Given the impressive success of environment-induced decoherence (EID), nowadays no interpretation of quantum mechanics can ignore its results. The modal-Hamiltonian interpretation (MHI) has proved to be effective for solving several interpretative problems but, since its actualization rule applies to closed systems, it seems to stand at odds of EID. The purpose of this paper is to show that this is not the case: the states einselected by the interaction with the environment according to EID (the elements of the “pointer basis”) (...) are the eigenvectors of an actual-valued observable belonging to the preferred context selected by the MHI. (shrink)
According to the environment-induced approach to decoherence (EID), the split of the Universe into the degrees of freedom which are of direct interest to the observer (the system) and the remaining degrees of freedom (the environment) is absolutely essential for decoherence. However, the EID approach offers no general criterion for deciding where to place the “cut” between system and environment: the environment may be “external” (a bath of particles interacting with the system of interest) or “internal” (such as collections of (...) phonons or other internal excitations). The main purpose of this paper is to argue that decoherence is a relative phenomenon, better understood from a closed-system perspective according to which the split of a closed quantum system into an open subsystem and its environment is just a way of selecting a particular space of relevant observables of the whole closed system. In order to support this claim, we shall consider the results obtained in a natural generalization of the simple spin-bath model usually studied in the literature. Our main thesis will lead us to two corollaries. First, the problem of identifying the system that decoheres is actually a pseudo-problem, which vanishes as soon as one acknowledges the relative nature of decoherence. Second, the usually supposed link between decoherence and energy dissipation is misguided. As previously pointed out, energy dissipation and decoherence are different phenomena, and we shall argue for this difference on the basis of the relative nature of decoherence. (shrink)
Kevin Smith's utilitarian argument against homeopathy1 is flawed because he did not review and refute the relevant basic science literature on ultra-high dilutions. He also failed to appreciate that allopathic medicine is based on a deductive-nomothetic method and that homeopathic medicine is based on an inductive-idiographic method, and thus that the implications for clinical research are very different. His misunderstanding of provings and of the holism of homeopathic medicine also demonstrated his failure to understand the history, philosophy and method of (...) homeopathy. Finally, I questioned the value of introducing ethical judgment into an ongoing scientific debate. (shrink)
Despite becoming one of the most active research areas in organizational behavior, the field of organizational justice has stayed at a safe distance from moral questions of values, as well as from critical questions regarding the implications of fairness considerations on the status quo of power relations in today’s organizations. We argue that both organizational justice research and the managerial practices it informs lack reflexivity. This manifests itself in two possible hypocrisies of fairness. Managers may apply organizational justice knowledge but (...) fail to increase the actual levels of fairness in employment relations. Researchers, on the other hand, may claim to promote fairness through their work while actually providing managers with tools that enable or even encourage them to feed the hypocrisy of fairness identified above. As␣part of our argument, we identify three types of mechanisms managers may use to influence and manage the formation of fairness perceptions. We consider how the exercise of power is related to the potential application of organizational justice knowledge across individual, interpersonal and social levels. Our approach makes power dynamics and moral implications salient, and questions the purely subjectivist view of justice researchers that deliberately discards normative aspects. The questions opened up by considering alternative mechanisms for creating fairness perceptions have led us to formulate a research agenda for organizational justice research that takes multiple stakeholder interests, power dynamics and ethical implications into account. We believe that the fields of organizational justice and normative justice can benefit from combined research. (shrink)
Before and in the Groundwork , Kant argues as follows for the validity of the moral law: we want to be free. Following the moral law is the only way to be free. So we should follow the moral law.1 The first premise of this syllogism is treated differently before and in the Groundwork . First Kant thought it an empirical fact that men want to be free and want it more than anything else.2 Later he sought an a priori (...) argument showing that we ought to want to be free and are right in thinking it good.3 The former justification of the moral law is superior. When we look to “salvage the normative core of Kantian moral philosophy” (Guyer 445), we should turn to it. - So far Paul Guyer. It is evident that Guyer fails to describe Kant's thought in the Groundwork . It is equally clear that Kant never held the position Guyer claims he held before the Groundwork . (The quotations Guyer gives in support of his claim show this.) Therefore I shall not discuss Guyer's interpretation of Kant. Instead I shall consider the philosophical merits of the position he ascribes to the pre-critical Kant, and which he recommends as superior. We shall see that that position makes no sense. This indirectly addresses the interpretive question, as it is a reason against ascribing it to Kant. (shrink)
For Saint Anselm, the mystery of the Holy Trinity was not merely an object of intellectual speculation but, more importantly, the object of praise and worship. Even though he claims that there is nothing in his treatise that violates the teachings of the Fathers, especially that of Augustine, Anselm explores in Monologion the doctrine of the Trinity in his own unique style. One very interesting discussion that does not appear in Augustine’s De Trinitate or in any of the Augustinian corpus (...) is found in chapter 42, in which Anselm argues for the propriety of naming the Supreme Spirit “Father” and His Word “Son.” This paper examines this chapter, first, in the context of the four immediately preceding chapters and, second, in the context of those writings of Augustine that might have influenced Anselm in his presentation. The paper then offers reasons why Anselm included this unique chapter in his discussion on the Trinity. (shrink)
Does The Consolation of Philosophy console? Is Philosophy able to bring the prisoner not simply to an acceptance of and reconciliation with his situation, but further to move him beyond this to ultimate peace through philosophical activity? The Consolation does offer some consolation but only ironically and not in the way intended by the character Philosophy. Philosophy is attempting to bring the prisoner to a philosophical experience in which he will contemplate and enjoy eternal truths, and thereby be consoled. Nevertheless (...) the prisoner will in the end reject this project which takes him away from what he perceives to be his life’s work. Philosophy’s failure to console the prisoner is disconsoling in part to herself because the prisoner ultimately rejects her invitation to become a martyr for her sake. It is disconsoling in part to the prisoner who seeks a consolation that would support his firmly held desire to remain engaged in public life. (shrink)
The “Centro de Estudios Cientificos” (CEC) of San Sebastian was established to palliate the absence of universitary studies in the Basque Country, in base of an idea suggested by J. Rey Pastor. It began itsactivities in 1932 and ended in 1936, because of Spanish Civil War. It was supported by the “Sociedad de Estudios Vascos” and sponsored by the “Diputación Foral de Gipuzkoa” and the San Sebastian Council. In this paper, we describe and comment the different aspects relatives (...) to the CEC such as constitution, statutes, members, sections, courses, teachers, students, ... , and scientific journals supported by the CEC. (shrink)
The aim of this paper is an analysis of events in the framework of intensional logic. Events are constmed as special propositions, generalizing the ideas of Montague and D. Lewis, or equivalently as sets of world segments in which they occur. The main problem of such a propositional analysis is to account for coarse grained events as referred to by nominalizations like „the murder of Caesar". The idea is: This event is the set of all those world segments in which (...) Caesar is murdered in the same way and under the same circumstances as in the real world. Sameness has to be restricted to a set of prcperties if occurences of this event in other worlds are to be possible. Since in natural language the reference of event nominalizations depends on the context, the proposal is to relativize coarse grained events on sets of contextually relevant properties. (shrink)
Kant's The Critique of Pure Reason is arguably the single most important philosophical work in Western philosophy. It is also one of the most difficult philosophical texts to study. This clear, straightforward guide to the Critique recasts Kant's thought in more familiar language, avoiding the technicalities that plague other secondary sources on Kant. Sebastian Gardner examines Kant's thought by contrasting two interpretive traditions--those of Strawson and Allison--while setting the Critique in the context of both pre-Kantian and post-Kantian philosophy. Ideal (...) for anyone coming to Kant's thought for the first time, this accessible guide will be vital reading for all students of Kant in philosophy. (shrink)
The Importance of the University in the 21st Century: Ethical Conflicts and Moral Choices Content Type Journal Article Pages 1-8 DOI 10.1007/s10805-012-9152-9 Authors Samuel M. Natale, Kellogg College, University of Oxford, England, UK Sebastian A. Sora, Adelphi University, Garden City, NY, USA Matthew Drumheller, Grand Canyon University, Phoenix, AZ, USA Journal Journal of Academic Ethics Online ISSN 1572-8544 Print ISSN 1570-1727.
Giovanni Sommaruga (ed): Formal Theories of Information: From Shannon to Semantic Information Theory and General Concepts of Information Content Type Journal Article Pages 35-40 DOI 10.1007/s11023-011-9250-2 Authors Sebastian Sequoiah-Grayson, Department of Theoretical Philosophy, Faculty of Philosophy, University of Groningen, Groningen, The Netherlands Journal Minds and Machines Online ISSN 1572-8641 Print ISSN 0924-6495 Journal Volume Volume 22 Journal Issue Volume 22, Number 1.
[Sebastian Gardner] German idealism has been pictured as an unwarranted deviation from the central epistemological orientation of modern philosophy, and its close historical association with German romanticism is adduced in support of this verdict. This paper proposes an interpretation of German idealism which seeks to grant key importance to its connection with romanticism without thereby undermining its philosophical rationality. I suggest that the fundamental motivation of German idealism is axiological, and that its augment of Kant's idealism is intelligible in (...) terms of its combined aim of consolidating the transcendental turn and legitimating the kind of (objectual) relation to value articulated in German romanticism. /// [Paul Franks] German idealists regard Spinozism as both the realism that outflanks Kant's idealism and the source of the conception of systematicity with which to fortify idealism. But they offer little argument for this view. To fill the gap, I reconstruct arguments that could underlie Jacobi's and Pistorius's tentative but influential suggestions that Kant is or should be a Spinozist. Kant is indeed a monist about phenomena, but, unlike Spinoza, a pluralist about noumena. Nevertheless, it is arguable that the Third Antinomy can be solved by a more thoroughgoing Spinozistic monism. The resulting Spinozism outflanks Kant by acknowledging Jacobi's charge that philosophy annihilates immediacy and individuality, whereas Kant's commitment to things in themselves can seem a half-hearted attempt to avoid the charge. However, the German idealist contention is that only a synthesis of such a Spinozism with Kantian idealism can retrieve immediacy and individuality, thus overcoming nihilism. (shrink)
Abstract Artificial language philosophy (also called ‘ideal language philosophy’) is the position that philosophical problems are best solved or dissolved through a reform of language. Its underlying methodology—the development of languages for specific purposes—leads to a conventionalist view of language in general and of concepts in particular. I argue that many philosophical practices can be reinterpreted as applications of artificial language philosophy. In addition, many factually occurring interrelations between the sciences and philosophy of science are justified and clarified by the (...) assumption of an artificial language methodology. Content Type Journal Article Category Original paper in Philosophy of Science Pages 1-23 DOI 10.1007/s13194-011-0042-6 Authors Sebastian Lutz, Theoretical Philosophy Unit, Utrecht University, Postbus 80126, 3508 TC Utrecht, The Netherlands Journal European Journal for Philosophy of Science Online ISSN 1879-4920 Print ISSN 1879-4912. (shrink)
This paper defends and develops the structuring account of conscious attention: attention is the conscious mental process of structuring one’s stream of consciousness so that some parts of it are more central than others. In the first part of the paper, I motivate the structuring account. Drawing on a variety of resources I argue that the phenomenology of attention cannot be fully captured in terms of how the world appears to the subject, as well as against an atomistic conception of (...) attention. In the second part of the paper, I show how the structuring account can be made precise: attention causes and causally sustains phenomenal relations to hold between the parts of the stream of consciousness; most importantly the relation of one part being peripheral to another. I end by pointing out consequences for both the scientific study of attention as well as for several areas of central philosophical interest. (shrink)
What is the philosophical significance of attention? The present article provides an overview of recent debates surrounding the connections between attention and other topics of philosophical interest. In particular, it discusses the interplay between attention and consciousness, attention and agency, and attention and reference. The article outlines the questions and contemporary positions concerning how attention shapes the phenomenal character of experience, whether it is necessary or sufficient for consciousness, and whether it plays a special role in the best philosophical theories (...) of action or conceptual reference. Various interdependencies between the answers to these questions are indicated, as well as how these answers might depend on the metaphysics of attention. Together with its companion piece (“The Nature of Attention”) this article serves as an introduction to the philosophy of attention. (shrink)
Fregean predicates applied to Fregean objects are merely defined by a "timeless" deductive order of sentences. They cannot provide sufficient structure in order to explain how names can refer to objects of intuition and how predicates can express properties of substances that change in time. Therefore, the accounts of Wilson and Quine, Prior and Brandom for temporal judgments fail -- and a new reconstruction of Kant's transcendental logic, especially of the analogies of experience, is needed.
The vicissitudes of mathematical reason in the 20th century Content Type Journal Article Pages 1-6 DOI 10.1007/s11016-011-9556-y Authors Thomas Mormann, Department of Logic and Philosophy of Science, University of the Basque Country UPV/EPU, Donostia-San Sebastian, Spain, Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.
What is attention? Attention is often seen as a subject matter for the hard sciences of cognitive and brain processes, and is understood in terms of sub-personal mechanisms and processes. Correspondingly, there still is a stark contrast between the central role attention plays for the empirical investigation of the mind in psychology and the neurosciences, and its relative neglect in philosophy. Yet, over the past years, several philosophers have challenged the standard conception. A number of interesting philosophical questions concerning the (...) nature of attention arise. This article provides an introduction to contemporary debates concerning these questions. In particular, it discusses the question of how the pre-theoretic conception of attention might be reconciled with a scientific conception, arguments that provide support for an anti-reductivist theory of attention, and sketches several recent anti-reductivist theories and their inter-relations. (shrink)
This paper attempts in the first instance to clarify the application of the personal/sub-personal distinction to psychoanalysis and to indicate how this issue is related to that of psychoanalysis" epistemology. It is argued that psychoanalysis may be regarded either as a form of personal psychology, or as a form of jointly personal and sub-personal psychology, but not as a form of sub-personal psychology. It is further argued that psychoanalysis indicates a problem with the personal/sub-personal distinction itself as understood by Dennett (...) A revised view of the distinction, which is argued to reflect its true metaphysical significance, is proposed. (shrink)
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 . • 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 . 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)
This paper takes a fresh look at a classical theme in philosophical scholarship, the meaning of transcendental idealism, by contrasting Kant's and Husserl's versions of it. I present Kant's transcendental idealism as a theory distinguishing between the world as in-itself and as given to the experiencing human being. This reconstruction provides the backdrop for Husserl's transcendental phenomenology as a brand of transcendental idealism expanding on Kant: through the phenomenological reduction Husserl universalizes Kant's transcendental philosophy to an eidetic science of subjectivity. (...) He thereby furnishes a new sense of transcendental philosophy, rephrases the quid iuris-question, and provides a new conception of the thing-in-itself. What needs to be clarified is not exclusively the possibility of a priori cognition but, to start at a much lower level, the validity of objects that give themselves in experience. The thing-in-itself is not an unknowable object, but the idea of the object in all possible appearances experienced at once. In spite of these changes Husserl remains committed to the basic sense of Kant's Copernican Turn. I end with some comments on how both Kant and Husserl view the relation between theoretical and moral philosophy. (shrink)
This dissertation investigates the nature, the phenomenal character and the philosophical significance of attention. According to its central thesis, attention is the ongoing mental activity of structuring the stream of consciousness or phenomenal field. The dissertation connects the scientific study of attention in psychology and the neurosciences with central discussions in the philosophy of mind. Once we get clear on the nature and the phenomenal character of attention, we can make progress toward understanding foundational issues concerning the nature and the (...) structure of conscious mentality itself. We understand better how consciousness is connected to self-awareness and to agency, and we get a better grip on the nature of perceptual experience, the unity of consciousness, and its subjective character. The dissertation also aims at showing that the current empirical investigation of attention should be complemented with work at the level of generality that a philosophical analysis can provide; it shows how such an analysis is relevant for the scientific study of attention by providing a new conceptual framework and suggesting several new areas of research. (shrink)
According to a certain, familiar way of dividing up the business of philosophy, made popular by Quine, ontology is concerned with the question of what there is (a task that is often identified with that of drafting a “complete inventory” of the universe) whereas metaphysics is concerned with the question of what it is (i.e., with the task of specifying the “ultimate nature” of the items included in the inventory).1 For instance, a thesis to the effect that there are such (...) things as colors or virtues would strictly speaking belong to ontology, whereas it would pertain to metaphysics proper to establish whether such entities are Platonic forms, Aristotelian universals, tropes, moments, or what have you. Likewise, it would fall within the scope of ontology to determine whether, when we speak of Sherlock Holmes, of the natural numbers, or of Sebastian’s walks in Bologna, we are speaking of things that truly belong to the furniture of the universe, but it would be a further metaphysical task to say something precise in regard to the ultimate make-up of those things, if such there be—for instance, that Sherlock Holmes is a theoretical artifact, that numbers are abstract individuals, that walks are property exemplifications, and so on. Of course, this view is all but universal among philosophers. There are many other, different ways of understanding the terms ‘ontology’ and ‘metaphysics’, some of which can certainly claim a respectable pedigree. For example, it is also common to think of ontology as a proper part of metaphysics—that part that has to do with what there is2—and there are even philosophers who use those terms in a way that is the exact opposite of the one I have just offered.3 But never mind; I am not interested in defending the view or in criticizing it, as very little depends on it. I am citing it just to fix a certain distinction and to settle on a terminology. The question I wish to address concerns the relationship between the distinction—the relationship between ontology understood as the study of what there is and metaphysics understood as the study of what it is.. (shrink)
In the introduction to the third and last volume of his Philosophy of Symbolic Forms of 1929,entitled “Phenomenology of Knowledge,” Ernst Cassirer remarks that the meaning in which he employs the term ‘phenomenology’ is Hegelian rather than according to “the modern usage of the term.”1 What sense can it make, then, to invoke Edmund Husserl’s phenomenology in this context? Yet if, roughly speaking, phenomenology can be characterized as the logosof phenomena,that is, of being insofar as it appears (phainesthai)to a conscious (...) subject, then the sense of phenomenology need not be so different from what Cassirer terms “the modern usage.”2 Phenomenology in this more liberal sense would be an account of how consciousness experiences the world through different forms of experience and in different spaces of meaning. The addition ‘hermeneutic’, moreover, points to a broader methodological scope.. (shrink)
Art and Morality is a collection of groundbreaking new papers on the theme of aesthetics and ethics, and the link between the two subjects. A group of world-class contributors tackle the important question that arise when one thinks about the moral dimensions of art and the aesthetic dimension of moral life. The volume is a significant contribution to the philosophical literature, opening up unexplored questions and shedding new light on more traditional debates in aesthetics. The topics explored include the relation (...) of aesthetic to ethical judgment; the relation of artistic experience to moral consciousness; the moral status of fiction; the concepts of sentimentality and decadence; the moral dimension of critical practice, pictorial art and music; the moral significance of tragedy; and the connections between artistic and moral issues elaborated in the writings of central figures in modern philosophy such as Kant, Schopenhauer and Nietzsche. (shrink)