Much research on cognitive development focuses either on early-emerging domain-specific knowledge or domain-general learning mechanisms. However, little research examines how these sources of knowledge interact. Previous research suggests that young infants can make inferences from samples to populations (Xu & Garcia, 2008) and 11- to 12.5-month-old infants can integrate psychological and physical knowledge in probabilistic reasoning (Teglas, Girotto, Gonzalez, & Bonatti, 2007; Xu & Denison, 2009). Here, we ask whether infants can integrate a physical constraint of immobility into a (...) statistical inference mechanism. Results from three experiments suggest that, first, infants were able to use domain-specific knowledge to override statistical information, reasoning that sometimes a physical constraint is more informative than probabilistic information. Second, we provide the first evidence that infants are capable of applying domain-specific knowledge in probabilistic reasoning by using a physical constraint to exclude one set of objects while computing probabilities over the remaining sets. (shrink)
Prediction may be a fundamental principle of sensory processing: it has been proposed that the brain continuously generates predictions about forthcoming sensory information. However, little is known about how prediction contributes to the selection of a conscious percept from among competing alternatives. Here, we used binocular rivalry to investigate the effects of prediction on perceptual selection. In binocular rivalry, incompatible images presented to the two eyes result in a perceptual alternation between the images, even though the visual stimuli remain constant. (...) If predictive signals influence the competition between neural representations of rivalrous images, this influence should generate a bias in perceptual selection that depends on predictive context. To manipulate predictive context, we developed a novel binocular rivalry paradigm in which rivalrous test images were immediately preceded by a sequence of context images presented identically to the two eyes. One of the test images was consistent with the preceding image sequence (it was the expected next image in the series), and the other was inconsistent (non-predicted). We found that human observers were more likely to perceive the consistent image at the onset of rivalry, suggesting that predictive context biased selection in favor of the predicted percept. This prediction effect was distinct from the effects of adaptation to stimuli presented before the binocular rivalry test. In addition, perceptual reports were speeded for predicted percepts relative to non-predicted percepts. These results suggest that predictive signals related to visual stimulus history exist at neural sites that can bias conscious perception during binocular rivalry. Our paradigm provides a new way to study how prior information and incoming sensory information combine to generate visual percepts. (shrink)
, Stephanie Ross argues that four of Hume's five criteria for qualified critics in "Of the Standard of Taste’, namely practise, comparison, freedom from prejudice, and good sense, should be understood as conditions for improving the basic constituent of taste, namely delicacy of perception, in real critics whose judgments can be canonical or guiding for the rest of us, but that delicacy of perception needs to be supplemented by what she calls imaginative fluency and emotional responsiveness to provide a (...) fuller conception of the basic constituents of taste. I support Ross's approach by showing that Hume's immediate successors in Scottish aesthetics Alexander Gerard and James Beattie understood his conception of the qualifications of good critics and supplemented his conception of the basic constituents of taste in precisely the same way that Ross does. CiteULike Connotea Del.icio.us What's this? (shrink)
(2012). Women Write Back: Strategies of Response and the Dynamics of European Literary Culture, 1790–1805. By Stephanie M. Hilger. The European Legacy: Vol. 17, No. 7, pp. 948-950. doi: 10.1080/10848770.2012.718258.
Stephanie Mills presented the following as the keynote address at the 2007 Annual Meeting of the International Association for Environmental Philosophy in Chicago. Mills addresses the readers of this journal in her role as a bioregional author and social critic. Adopting a narrative style rather than the typical format of the “philosophical essay,” she raises questions that are always and still at the core of our philosophical dialogue: What is nature? How do we humans perceive our relationship with nature? (...) And how may the blind spots of academic philosophy be discerned in traditional approaches to issues such as “nature versus humans,” the wilderness debate, and the possibility and limits of technology? (shrink)
Ce texte a déjà paru dans Sofistikê, n° 1, 2009. Nous remercions Stéphanie Orace de nous avoir autorisé à le reproduire ici. Le mouvement plus ou moins caché par lequel ce qui n'est pas encore est déjà ou est entièrement dans ce qui est […] s'appelle le rythme. Paul Valéry Comme l'a précisé Jean Mourot dès son introduction au Génie d'un style, expliquer le phénomène rythmique est une véritable gageure. Reste le parti de l'empirisme, pris finalement par Jean Mourot, et (...) qui revient non pas à cerner (...) - Poétique et Études littéraires – GALERIE – Nouvel article. (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)
In these essays, we are concerned with virtue in journalism and the media but are mindful of the tension between the commercial foundations of publishing and broadcasting, on the one hand, and journalism's democratic obligations on the other. Adam outlines, first, a moral vision of journalism focusing on individualistic concepts of authorship and craft. Next, Craft attempts to bridge individual and organizational concerns by examining the obligations of organizations to the individuals working within them. Finally, Cohen discusses the importance of (...) resisting the powerful corporate logic that pervades the news media in the United States and calls on journalists to be courageous. (shrink)
This essay aims at proposing a “philosophically important” form of scientific pluralism that captures essential features of contemporary scientific pratice largely ignored by the various forms of scientific pluralism currently discussed by philosophers. My starting point is Hacking’s concept of style of scentific reasoning, with a focus on its ontological import. I extend Hacking’s thesis by proposing the process of “ontological enrichment” to grasp how the objects created by a style articulate with the common objects of scientific inquiry “out there (...) in the world”. The result is “foliated pluralism”, which puts to the fore the transdisciplinary and cumulative ways of proceeding in science, as well as the historical dimension of the genesis of scientific objects. (shrink)
Plausibly, only moral agents can bear action-demanding duties. This places constraints on which groups can bear action-demanding duties: only groups with sufficient structure—call them ‘collectives’—have the necessary agency. Moreover, if duties imply ability then moral agents (of both the individual and collectives varieties) can bear duties only over actions they are able to perform. It is thus doubtful that individual agents can bear duties to perform actions that only a collective could perform. This appears to leave us at a loss (...) when assigning duties in circumstances where only a collective could perform some morally desirable action and no collective exists. But, I argue, we are not at a loss. This article outlines a new way of assigning duties over collective acts when there is no collective. Specifically, we should assign collectivisation duties to individuals. These are individual duties to take steps towards forming a collective, which then incurs a duty over the action. I give criteria for when individuals have collectivisation duties and discuss the demands these duties place on their bearers. (shrink)
Locke appears to be committed to the peculiar views that native-born residents and visiting aliens have the same political status (since both are tacit consenters) and that real political societies have very few "members" with full rights and duties (since only express consenters seem to be counted as "members"). Locke, however, also subscribes to a principle governing our understanding of the content of vague or inexplicit consent: such consent is consent to all and only that which is necessary to the (...) purpose for which the consent is given. Using this principle, we can see that Locke's commitments are to far more reasonable positions. (shrink)
Arthur W. H. Adkins's writings have sparked debates among a wide range of scholars over the nature of ancient Greek ethics and its relevance to modern times. Demonstrating the breadth of his influence, the essays in this volume reveal how leading classicists, philosophers, legal theorists, and scholars of religion have incorporated Adkins's thought into their own diverse research. The timely subjects addressed by the contributors include the relation between literature and moral understanding, moral and nonmoral values, and the contemporary meaning (...) of ancient Greek ethics. The volume also includes an essay from the late Adkins himself illustrating his methodology in an analysis of the "Speech of Lysias" in Plato's Phaedrus . The Greeks and Us will interest all those concerned with how ancient moral values do or do not differ from our own. Contributors include Arthur W. H. Adkins, Stephanie Nelson, Martha C. Nussbaum, Paul Schollmeier, James Boyd White, Bernard Williams, and Lee Yearley. Commentaries by Wendy Doniger, Charles M. Gray, David Grene, Robert B. Louden, Richard Posner, and Candace Vogler. (shrink)
The rationality of means-end reasoning is the bedrock of the Humean account of practical reasons. But the normativity of such reasoning can not be taken for granted. I consider and reject the idea that the normativity of instrumental reasoning can be explained – either in terms of its being constitutive of the very notion of having an end, or solely in terms of instrumental considerations. I argue that the instrumental principle is itself a brute norm, and that this is consistent (...) with a Humean account of practical reasons. (shrink)
Biology is seen not merely as a privileged oppressor of women but as a co-victim of masculinist social assumptions. We see feminist critique as one of the normative controls that any scientist must perform whenever analyzing data, and we seek to demonstrate what has happened when this control has not been utilized. Narratives of fertilization and sex determination traditionally have been modeled on the cultural patterns of male/female interaction, leading to gender associations being placed on cells and their components. We (...) also find that when gender biases are controlled, new perceptions of these intracellular and extracellular relationships emerge. (shrink)
As noticed recently by Winsberg (2003), how computer models and simulations get their epistemic credentials remains in need of epistemological scrutiny. My aim in this paper is to contribute to fill this gap by discussing underappreciated features of simulations (such as “path-dependency” and plasticity) which, I’ll argue, affect their validation. The focus will be on composite modeling of complex real-world systems in astrophysics and cosmology. The analysis leads to a reassessment of the epistemic goals actually achieved by this kind of (...) modeling: I’ll show in particular that its realistic ambition and the possibility of empirical confirmation pull in opposite directions. (shrink)
In discussions of professional standards and ethical values it is reasonable to consider who will develop the codes of conduct and guidelines for behavior that will reflect the standards and values of the community. Also worthy of consideration is whether the standards or guidelines are enforceable, and how and to what extent they will be enforced. The development of guidelines or professional codes of conduct is a responsibility that has been adopted by many professional societies. Useful to this discussion is (...) an examination of the rationale behind the development of ethical codes by professional societies. The Ethics in Science Committee of the Council of Scientific Society Presidents (CSSP) has examined the codes of some of its member societies and some observations regarding them are pertinent. The nature and uses of ethical statements, codes and guidelines developed by professional societies are multiple and diverse. Their enforcement raises both practical and ethical concerns. (shrink)
In a series of important papers, Justin D’Arms and Daniel Jacobson argue that all extant neo-sentimentalists are guilty of a conflation error that they call the moralistic fallacy. One commits the moralistic fallacy when one infers from the fact that it would be morally wrong to experience an affective attitude—e.g., it would be wrong to be amused—that the attitude does not fit its object—e.g., that it is not funny. Such inferences, they argue, conflate the appropriateness conditions of attitudinal responses with (...) the fittingness conditions of the associated evaluative properties. Further, they argue that moral considerations are irrelevant for determining if amusement fits its object. We agree that a strong moralizing of humor is wrongheaded and that jokes can be quite funny even in cases where we have a compelling moral reason to not be amused. However, we argue that pace D’Arms and Jacobson moral considerations can be relevant for property ascription. On our view, in order for a joke to be funny, a properly sensitive agent must take herself to have a contributory reason to be amused, and in some cases that she lacks such a reason is best explained by appeal to moral considerations. We use this constraint as the basis of what we call our modest proposal for a modest sentimentalism. (shrink)
There is currently little empirical information about attitudes towards cognitive enhancement - the use of pharmaceutical drugs to enhance normal brain functioning. It is claimed this behaviour most commonly occurs in students to aid studying. We undertook a qualitative assessment of attitudes towards cognitive enhancement by conducting 19 semi-structured interviews with Australian university students. Most students considered cognitive enhancement to be unacceptable, in part because they believed it to be unethical but there was a lack of consensus on whether it (...) was similar or different to steroid use in sport. There was support for awareness campaigns and monitoring of cognitive enhancement use of pharmaceutical drugs. An understanding of student attitudes towards cognitive enhancement is important in formulating future policy. (shrink)
Examining the language and paradigms of science as rhetorical, that is, arising from the sociocultural forces that shape ideology, reveals androcentric assumptions that tend to thwart democratic public policy as well as effective methodology. This paper applies some recent feminist critiques of the biological sciences to the current research on the possible hormonal and genetic factors contributing to homosexuality, clarifying how this research perpetuates hierarchical binaries and suggesting ways to reconceptualize human sexuality through revised research protocols.
In this collected volume, the authors analyze the deficiencies of existing theory and present alternate explanations of Third World foreign policy behavior. The essays show how examining Third World experience can broaden our understanding of how and why states and non-state actors interact in the international system.
Philosophical accounts of altruism that purport to explain helping behavior are vulnerable to empirical falsification. John Campbell argues that the Good Samaritan study adds to a growing body of evidence that helping behavior is not best explained by appeal to altruism, thus jeopardizing those accounts. I propose that philosophical accounts of altruism can be empirically challenged only if it is shown that altruistic motivations are undermined by normative conflict in the agent, and that the relevant studies do not provide this (...) sort of evidence. Non-normative, purely causal, psychological factors would be empirically relevant only if the notion of altruism is broadened to include the requirement that one recognize certain situations as calling for altruism. But even in that case, the relevant studies are not designed in such a way that could threaten philosophical theories of altruism. (shrink)
In The Phenomenology of Spirit, Hegel draws out the interdependency of unity and difference. In order to have a unity, there must be differences that compose it, as a unity unifies different elements. At the same time, in unifying these elements, they must not cease to be different from one another, as that would reduce the unity to a simple singularity.In this paper, I take up this interdependency of unity and difference, applying it to gender identities. I follow the psychoanalytically (...) oriented exchange between Judith Butler and Adam Phillips, in which they agree that gender identities are a farce, superimposed upon ungendered subjects, but disagree about the extent to which this artificial binary should be disassembled. Picking up their conversation at this point, I investigate how binary systems of identity can be both injurious and useful. Should they be cast off or does it make sense to keep them? Following this vein of thought, I end with a discussion of good and bad hate, arguing that there is an inescapable need for psychologically productive hate neutralized through empathy. (shrink)
: A central claim of Longino's contextual empiricism is that scientific inquiry, even when "properly conducted", lacks the capacity to screen out the influence of contextual values on its results. I'll show first that Longino's attack against the epistemic integrity of science suffers from fatal empirical weaknesses. Second I'll explain why Longino's practical proposition for suppressing biases in science, drawn from her contextual empiricism, is too demanding and, therefore, unable to serve its purpose. Finally, drawing on Bourdieu's sociological analysis of (...) scientific communities, I'll sketch an alternative view of scientific practice reconciling a thoroughly social view of science (such as Longino's) with a defense of its epistemic integrity. (shrink)