Carroll proposes the following necessary conditions for achieving his task: in his view, x is a moving image (1) only if x is a detached display, (2) only if x belongs to the class of things from which the impression of movement is technically possible, (3) only if performance tokens of x are generated by a template that is a token, and (4) only if performance tokens of x are not artworks in their (...) own right.”1 Later he adds a fifth condition: (5) x is a moving image only if it is twodimensional.2 I will argue that the third condition is circular, while none of the remaining conditions are in fact necessary. The first condition. Something is a “moving image” only if it is a “detached display.” To use one of Carroll’s examples, if I’m watching a horse race (even through binoculars), “I can still orient myself spatially to the finish line.” But “Suppose that I am watching Casablanca and what I see on the screen is Rick’s bar. I cannot, on the basis of the image, orient my body to the bar – to the spatial coordinates of that structure as it existed some time in the early forties in California (nor could I orient my body by means of the image to the putative fictional locale [in North Africa] of the film).”. (shrink)
The idea that films can be philosophical, or in some sense 'do' philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The Matrix , make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important (...) observation is that some films can be used to provide philosophy students with vivid and thought-provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to 'the film itself' or to the 'specificity of the cinematic medium'. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio-visual display, the film-maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film-makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta-philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology , Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento . London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema's philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy . Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for a partial intentionalist account of a work's meanings. Part 3 illustrates the intentionalist principles in a discussion of Ingmar Bergman's philosophical sources, providing insight into themes of motivated irrationality, inauthenticity, and self-knowledge in some of Bergman's works. Livingston, Paisley and Carl Plantinga, eds. 2009. The Routledge Companion to Philosophy and Film , Part IV: Film as Philosophy. London: Routledge. 547–659. Offers a succinct survey by Wartenberg as well as entries on Ingmar Bergman, Terrence Malick, and Andrei Tarkovsky, discussions of film and specific philosophical topics (morality, skepticism, personal identity, and practical wisdom), and examples of philosophically motivated interpretations of three specific films: The Five Obstructions , Gattaca , and Memento . Smith, Murray and Thomas E. Wartenberg, eds. 2006. Thinking Through Cinema: Film as Philosophy . Malden, MA: Blackwell. A collection of papers that combines essays devoted to general positions on the cinema as philosophy topic as well as specific interpretations of works in different genres. Turvey, Malcolm. 2008. Doubting Vision: Film and the Revelationist Tradition . Oxford: Oxford University Press. A probing critical investigation into the assumptions underlying influential philosophical claims about the epistemic value of cinema. Wartenberg, Thomas E. 2008. Thinking on Screen: Film as Philosophy . London: Routledge. Ably surveys and responds to arguments against the idea that films can 'do philosophy'. It defends a conditionalist form of intentionalism in response to the 'imposition objection' according to which it is only the commentator who reads philosophical themes 'into' the movie; illustrates the favored account of film as philosophy with interpretations of specific cinematic fictions. Online Materials Film-Philosophy http://www.film-philosophy.com/ > Founded in 1996, this peer-reviewed online journal is dedicated to philosophically oriented interpretations of films and cinema studies more generally. The e-mail salon encourages discussion of related topics. Includes essays, festival reports, calls for papers, conference and job information, and book reviews. The archive includes contributions from 1997 to the present. Wartenberg, Thomas E. 'Philosophy of Film.' The Stanford Encyclopedia of Philosophy ; http://plato.stanford.edu/entries/film/ > A brief survey of a range of issues in the philosophy of cinema including a few paragraphs on the film as philosophy topic. Philosophical Films http://www.philfilms.utm.edu/2/filmlist.htm > A briefly annotated list of philosophical films grouped in rubrics such as 'The Meaning of Life' and 'Environmental Ethics'. Sample Syllabus What follows is a 4-week 'start-up module' followed by samples of optional units that focus on particular topics and cinematic examples. Introductory Module Week I: Introduction & Overview Livingston, Paisley. 'Recent Work on Cinema as Philosophy.' Philosophy Compass 3 (2008): 1–14, 20 (DOI: 10.1111/j.1747-9991.2008.00158.x ). Wartenberg, Thomas E. 2009. 'Film as Philosophy.' The Routledge Companion to Philosophy and Film . Ed. Paisley Livingston and Carl Plantinga. London: Routledge. 549–59. Russell, Bruce. 2008. 'The Philosophical Limits of Film.' The Philosophy of Film and Motion Pictures: An Anthology . Ed. Noël Carroll and Jinhee Choi. Malden, MA: Blackwell. 387–390. Week II: The Bold Thesis on Film as Philosophy Reading: Livingston, Paisley, 'Theses on Cinema as Philosophy.' Cinema, Philosophy, Bergman, Chapter One. 11–38. Screening: October (dir. Sergei Eisenstein 1928). Week III: Debating the Bold Thesis: The Case of October Carroll, Noël. 1998. 'For God and Country.' Interpreting the Moving Image . Cambridge: Cambridge University Press. 80–91. Smuts, Aaron. 2009. 'Film as Philosophy: In Defense of a Bold Thesis.' Journal of Aesthetics and Art Criticism , 67:4: 409–20. Week IV: Cinema as Philosophy: Objections and Replies Livingston, Paisley. 2009. 'Arguing over Cinema as Philosophy.' Cinema, Philosophy, Bergman, Chapter Two. 39–59. Additional Optional Units Depending on the instructor's areas of interest and expertise, any of the following units could be added (and in some cases, easily expanded into longer segments). The Case of Ingmar Bergman Livingston, Paisley. 2009. 'Ingmar Bergman.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 560–568. Screening(s): Wild Strawberries (dir. Ingmar Bergman 1957), or The Seventh Seal (dir. Ingmar Bergman 1957), or Persona (dir. Ingmar Bergman 1966). Skepticism Fumerton, Richard. 2009. 'Skepticism.' In The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 601–10. Screening: The Matrix (dir. Andy and Larry Wachowski 1999) or Total Recall (dir. Paul Verhoeven 1990). Ethics Kupfer, Joseph. 1999. Visions of Virtue in Popular Film . Boulder, CO: Westview. 35–60. Falzon, Chris. 2009. 'Why be Moral?' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 591–599. Screening: Groundhog Day (dir. <span class='Hi'>Harold</span> Ramis 1993), or Crimes and Misdemeanors (dir. Woody Allen 1989), or Hollow Man (dir. Paul Verhoeven 2000). Personal Identity Knight, Deborah. 2009. 'Personal Identity.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 611–619. Hanley, Richard. 2009. ' Memento and Personal Identity: Are We Getting it Backwards?' Memento . Ed. Andrew Kania. London: Routledge. 107–126. Martin, Raymond. 2009. 'The Value of Memory: Reflections on Memento. ' Memento . Ed. Andrew Kania. London: Routledge. 87–106. Screening: Memento (dir. Christopher Nolan 2000). Freedom and (Genetic) Determinism Sesardic, Neven. 2009. 'Gattaca.' The Routledge Companion to Philosophy and Film . Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 641–649. Screening: Gattaca (dir. Andrew Niccol 1997). Focus Questions • Is there anything special about the experience of fiction films that is especially well suited to the stimulation of worthwhile philosophical reflection? • Have any novel and philosophically significant ideas found their first expression in a cinematic work? • Under what circumstances can the film medium be used as an expression of a cinematic author's views? • What sort of background knowledge has to be in place for a film to be interpreted as articulating reasonably precise philosophical theses and arguments? • Does the goal of spelling out a film's philosophical meaning sometimes conflict with the goal of appreciating its value as a work of art? (shrink)
Metalinguistic negation (MN) is interesting for at least the following two reasons: (a) it is one instance of the much broader, very widespread and various, phenomenon of metarepresentational use in linguistic communication, whose semantic and pragmatic properties are currently being extensively explored by both linguists and philosophers of language; (b) it plays a central role in recent accounts of presupposition-denial cases, such as "The king of France is not bald; there is no king of France". It is this latter employment (...) that discussion of metalinguistic negation has focused on since Horn (1985)'s key article on the subject. While Burton-Roberts (1989a, 1989b) saw the MN account of presupposition-denials as providing strong support for his semantic theory of presupposition, I have offered a multi-layered pragmatic account of these cases, which also involves MN, but maintains the view that the phenomenon of presupposition is pragmatic (Carston 1994, 1996, 1998a). (shrink)
l Carroll's criticisms of my essay on C. I. Lewis's conception of aesthetic experience, I discuss reasons given in support of axiological accounts of aesthetic experience, including Lewis's contentions about the intrinsic valence of all experiences and his emphasis on the interests motivating philosophical classifications of experience. I also respond to Carroll's remarks about a possible explanatory requirement on a conception of aesthetic experience and the idea that artists have aesthetic experiences as they make a work of art.
Carroll denies that the spectator of fiction film commonly has empathy with the characters. He argues that the spectator typically emotes to the events in the film from his position as observer, and that this context gives asymmetrical reactions in spectator and character. According to Carroll, empathy is unlikely to occur. Theproblem with this argument is that if the differences between spectator and character that Carroll points to exclude empathy, it would also exclude empathy in real life. Furthermore, Carroll merely (...) shows that the spectator cannot only feel as the character feels. This does however not entail that empathy cannot be one part of the spectator’s response as observer. This paper thus argues that Carroll fails to show that empathy is an unlikely spectator response. (shrink)
Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term "cinematic" principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...) right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut's claim because it entails an implausibly strong medium specificity thesis. (shrink)
We live in a world dominated by mass art. Movies, TV, pulp literature, comics, rock music -- both broadcast and recorded -- surround us everywhere in the industrialized world and beyond. However, despite the fact that for the majority mass art supplies the primary source of aesthetic experience, the area has been neglected entirely by analytic philosophers of art. -/- In A Philosophy of Mass Art, Noël Carroll, a leading figure in the field of aesthetic philosophy, attempts to address (...) this lacuna. He shows why philosophers have previously resisted and/or misunderstood mass art and he develops frameworks for understanding the relation of mass art to the emotions, morality, and ideology; discussing the accounts of such theorists in the field as Collingwood, Adorno, Benjamin, McCluhan, and Fiske. -/- Mixing conceptual analysis with many vivid examples, the author proposes the first significant attempt at a philosophy of mass art in the analytical tradition, concluding there are strong grounds for approaching mass art in the same fashion as high art. (shrink)
These essays are the fruit of many years' research by one of the world's leading Hobbes scholars. Noel Malcolm offers not only succinct introductions to Hobbes's life and thought, but also path-breaking studies of many different aspects of his political philosophy, his scientific and religious theories, his relations with his contemporaries, the sources of his ideas, the printing history of his works, and his influence on European thought.
The Enron debacle, the demise of Arthur Andersen, questionable practices at Tyco, Qwest, WorldCom, and a seemingly endless list of others have pushed public regard for business and business leaders to new lows. The need for smart leaders with vision and integrity has never been greater. Things need to change-- and it will not be easy. We can take a first step toward producing better business leaders by changing some of our own ideas about what it means to "win." Noel (...) M. Tichy and Andrew R. McGill have brought together a stellar group of contributors from a variety of perspectives-- including General Electric CEO Jeffrey Immelt, former Secretary of State James A. Baker III, and renowned management gurus Robert Quinn and C. K. Prahalad, among others-- to offer insights that will help build better leaders, communities, and organizations. They show how to present a "Teachable Point of View" about business ethics that will help all leaders within an organization: Internalize core values Build a values-based culture across the organization Become engaged to teach the same values lessons to their staff Take action and raise the ethical bar Successful business leaders must be able to articulate their own unique Teachable Point of View on business ethics and drive it through their organization to ensure that everyone knows the ethical line and is neither shy nor silent if others risk crossing it. (shrink)
Acclaimed writer and historian Noel Malcolm presents his sensational discovery of a new work by Thomas Hobbes (1588-1679): a propaganda pamphlet on behalf of the Habsburg side in the Thirty Years' War, translated by Hobbes from a Latin original. Malcolm's book explores a fascinating episode in seventeenth-century history, illuminating both the practice of early modern propaganda and the theory of "reason of state".
Exponents and critics of semantic presupposition have almost invariably based their discussion on the ('Standard') definition of presupposition implied by Frege and Strawson. In this study Noel Burton-Roberts argues convincingly against this definition, that leads it to a three-valued semantics. He presents a very simple semantic definition which is weaker, more general and leads to a semantics more easily interpreted as two-valued with gaps. The author shows that a wide range of intuitive facts that eluded the Standard definition follow directly (...) from this ('Revised') definition itself: facts about the presuppositions of compound sentences and modal sentences, about presuppositional conflict and about differences in the logical status of simple sentences suffering from presupposition failure. The book includes a detailed argument that an ambiguity of natural language negation, generally assumed to be necessary to the defence of semantic presupposition, is neither possible nor necessary in a presuppositional semantics. Noel Burton-Roberts has made an authoritative contribution to a debate which has involved philosophers and linguists for many years. His command of the issues, his clarity of exposition and his theoretical insight may well serve to change the boundaries of that debate. (shrink)
Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with (...) illustrative examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense films. (shrink)
Dixon, Robert; Reid, Stephen; Connolly, Noel Since the Australian Catholic Bishops Conference established a pastoral research capability in 1996, a great deal of research has been carried out on various aspects of the Catholic community in Australia. This research has been carried out either directly by the Bishops Conference's research staff, or in association with other bodies such as NCLS Research, the Christian Research Association, Australian Catholic University and, most recently, Catholic Religious Australia.
_Behavioral and Brain Sciences_ , 15, 183-247, 1992. Reprinted in _The Philosopher's Annual_ , Grim, Mar and Williams, eds., vol. XV-1992, 1994, pp. 23-68; Noel Sheehy and Tony Chapman, eds., _Cognitive Science_ , Vol. I, Elgar, 1995, pp.210-274.
This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...) Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)
In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.
In this article, “Narrative Closure,” a theory of the nature of narrative closure is developed. Narrative closure is identified as the phenomenological feeling of finality that is generated when all the questions saliently posed by the narrative are answered. The article also includes a discussion of the intelligibility of attributing questions to narratives as well as a discussion of the mechanisms that achieve this. The article concludes by addressing certain recent criticisms of the view of narrative expounded by this article.
Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter-relations between the appreciative and ethical character of works as art. Consideration of these issues has a (...) distinguished philosophical history but as the Compass survey article suggests ('Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value.' Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work's moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1. Carroll, Noël. 'Art, Narrative and Moral Understanding.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2. Carroll, Noël. Beyond Aesthetics: Philosophical Essays . Cambridge: Cambridge UP, 2009. Part IV consists of six distinct essays on questions concerning the inter-relations between art and morality including the essay cited above and the author's articulation and defence of moderate moralism. 3. Gaut, Berys. 'The Ethical Criticism of Art.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4. Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work's value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5. Jacobson, Daniel. 'In Praise of Immoral Art.' Philosophical Topics 25 (1997): 155–99. A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6. Kieran, Matthew. 'Forbidden Knowledge: The Challenge of Cognitive Immoralism.' Art and Morality . Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. A general argument for immoralism is elaborated by outlining when, where and why a work's morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7. Kieran, Matthew. Revealing Art . London: Routledge, 2005. Chapter 4. This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8. Lamarque, Peter. 'Cognitive Values in the Arts: Marking the Boundaries.' Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9. Stolnitz, Jerome. 'On the Cognitive Triviality of Art.' British Journal of Aesthetics 32.3 (1992): 191–200. This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10. Walton, Kendall. 'Morals in Fiction and Fictional Morality, I.' Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials 'Aesthetics and Ethics: The State of the Art.' American Society of Aesthetics online (Jeffrey Dean): http://www.aesthetics-online.org/articles/index.php?articles_id=15 >. 'Art, Censorship and Morality' downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/OU Open2.net as part of the Ethics Bites series): http://www.open2.net/ethicsbites/art-censorship-morality.html >. 'Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value.' Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran): http://www3.interscience.wiley.com/journal/118557779/abstract >. 'Ethical Criticism of Art.' Internet Encyclopedia of Philosophy (Ella Peek): http://www.iep.utm.edu/a/art-eth.htm >. 'Fascinating Fascism.' New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag): http://www.nybooks.com/articles/9280 >. 'The Beheading of St. John the Baptist (1450s), Giovanni de Paolo' (Tom Lubbock): http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-the-beheading-of-st-john-the-baptist-1450s-giovanni-di-paolo-1684900.html >. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS): http://www.listal.com/video/3848698 >. Sample Syllabus Topic I Autonomism/Aestheticism • Anderson, James C. and Jeffrey T. Dean. 'Moderate Autonomism.' British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism . New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith . Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. 'Cognitive Values in the Arts: Marking the Boundaries.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. 'Tragedy and Moral Value.' Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature . Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. 'On the Cognitive Triviality of Art.' British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. 'The Expression of Feeling in Imagination.' Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. 'Just the Imagination: Why Imagining Doesn't Behave Like Believing'. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. 'The Evaluative Character of Imaginative Resistance'. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. 'Morals in Fiction and Fictional Morality, II'. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). 'Morals in Fiction and Fictional Morality, I'. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. 'Configuring the Cognitive Imagination.' New Waves in Aesthetics . Eds. K. Stock and K. Thomson-Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. 'Moderate Moralism.' British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. 'Art, Narrative and Moral Understanding.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. Chapter 10. • ——. 'The Ethical Criticism of Art.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. 'Of the Standard of Taste.' Selected Essays . Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. 'Emotions, Art and Immorality.' Oxford Handbook to the Philosophy of Emotions . Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art? . London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics . Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. 'The Wheel of Virtue: Art, Literature and Moral Knowledge.' Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. 'Art and Cognition.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. 'Art, Imagination and the Cultivation of Morals.' Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. 'Finely Aware and Richly Responsible: Literature and the Moral Imagination.' Love's Knowledge . New York: Oxford UP, 1990. 148–68. • Plato. The Republic . Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. 'Immoralism and the Valence Constraint.' British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. 'In Praise of Immoral Art.' Philosophical Topics 25 (1997): 155–99. • ——. 'Ethical Criticism and the Vices of Moderation.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. 'Artistic Value and Moral Opportunism.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. 'Forbidden Knowledge:The Challenge of Cognitive Immoralism.' Art and Morality . Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art . London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. 'Moral Vices as Artistic Virtues: Eugene Onegin and Alice.' Philosophia 36.2 (2008): 181–93. Focus Questions 1. What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2. What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3. How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4. How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5. What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)
Art, Emotion, and Ethics is a brilliant book with many important, useful, insightful, and even profound things to say about a range of topics including the relation of the imagination to art, understanding, and ethics, and the paradox of fiction, as well as sensitive and in-depth interpretations of masterpieces by the likes of Rembrandt and Nabokov. It is very convincing in its jousts with autonomists for people like me who favor the view that sometimes ethical blemishes are aesthetic blemishes and (...) sometimes ethical merits count as aesthetic merits. But that is because I am not an autonomist or even a moderate autonomist. (shrink)
Philosophy of Art is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It aims to introduce the techniques of analytic philosophy in addition to a selection of the major topics in this field of inquiry. These include the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art, as well as historical approaches to the nature of art. Throughout the book, abstract philosophical theories are illustrated by examples of both traditional (...) and contemporary art, thereby enriching the readers understanding of art theory as well as the appreciation of art. (shrink)
While narrative has been one of liveliest and most productive areas of research in literary theory, discussions of the nature of emotional responses to art and of the cognitive value of art tend to concentrate almost exclusively on the problem of fiction: How can we emote over or learn from fictions? Narrative, Emotion, and Insight explores what would happen if aestheticians framed the matter differently, having narratives—rather than fictional characters and events—as the object of emotional and cognitive attention. The book (...) thus opens up new possibilities for approaching questions about the ethical, educative, and cultural value of art. The nine essays in this volume introduce the study of narrative to contemporary aesthetics. (shrink)
In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.
A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new (...) approach. (shrink)
Both my deflationary approach to aesthetic experience and what I call moderate moralism have been challenged recently in the pages of the British Journal of Aesthetics by Paisley Livingston, Robert Stecker, and George Dickie. In this essay, I attempt to deal with their objections while also trying to move the debate to new ground.
The growing proportion of elderly people in society, together with recent advances in robotics, makes the use of robots in elder care increasingly likely. We outline developments in the areas of robot applications for assisting the elderly and their carers, for monitoring their health and safety, and for providing them with companionship. Despite the possible benefits, we raise and discuss six main ethical concerns associated with: (1) the potential reduction in the amount of human contact; (2) an increase in the (...) feelings of objectification and loss of control; (3) a loss of privacy; (4) a loss of personal liberty; (5) deception and infantilisation; (6) the circumstances in which elderly people should be allowed to control robots. We conclude by balancing the care benefits against the ethical costs. If introduced with foresight and careful guidelines, robots and robotic technology could improve the lives of the elderly, reducing their dependence, and creating more opportunities for social interaction. (shrink)
The claim that photographs are fictionally incompetent (i.e. that they can only depict those particulars they are appropriately causally related to) is argued by Noël Carroll, Gregory Currie, and Nigel Warburton to be falsified by cinematic works of fiction. In response I firstly argue that it does not follow from cinema's having a capacity for the representation of ficta that photography has a capacity for the representation of ficta. Secondly, and inspired by the work of Roger Scruton, I develop (...) an account of how it is that cinema represents ficta on which this is fundamentally a matter of dramatic/theatrical representation. I argue that in cinematic fiction photography delivers a pre-existent representation of ficta rather than creating or generating fictional content. With this being so, the claim that photography is fictionally incompetent is compatible with cinematic fiction. 1. (shrink)
This article explores the relationship between existentialism and the horror genre. Noël Carroll and others have proposed that horror monsters defy established categories. Carroll also argues that the emotion they provoke - 'art-horror' - is a 'composite' of fear and disgust. I argue that the sometimes horrifying images and metaphors of Sartre's early philosophy, which correlate with nausea and anxiety, have a non-coincidental commonality with art-horror explained by existentialism's preoccupation with the interstitial nature of the self. Further, it is (...) argued that, as with some of the more sophisticated examples of the horror genre, the way for existential protagonists like Roquentin and Gregor Samsa to meet the challenge of the horrifying involves an accommodation of these features of the existential condition within their developing identity, which results in them appearing monstrous to others. Lastly, it is claimed that the association between existentialism and art-horror can explain the (paradoxical) appeal of horror. (shrink)
Abstract: This article charts the rise and fall of the Modern System of the Arts and the failure of the aesthetic theory of art to define membership in the so-called system, which, instead, I argue, is and has been, for a long time, merely a historically evolved collection. Rather than endorsing the continued attempt to define Art with a capital A in terms of aesthetic experience, I recommend alternative lines of research for contemporary philosophers of the arts.
