The first part of this essay asks: What is the function, purpose and value of a museum? Has any museologist or philosopher given a credible account of philosophical problems associated with museums? Is there any set of properties shared by the diverse entities called museums? Overgeneralization is the principal problem here. The essay then examines a central kind of museum experience; one that invokes and relies upon nostalgia. I argue that the attraction of museums are varied but are best explained (...) affectively and in terms of the orectic rather than cognitively conatively. Although this need not be taken as conflicting with the idea that museums are focused on scholarship, it is more consonant with the claim that exhibitions are central. Museums may at times both pique and satisfy our curiosity. However it is a mistake to see ‘curiosity’ as merely, or even primarily, a matter of cognition. (shrink)

Extract: Clearly, academic life takes place at the intersection of many social practices. If MacIntyre is right, the role-specific virtues of academic life should be understood in terms of these practices.2 Academic virtues are those excellences required to obtain the internal goods of the social practices constituting academic life. And the social practices of academic life are sustained, competitive and cooperative attempts to achieve a set of academic goals and realize academic forms of excellence. They are also sustained attempts to (...) expand and improve conceptions of these goals and forms of excellence. They emerge out of traditions—for instance the tradition of scientific argument— and must be understood in terms of these traditions. MacIntyre argues that this preliminary account of virtues in relation to social practices needs to be deepened in two ways: connecting it to the unity of an individual’s life on the one hand and to a coherent historical tradition on the other. Virtues are not just any set of traits delivering the internal goods of social practices, but those that serve to make coherent a person’s life and her place in an on-going tradition. They are crucial to lending meaning to one’s life and its struggles. (shrink)

This paper addresses questions of ethics in the professional practice of architecture. It begins by discussing possible relationships between ethics and aesthetics. It then theorises ethics within concepts of 'practice', and argues for the importance of the context in architecture where narrative can be used to learn and to integrate past and present experience. Narrative reflection also takes in the future, and in the case of architecture there is a positive but not yet well accepted move (particularly within the 'academy') (...) to realise the imperative nature of architecture's responsibility with respect of global sustainability. Architects, more perhaps than other professions, use the faculty of imagination in their work, and this paper therefore maintains that architects as artists are uniquely qualified to exercise 'moral imagination' when it comes to situations where moral deliberation is needed. Pragmatism has given a new impetus to the importance of imagination in moral reflection, and I focus on John Dewey's categories of 'empathy' and 'dramatic rehearsal' as descriptors of moral imagination as applied in situations. I argue in conclusion firstly that empathy between end-users and architects is an essential but not always realised part of morality in architecture, and secondly that 'dramatic rehearsal', when extended more widely that a given situation, may lead architects to question the social, political and ecological contexts of their work and thus motivate them to prioritise the 'ethical' in all the choices they make. (shrink)