Pain, failure and false beliefs all make a life worse, or so it is plausible to think. These things and possibly others seem to be intrinsically bad—no matter what further good comes of them they make a life worse pro tanto. In spite of the obvious badness, this is difficult to explain. While there are many accounts of well-being, few are up to the challenge of a univocal explanation of ill-being. Perfectionism has particular difficulty. Otherwise, it is a theory that (...) has quite a lot in its favour. This paper proposes a new valuation scheme for perfectionism, the tripartite scheme, which affords perfectionism the resources to give a comprehensive account of robust bads and has further additional advantages for the view. (shrink)

ABSTRACTAchievements are among the things that make a life good. Assessing the plausibility of this intuitive claim requires an account of the nature of achievements. One necessary condition for achievement appears to be that the achieving agent acted competently, i.e. was not just lucky. I begin by critically assessing existing accounts of anti-luck conditions for achievements in both the ethics and epistemology literature. My own proposal is that a goal is reached competently, only if the actions of the would-be-achiever make (...) success likely, and that this is the reason why she acts that way. (shrink)

This paper critically assesses existing accounts of the nature of difficulty, finds them wanting, and proposes a new account. The concept of difficulty is routinely invoked in debates regarding degrees of moral responsibility, and the value of achievement. Until recently, however, there has not been any sustained attempt to provide an account of the nature of difficulty itself. This has changed with Gwen Bradford’s Achievement, which argues that difficulty is a matter of how much intense effort is expended. But while (...) this account captures something important about the relationship between difficulty and achievement, it fails to account for the fact that part of what makes achievements great is that they are difficult in a moderately agent-neutral kind of way. Nor is this thought captured by any other extant account. I argue that to fill this gap we should think of difficulty in terms of low probability of success. (shrink)

I distinguish between two concepts of effort, E-effort and T-effort. E-effort is the familiar one, which focuses on the experiential qualities of making an effort (such the energy and time we put into effort making, or the hardship we endure). Teleological effort (or T-effort) is the motivated and active focus on the intended purpose or goal of the effort; the aim to do what it takes to reach the target of the effort. When we make a T-effort we concentrate on (...) the best way of getting to where we want to be, which may involve putting in less E-effort. Focusing upon T-efforts should help us both to better understand the relationship between effort and success; and to make what I call Real Efforts. (shrink)

John Danaher and Sven Nyholm have argued that automation, especially of the sort powered by artificial intelligence, poses a threat to meaningful work by diminishing the chances for meaning-conferring workplace achievement, what they call “achievement gaps”. In this paper, I argue that Danaher and Nyholm’s achievement gap thesis suffers from an ambiguity. The weak version of the thesis holds that automation may result in the appearance of achievement gaps, whereas the strong version holds that automation may result on balance loss (...) in possibilities for workplace achievements, i.e., in the appearance of an overall gappier work landscape. Against the strong version of the achievement gap thesis, I characterize situations where automation may result in boons to meaning-conferring workplace achievements: the appearance of what I call achievement spread and achievement swaps. Nevertheless, Danaher and Nyholm are right to worry about some uses of automation whereby human workers become subservient to AI. But these situations are better framed, I argue, as autonomy gaps rather than achievement gaps. (shrink)

Talents often play a significant role in our personal and social lives. For example, our talents may shape the choices we make and the goods that we value, making them central to the creation of a meaningful life. Differences in the level of talents also affect how social institutions are structured, and how social goods and resources are distributed. Despite their normative importance, it is surprising that talents have not yet received substantial philosophical analysis in their own right. As a (...) result, the current literature is rife with conceptual ambiguity: a talent is referred to as all of a skill, potential, ability, capacity, endowment, and a natural gift. In response to this confusion, in this paper I develop an account of what a talent is, based on the debate concerning the metaphysics of ability and dispositions. I argue for a position that I call ‘talent dispositionalism’: S has a talent for skill A in circumstances C iff S has the general disposition to excellently develop and maintain A when, in circumstances C, she tries to excellently develop and maintain A. On this account, a talent is not the skill itself, but a general iterated ability for the excellent development and up-keep of a particular skill, constituted by an agent’s dispositional properties. I defend the account against four objections usually levelled against traditional dispositionalist theories of ability, and highlight some ways the account may influence debates in other areas of philosophical inquiry. (shrink)

In domains as disparate as playing Go and predicting the structure of proteins, artificial intelligence (AI) technologies have begun to perform at levels beyond which any humans can achieve. Does this fact represent something lamentable? Does superhuman AI performance somehow undermine the value of human achievements in these areas? Go grandmaster Lee Sedol suggested as much when he announced his retirement from professional Go, blaming the advances of Go-playing programs like AlphaGo for sapping his will to play the game at (...) a high level. In this paper, I attempt to make sense of Sedol’s lament. I consider a number of ways that the existence of superhuman-performing AI technologies could undermine the value of human achievements. I argue there is very little in the nature of the technology itself that warrants such despair. (Compare: does the existence of a fighter jet undermine the value of being the fastest human sprinter?) But I also argue there are several more localized domains where these technologies threaten to displace human beings from being able to achieve valuable things at all. This is a particular worry for those in unequal societies, I argue, given the difficulty of many achievements and the corresponding amount of resources needed to achieve great things. (shrink)

Self‐esteem is traditionally regarded as an important human good. But it has suffered a number of injuries to its good name. Critics allege that endeavours to promote self‐esteem merely foster narcissism or entitlement, and urge that we redirect our efforts elsewhere. I argue that such criticisms are symptomatic of a normative decline in how we think and theorize about self‐esteem rather than a defect in the construct itself. After exposing the shortcomings of alternative proposals, I develop an account of self‐esteem (...) that reflects what its supporters have in mind: a valuable form of self‐appraisal worth fostering in others and ourselves. (shrink)

There is broad agreement in aesthetics that some artworks are greater than others despite bearing equivalent (or lesser) aesthetic value. One explanation of this difference in artistic value is that creation of the greater artwork represents a greater achievement. The aim of this article is to refine this explanation and to defend it against recent criticisms. First, I present a prima facie case in favor of the achievement explanation. Second, I draw on the history of photography to motivate three objections (...) to it: namely, that it wrongly excludes (1) lucky, (2) easy, and (3) failed creations from being artistically great. Third, I present my refined version of the achievement explanation and show how it avoids these objections. On my view, an artistic achievement consists in creating a work it would have been especially hard for comparable artists to create. Finally, I raise and address several additional objections. In responding to these objections, I argue, among other things, that my explanation of artistic value enhances our understanding of good-bad art: specifically, it allows us to see how good-bad art is artistically great despite being aesthetically flawed. (shrink)

Recent literature has argued that what makes certain activities ranging from curing cancer to running a marathon count as achievements, and what makes achievements intrinsically valuable is, centrally, that they involve great effort. Although there is much the difficulty-based view gets right, I argue that it generates the wrong results about some central cases of achievement, and this is because it is too narrowly focused on only one perfectionist capacity, the will. I propose a revised perfectionist account on which an (...) achievement is an activity that fully exercises or expresses any number of a range of perfectionist capacities. (shrink)

An increasingly popular view in the philosophy of art is that some artworks are good artworks at least partly because they are achievements. This view was introduced to explain why two works that look the same, such as an original painting and a perfect copy, can differ in artistic merit. An achievement theory can say that the original is better because it is a greater achievement. Achievement theories have since been used to answer other questions, and they are now a (...) serious alternative to traditional theories of artistic merit. This paper has three aims. The first is to articulate the achievement theory more fully and explicitly than its advocates have. The second is to show that the achievement theory should be rejected, by raising five problems for it. The third is to show that appealing solely to the excellence, aptitude, and ineptitude a work manifests yields a better theory of artistic merit. (shrink)

A great achievement makes one’s life go better independently of its results, but what makes an achievement great? A simple answer is—its difficulty. I defend this view against recent, pressing objections by interpreting difficulty in terms of competitiveness. Difficulty is determined not by how hard the agent worked for the end but by how hard others would need to do in order to compete. Successfully reaching a goal is a valuable achievement because it is difficult, and it is difficult because (...) it is competitive. Hence, both virtuosic performances and lucky successes can be valuable achievements. (shrink)

The idea of merit is at the core of intense contemporary debate related to social justice in general and meritocracy in particular. In this paper, I aim to differentiate the notion of merit from two other notions with which it is often mistakenly identified, namely the concepts of talent and achievement. Here, I define “merit” as the value of an action that 1) is imputable to a subject‘s free conduct, 2) implies some sort of effort, and 3) is oriented towards (...) a good. Merit so understood is a valuable phenomenon considered from various perspectives, and therefore the subject who has it deserves to be properly recognized. But, more importantly, this merit is valuable in a sense that is different from the value attached to talent and achievement. We should therefore try to recognize the three of them according to their specificity. I conclude by signaling some problems and limitations associated with the idea of merit that, on the one hand, contribute to the aforementioned confusion and, on the other hand, show that the principle of merit must not be absolutized to the detriment of other forms of value (including talent and achievement). (shrink)

The final chapter of Elgin’s defends the claim that some mistakes mark significant epistemic achievements. Here, I extend Elgin’s analysis of the informativeness of mistakes for epistemic policing. I also examine the type of theory of competence that Elgin’s view requires, and suggest some directions in which this can be taken.

Achievement is among the central goods in life, but just what is achievement, and how is it valuable? There is reason to think that it is a constitutive part of wellbeing; yet, it is possible to sacrifice wellbeing for the sake of achievement. How might it have been worthwhile, if not in terms of wellbeing? Perhaps, achievement is an intrinsic good, or perhaps it is valuable in terms of meaning in life. This article considers various ways in which we can (...) understand the nature and value of achievement, as well as the significance of achievement for other areas of philosophical inquiry. (shrink)

Effort and the feeling of effort play important roles in many theoretical discussions, from perception to self-control and free will, from the nature of ownership to the nature of desert and achievement. A crucial, overlooked distinction within the philosophical and scientific literatures is the distinction between theories that seek to explain effort and theories that seek to explain the feeling of effort. Lacking a clear distinction between these two phenomena makes the literature hard to navigate. To advance in the unification (...) and development of this area, this article provides an overview of the main theories of the nature of effort and the nature of the feeling of effort, and then discusses how efforts and their feelings are related. Two key takeaways emerge. First, there is widespread agreement that efforts are goal-directed actions. Second, one of the main philosophical issues to be decided is whether feelings of effort should be defined by reference to efforts (effort-first approach), or whether efforts are defined by reference to the feeling of effort (feeling-first approach). (shrink)

Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...) (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)

Although widely used across psychology, economics, and philosophy, the concept ofeffort is rarely ever defined. This article argues that the time is ripe to look for anexplicit general definition of effort, makes some proposals about how to arrive at thisdefinition, and suggests that a force-based approach is the most promising. Section 1presents an interdisciplinary overview of some chief research axes on effort, and arguesthat few, if any, general definitions have been proposed so far. Section 2 argues thatsuch a definition is (...) now needed and proposes a basic methodology to arrive at it, whosefirst step is to make explicit the various tacit assumptions about effort made acrosssciences and ordinary thinking. Section 3 unearths 4 different conceptions of effortfrom research on effort so far:primitive-feelings accounts,comparator-based accounts,resource-based accountsandforce-based accounts. It is then argued that the first 2kinds of accounts, although interesting in their own right, are not strictly speaking abouteffort. Section 4 considers the 2 most promising general approaches to efforts: re-source-based and force-based accounts. It argues that these accounts are not only compatible but actually extensionally equivalent. This notwithstanding, it explains why force-based accounts should be regarded as more fundamental than resource-basedaccounts -/- . (shrink)

Gwen Bradford has plausibly argued that one attains achievement only if one does something one finds difficult. It is also plausible that one must attain achievement to be worthy of “agential” praise, praise that is appropriately directed to someone on the basis of things that redound to their credit. These claims pose a challenge to classical theists who direct agential praise to God, since classical theism arguably entails that none of God’s actions are difficult for God. I consider responses to (...) this challenge and commend a view accord- ing to which God’s loving character is not necessitated by God’s nature but is a contingent and difficult achievement. I argue that this view can still satisfy the explanatory ambitions of natural theology. (shrink)