Animals are often presumed to lack moral agency insofar as they lack the capacities for reflection or the ability to understand their motivating reasons for acting. In this paper, I argue that animals are in some cases morally responsible. First, I outline conditions of moral action, drawing from a quality of will account of moral responsibility. Second, I review recent empirical research on the capacities needed for moral action in humans and show that animals also have such capacities. I conclude (...) that though it may be difficult to engage in the practice of holding animals morally responsible, given the communication barrier and lack of mutual understanding, some animals nevertheless act in ways for which they are morally responsible. (shrink)

The received view of implicit bias holds that it is associative and unreflective. Recently, the received view has been challenged. Some argue that implicit bias is not predicated on “any” associative process, but it is unreflective. These arguments rely, in part, on debiasing experiments. They proceed as follows. If implicit bias is associative and unreflective, then certain experimental manipulations cannot change implicitly biased behavior. However, these manipulations can change such behavior. So, implicit bias is not associative and unreflective. This paper (...) finds philosophical and empirical problems with that argument. When the problems are solved, the conclusion is not quite right: implicit bias is not necessarily unreflective, but it seems to be associative. Further, the paper shows that even if legitimate non-associative interventions on implicit bias exist, then both the received view and its recent contender would be false. In their stead would be interactionism or minimalism about implicit bias. (shrink)

Various educational strategies use narrative artworks to pursue ethical training purposes. Based on the works of Dewey and Greene I show how these strategies do not always contribute to an aesthetic education ‒one that promotes experiences with artworks in which we develop sensitivities and capacities necessary to more richly, deeply and intensely experience what these and other artworks have to be experienced‒ and therefore end up having an instrumental use. This is the case with the most commonly used strategies: the (...) exemplary modelling strategy ‒which seeks to inspire students through characters that show an admirable moral character‒ and the moral deliberation strategy ‒which extracts dilemmas or moral problems from which characters from the works face to discuss them with the students. From Diamond’s work I show that, at the same time, it is precisely the non-aesthetic nature of these strategies that limits their chances of becoming a fully fledged ethical education. Hence, ethical education through the narrative arts is only fully developed when it is also an aesthetic education, and aesthetic education in the narrative arts is only fully developed when it also deals with matters of moral significance and is therefore also an ethical education. (shrink)