In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 13-31 [Access article in PDF] A Philosophical Inquiry into the Nature of Computer Art Holle Humphries Before the computer is accepted unquestioningly as a legitimate artistic medium, some of the challenging aesthetic and philosophical issues raised by [computer art] must be solved. The most haunting questions concern the impact of the technology on the artist, the creative process, and the nature of (...) art. 1How might we lead students in an exploration of the philosophical issues regarding art created with a computer? The most important step is first to guide them in exploring ontological concepts and questions asked about the nature of art and computer art, before investigating related issues of epistemology, value, and criticism. Students need to understand the nature of their art tool and medium of choice. Therefore, it becomes a matter of concern to discover that when discussing and writing about computer art, students sometimes use such terms interchangeably as "computer art" and "computer-generated art," when they are not synonymous, and talk about "virtual reality" as though engaging in any activity that involves a computer constitutes experiencing one. It is clear that this problem arises because many have not paused to examine the nature of computer art within the context of the process and product of art, and the subtle nuances regarding what might distinguish each from other human enterprise. To help clarify their thinking, we might use the foundation of art theory and the strategy of philosophical inquiry, implemented by adopting questioning strategies, to guide students through an exploration of the ontological nature of computer art. This can begin by launching the question: "What is the nature of art — or computer art?" Philosophy of Art: "What is the Nature of Art?" Many philosophers have attempted to describe or define the nature of art formulated in a theory of art. A theory of art attempts to specify where the essence of art is thought to reside, or what exactly art's essence is. [End Page 13]The imitation theory, initiated in the 5th century B.C. by Plato, held that to be a work of art, an object must mirror reality. 2 As this theory placed the essence of art in the objective properties of the art work itself, we consider the imitation theory to be object-centered or objective in nature. Similarly, with his formalist theory of art, Clive Bell claimed that the essence of art lies in the object — within the structural design properties of a work of art. To qualify as a work of art, an object must exhibit significant form. Significant form consists of certain formal properties such as the art elements of lines and color combined in a particular way according to art principles, all used to create certain forms and relations of forms. 3The expression theories of art shifted attention to the artist and audience and thus are considered subject centered, or subjective, bound up in notions of the experience of creation by the artist and/or the response of the audience. Benedetto Croce asserted that a work of art resides in the mind of the artist. An artist must experience an intuition, and it is this mental process that constitutes art, not the object which the artist might create thereafter. 4 Robin Collingwood claimed that art is an exploration, clarification, and expression of an artist's emotion, made clear to an audience through a medium. 5 Leo Tolstoy believed that art should be a vehicle by which the emotion experienced by the artist at the time of creation is transmitted to an audience, so that the audience can experience that emotion as well. 6Morris Weitz asserted that none of these theories capture an essence of art because they are either too broad, too narrow, or else are circular. He claimed that the concept of art cannot be limited to one essence delimited in a definition. Weitz suggested that we must instead look at what theories of art have to say is important about art so that we know what to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 13-31 [Access article in PDF] A Philosophical Inquiry into the Nature of Computer Art Holle Humphries Before the computer is accepted unquestioningly as a legitimate artistic medium, some of the challenging aesthetic and philosophical issues raised by [computer art] must be solved. The most haunting questions concern the impact of the technology on the artist, the creative process, and the nature of (...) art. 1How might we lead students in an exploration of the philosophical issues regarding art created with a computer? The most important step is first to guide them in exploring ontological concepts and questions asked about the nature of art and computer art, before investigating related issues of epistemology, value, and criticism. Students need to understand the nature of their art tool and medium of choice. Therefore, it becomes a matter of concern to discover that when discussing and writing about computer art, students sometimes use such terms interchangeably as "computer art" and "computer-generated art," when they are not synonymous, and talk about "virtual reality" as though engaging in any activity that involves a computer constitutes experiencing one. It is clear that this problem arises because many have not paused to examine the nature of computer art within the context of the process and product of art, and the subtle nuances regarding what might distinguish each from other human enterprise. To help clarify their thinking, we might use the foundation of art theory and the strategy of philosophical inquiry, implemented by adopting questioning strategies, to guide students through an exploration of the ontological nature of computer art. This can begin by launching the question: "What is the nature of art — or computer art?" Philosophy of Art: "What is the Nature of Art?" Many philosophers have attempted to describe or define the nature of art formulated in a theory of art. A theory of art attempts to specify where the essence of art is thought to reside, or what exactly art's essence is. [End Page 13]The imitation theory, initiated in the 5th century B.C. by Plato, held that to be a work of art, an object must mirror reality. 2 As this theory placed the essence of art in the objective properties of the art work itself, we consider the imitation theory to be object-centered or objective in nature. Similarly, with his formalist theory of art, Clive Bell claimed that the essence of art lies in the object — within the structural design properties of a work of art. To qualify as a work of art, an object must exhibit significant form. Significant form consists of certain formal properties such as the art elements of lines and color combined in a particular way according to art principles, all used to create certain forms and relations of forms. 3The expression theories of art shifted attention to the artist and audience and thus are considered subject centered, or subjective, bound up in notions of the experience of creation by the artist and/or the response of the audience. Benedetto Croce asserted that a work of art resides in the mind of the artist. An artist must experience an intuition, and it is this mental process that constitutes art, not the object which the artist might create thereafter. 4 Robin Collingwood claimed that art is an exploration, clarification, and expression of an artist's emotion, made clear to an audience through a medium. 5 Leo Tolstoy believed that art should be a vehicle by which the emotion experienced by the artist at the time of creation is transmitted to an audience, so that the audience can experience that emotion as well. 6Morris Weitz asserted that none of these theories capture an essence of art because they are either too broad, too narrow, or else are circular. He claimed that the concept of art cannot be limited to one essence delimited in a definition. Weitz suggested that we must instead look at what theories of art have to say is important about art so that we know what to... (shrink)

Under what circumstances if ever ought we to grant that Artificial Intelligences (AI) are persons? The question of whether AI could have the high degree of moral status that is attributed to human persons has received little attention. What little work there is employs western conceptions of personhood, while non-western approaches are neglected. In this article, I discuss African conceptions of personhood and their implications for the possibility of AI persons. I focus on an African account of personhood that is (...) prima facie inimical to the idea that AI could ever be ‘persons’ in the sense typically attributed to humans. I argue that despite its apparent anthropocentrism, this African account could admit AI as persons. (shrink)

“Probably Peirce’s best-known works are the first two articles in a series of six that originally were collectively entitled Illustrations of the Logic of Science and published in Popular Science Monthly from November 1877 through August 1878. The first is entitled ‘The Fixation of Belief’ and the second is entitled ‘How to Make Our Ideas Clear.’ In the first of these papers Peirce defended, in a manner consistent with not accepting naive realism, the superiority of the scientific method over other (...) methods of overcoming doubt and ‘fixing belief.’” — Robert Burch, “Charles Sanders Peirce,” entry in the Stanford Encyclopedia of Philosophy (2021 revision) -/- “Pragmatist epistemologies often explore how we can carry out inquiries in a self-controlled and fruitful way. (Where much analytic epistemology centres around the concept of knowledge, considered as an idealised end-point of human thought, pragmatist epistemology centres around the concept of inquiry, considered as the process of knowledge-seeking and how we can improve it.) So pragmatists often provide rich accounts of the capacities or virtues that we must possess in order to inquire well, and the rules or guiding principles that we should adopt. A canonical account is Peirce’s classic early paper ‘The Fixation of Belief‘. Here Peirce states that inquiry is a struggle to replace doubt with “settled belief“, and that the only method of inquiry that can make sense of the fact that at least some of us are disturbed by inconsistent beliefs, and will subsequently reflect upon which methods of fixing belief are correct is the Method of Science, which draws on the Pragmatic Maxim described above. This contrasts with three other methods of fixing belief: i) refusing to consider evidence contrary to one’s favored beliefs (the Method of Tenacity), ii) accepting an institution’s dictates (the Method of Authority), iii) developing the most rationally coherent or elegant-seeming belief-set (the A Priori Method).“ — Catherine Legg, “Pragmatism,” entry in the Stanford Encyclopedia of Philosophy (2021 revision). (shrink)

This is one of the seminal articles of the pragmatist tradition where C.S. Peirce sets out his doctrine of doubt and belief --and their relationship to inquiry and clarity of our concepts. Originally published in the Popular Science Monthly; and widely available in reprints and collections of Peirce's writings.

This article evaluates the moral status of hominins, and obligations we may have towards them. In exploring these ethical considerations, I consider one of the most recent hominin finds: the ‘graveyard’ of Homo naledi in the Dinaledi caves at the Cradle of Humankind in South Africa. I argue that findings about H. naledi establish a pro tanto duty not to excavate their remains.

C. S. Lewis sets out to persuade his audience of the importance and relevance of universal values such as courage and honor in contemporary society.

A repackaged edition of the revered author's classic work that examines the four types of human love: affection, friendship, erotic love, and the love of God—part of the C. S. Lewis Signature Classics series. C.S. Lewis—the great British writer, scholar, lay theologian, broadcaster, Christian apologist, and bestselling author of Mere Christianity, The Screwtape Letters, The Great Divorce, The Chronicles of Narnia, and many other beloved classics—contemplates the essence of love and how it works in our daily lives in one of (...) his most famous works of nonfiction. Lewis examines four varieties of human love: affection, the most basic form; friendship, the rarest and perhaps most insightful; Eros, passionate love; charity, the greatest and least selfish. Throughout this compassionate and reasoned study, he encourages readers to open themselves to all forms of love—the key to understanding that brings us closer to God. (shrink)

C. S. Lewis sets out to disentangle this knotty issue but wisely adds that in the end no intellectual solution can dispense with the necessity for patience and ...

Philosophers readily talk about merely verbal disputes, usually without much or any explicit reflection on what these are, and a good deal of methodological significance is attached to discovering whether a dispute is merely verbal or not. Currently, metaphilosophical advances are being made towards a clearer understanding of what exactly it takes for something to be a merely verbal dispute. This paper engages with this growing literature, pointing out some problems with existing approaches, and develops a new proposal which builds (...) on their strengths. (shrink)

On the occasion of the 50th anniversary of C. S. Lewis’s death, a special annotated edition of his Christian classic, The Screwtape Letters, with notes and excerpts from his other works that help illuminate this diabolical masterpiece. Since its publication in 1942, The Screwtape Letters has sold millions of copies worldwide and is recognized as a milestone in the history of popular theology. A masterpiece of satire, it offers a sly and ironic portrayal of human life and foibles from the (...) vantage point of Screwtape, a highly placed assistant to “Our Father Below.” At once wildly comic, deadly serious, and strikingly original, The Screwtape Letters comprises the correspondence of the worldly-wise devil Screwtape and his nephew Wormwood, a novice demon in charge of securing the damnation of an ordinary young man. For the first time, The Screwtape Letters will be presented in full-text accompanied by helpful annotations in a striking two-color format. These annotations will give fans a deeper, more nuanced understanding of the popular book, providing background information, explanations of terms, historical significance, and excerpts from Lewis’s other works that more fully explain the ideas in this volume. For both expert Lewis fans and casual readers, The Screwtape Letters: Annotated Edition will be a beautiful and insightful guide to a beloved classic. (shrink)

A repackaged edition of the revered author’s spiritual memoir, in which he recounts the story of his divine journey and eventual conversion to Christianity. C. S. Lewis—the great British writer, scholar, lay theologian, broadcaster, Christian apologist, and bestselling author of Mere Christianity, The Screwtape Letters, The Great Divorce, The Chronicles of Narnia, and many other beloved classics—takes readers on a spiritual journey through his early life and eventual embrace of the Christian faith. Lewis begins with his childhood in Belfast, surveys (...) his boarding school years and his youthful atheism in England, reflects on his experience in World War I, and ends at Oxford, where he became "the most dejected and reluctant convert in all England." As he recounts his lifelong search for joy, Lewis demonstrates its role in guiding him to find God. (shrink)

C. S. Lewis takes us on a profound journey through both heaven and hell in this engaging allegorical tale. Using his extraordinary descriptive powers, Lewis introduces us to supernatural beings who will change the way we think about good and evil.

This paper takes the form of a critical discussion of Crispin Wright’s notion of entitlement of cognitive project. I examine various strategies for defending the claim that entitlement can make acceptance of a proposition epistemically rational, including one which appeals to epistemic consequentialism. Ultimately, I argue, none of these strategies is successful, but the attempt to isolate points of disagreement with Wright issues in some positive proposals as to how an epistemic consequentialist should characterize epistemic rationality.

Are there dispositions which not only do not manifest, but which could not manifest? We argue that there are dispositions to Ф in circumstances C where C is impossible, and some where Ф is impossible. Furthermore, postulating these dispositions does useful theoretical work. This paper describes a number of cases of dispositions had by objects even though those dispositions are not possibly manifest, and argues for the importance of these dispositions.

I argue that mind-independence realism should be characterised in terms of what I call 'essential', rather than 'modal', independence from our mental lives. I explore the connections between the two kinds of independence, and argue that characterizations in terms of essence respect more intuitions about what realism is, harmonize better with standard characterizations of anti-realism, and avert the threat of subversion from Blackburn's quasi-realist.

In recent work Timothy Williamson argues that the epistemology of metaphysical modality is a special case of the epistemology of counterfactuals. I argue that Williamson has not provided an adequate argument for this controversial claim, and that it is not obvious how what he says should be supplemented in order to derive such an argument. But I suggest that an important moral of his discussion survives this point. The moral is that experience could play an epistemic role which is more (...) epistemically significant than a mere 'enabling' role but not equivalent to an evidential role. (shrink)

The purpose of this paper is to clarify what metaontological realism, as discussed in contemporary metaontological literature, amounts to. Although metaontological debates are of relatively long standing, the terms ‘realism’ and ‘anti‐realism’ have only recently come to be regularly applied to metaontological positions. The new usage is not fully stable. This paper aims to: (1) distinguish three key claims associated with the term ‘realism’ in metaontology, and give some initial reasons why it is important to be very clear about the (...) differences between these claims; (2) argue that the three ‘realist’ claims are independent of one other; and (3) argue that the label ‘ontological realism’ is best attached to just one of the three claims, namely the claim that the facts of ontology are objective. (shrink)

C. S. Lewis sets out to persuade his audience of the importance and relevance of universal values such as courage and honor in contemporary society.