Part of the ingenious quality of LEGO is that it is a system of play, fundamentally based on interconnecting sets of parts and open‐endedness. Nowadays, themed and specialized LEGO playsets far outnumber the more free‐form building oriented sets we might see on store shelves. Everything from the themed LEGO Space and LEGO City to extensions of the imaginary franchise universes of Star Wars, Harry Potter, and The Simpsons suggest a kind of play experience where purely imagination‐driven building (...) becomes secondary to the kinds of storytelling and narrative play that LEGO playsets encourage. The different kinds of play—LEGO playset building compared to LEGO video game playing—can be thought of as ludus (more structured, goal‐oriented play) and paidia (exuberant, spontaneous free play). LEGO in many ways serves as a helpful analogy for how philosophical thinking can lead people toward new connections between their thoughts and ideas. LEGO and philosophy invite them to question the nature of play. (shrink)

Hobbes rejects the Aristotelian political animal, a move that enables a malleable psychology in which we are driven by our passions and responses to external objects. Our psychology is accordingly overdetermined by our socio-cultural environment, and managing that environment becomes a central task of the state. A particular problem is what I call the “ontological illusion,” the constitutive human tendency to ontologize products of the imagination. I argue that Hobbes’s strategies for managing the ontological illusion govern part four of Leviathan. (...) Those chapters are intended to convince elites that crediting ontological illusions in policy is disastrous, as his discussion of demonology and its thinly veiled references to witchcraft persecutions readily illustrates. (shrink)

Building on Dor’s theory of language as a social technology for the instruction of imagination, I suggest that autobiographical memory evolved culturally as a response to the problems of false memory and deliberate deceit that were introduced by that technology. I propose that sapiens’ linguistic communication about past and future events initially occurred in small groups, and this helped to correct individual memory defects. However, when human groups grew in size and became more socially differentiated, and movement between groups (...) prevented story-verification, misattributions of events became more common. In such conditions individuals with better autobiographical memory had an advantage because they could evaluate their own contents and sources of information, as well as that of others, more accurately; this not only benefitted them directly, but also improved their reliability as social partners. Autobiographical memory thus evolved in the context of human linguistic communication through selection for communicative reliability. However, the advantages of imagination, which enables forward-planning and decision-Making, meant that memory distortions, although controlled and moderated by autobiographical memory, could not be totally eradicated. This may have driven the evolution of additional forms of memory control involving social and linguistic norms. I interpret the language and the social norms of the Pirahã as the outcome of the cultural-evolutionary control of memory distortions. Some ways of testing aspects of this proposal are outlined. (shrink)

Capitalism has been an unprecedented engine of wealth creation for many centuries, leading to sustained productivity gains and long-term growth and lifting an increasing proportion of humanity out of poverty. But its effects, and hence its future, have come increasingly under question: Is capitalism still improving wealth and well-being for the many? Or, is long-term value creation being sacrificed to the pressures of short-termism, with potentially far-reaching consequences for society, the natural environment, prosperity, and global order? Building on a (...) collaboration between the Schulich School of Business and global management consultancy McKinsey & Company, this volume reflects both the urgency of the needed action and the tremendous opportunity to forge consensus and catalyze a lasting movement toward a more responsible, long-term, and sustainable model of capitalism. This unique volume brings together many of the leading proponents for a reformed, re-imagined capitalism from the Âfields of academia, business, and NGOs. Its contributors have been at the forefront of thought and action in regard to the future of capitalism. Both individually and collectively, they provide powerful suggestions of what such a long-term oriented model of capitalism should look like and how it can be achieved. Drawing on their research and professional experience, they write in an accessible style aiming to reach the broad audiences required to turn a re-imagined capitalism into a reality. (shrink)

According to “imaginability arguments,” given any explanation of the physiological correlates of consciousness, it remains imaginable that all elements of that explanation could occur without consciousness, which thus remains unexplained. The O'Brien & Opie connectionist approach effectively shows that perspicuous explanations can bridge this explanatory gap, but bringing in other issues – for example, involving biology and emotion – would facilitate going much further in this direction. A major problem is the ambiguity of the term “representation.” Bridging the gap requires (...) perspicuously explaining not just how we form “representations” in the sense of outputs isomorphic to what is represented, but also what makes representations conscious; I sketch briefly what this would entail. (shrink)

Adam Smith’s is often falsely portrayed as having argued that radical selfishness is a force for the good and that this “invisible hand’ is his market mechanism. This paper argues that Smith’s real market mechanism, the sympathy manoeuvre, is a viable alternative to Schumpeterian and mainstream models of innovation in economics and also could help build a firmer theoretical basis for other approaches such as Responsible Innovation. To Smith all human activity was social and must be understood and explained in (...) terms of the sentiments involved. Discovery, for instance, is driven by three sentiments (wonder, surprise, admiration), economic activities by sympathetic imagination, the need for exchange, the need to better one’s position in life, and the need for gratitude. Through sympathetic imagination, his famous model of the impartial spectator, Smith elegantly connects the individual and society. Smith’s innovation process is thus an exercise in social construction and not a destructive process based on radical selfishness. The paper argues that this social innovation process is a viable alternative to the extant approaches that are essentially asocial and amoral (economism) or ideologically normative (Responsible Innovation). (shrink)

A sand table is an intentional structure that is an early, indeed ancient, interactive platform for visualization and simulation. An intellectual furnishing that is also a tangible instance of speculative infrastructure, the sand table offers a tactile space for the rehearsal of tactics, staccato words whose roots lie in haptics and arrangement. While common in military settings, sand tables have also been used to teach the blind, train wilderness firefighters, conduct therapy for trauma victims, illustrate stories to children, and play (...) imaginative games. Today there is a direct line from this seemingly modest technology—an implementation of what has been called elemental media—to augmented reality and other tangible interfaces. Part media history, part media archaeology, this article argues that sand tables belong to the lineage of platforms for speculative thinking and world-building that culminated in the rise of the digital computer amid a Cold War complex of scenario-driven futurology (whose centerpiece was the so-called situation room). It also suggests that sand, in its literal granularity—the physical affordances of the minute particulars of its particulate matter—offers an alternative to the binary regimen of ones and zeros that is the extractive product of the refined silica out of which semiconductors are still made. (shrink)

This paper offers an explanation for subjects’ lack of confidence in vaccines’ safety, which in turn is widely recognized as one of the main determinants of vaccine hesitancy. I argue that among the psychological roots of this lack of confidence there is a kind of intuitive thinking that can be traced back to a specific superstitious belief: the belief that “it is bad luck to tempt fate”. Under certain conditions, subjects perceive the choice to undergo vaccinations as an action that (...) “tempts fate”, and this leads them to overestimate its risks. When an action is perceived as “tempting fate”, indeed, its possible negative outcomes are anticipated as highly aversive, and as such they capture subjects’ imagination, thereby feeling more subjectively probable. This has important consequences for practical pro-vaccine interventions. Part of what makes an action perceived as “tempting fate” is its being free, arbitrary, and departing from one’s typical behavior: insofar as vaccine hesitancy is driven by beliefs about tempting fate, then, we can predict the success of interventions that make vaccinations nearly mandatory, or build vaccination opportunities into health care routines as opt-out, rather than opt-in options, making them closer to something that subjects passively accept rather actively seek. (shrink)

In the human context, the ubiquitous faculty of imagination is taken for granted. Whether we are singularly equipped with this ability or whether it is an evolved faculty also present in other life forms is a question that has been an issue ever since Darwin. A variety of research projects have indicated the presence of mental processes in non-human taxa and the faculty of imagination developed with increasing complexity over time, to its present status in humans. As an evolved faculty, (...) encompassing a variety of non-humans, it serves as a useful tool to ascertain and understand the origins and unique quality of human mental processes, even to the extent of informing certain medical issues and problems in education. Several pointers exist that argue for human imagination as an evolved faculty that is shared within broad spectrum of taxa. Paleoanthropological research has provided insights as to the role of imagination in the early manifestations of religious behaviour in humans, the construction of effective stone tools by anatomically modern humans employing pyro technology, as well as their ability to mentally link ostensibly non-related natural phenomena like tidal fluctuations and the phases of the moon. Contribution: This review article explores imagination as an evolved faculty in an intersectional and interdisciplinary manner. This evolutionary reflection fits well with the purpose and inclusive nature of this special collection on the building blocks of our past, present and future. (shrink)

Obviously, science matters to philosophy. But is philosophy also constrained by science? Naturalism is roughly the view that answers positively. However, even among proponents of naturalism, how science constrains philosophy has always been (and still is) a subject of debate. There are two basic dimensions in which the debate takes place, which give rise to two different kinds of naturalism: ontological and methodological. The former concerns what there is, while the latter deals with the methods whereby we acquire knowledge and (...) beliefs. Ontological Naturalism is loosely the view that all of what there is belongs to the natural world, where the natural world is the world described by the natural sciences. By maintaining, in turn, that the ultimate structure of the world is what the natural sciences say it to be, it is to some extent close to Physicalism, according to which what most fundamentally exist are the entities and properties posited by basic physics. On the other hand, methodological naturalism is often thought of as making an epistemological claim akin to scientism—the claim that the best (perhaps the unique) approach to acquiring knowledge is that of natural sciences. Accordingly, it holds that the very same methods used to arrive at scientific theories are the only legitimate ones to be employed by philosophy.Each of these horns of naturalism implies important consequences for our understanding of the relationship between science and many areas of philosophy, including metaphysics. From the methodological point of view, naturalism might be said to entail the denial that our conception of reality needs to include whatever is exclusively accessible to metaphysical theorizing (or to “first philosophy”), understood as a distinct mode of inquiry that lacks ties to the results and practices of the sciences. Indeed, methodological naturalism is usually assumed to reject the project of a priori theorizing, and it is perhaps hard to see how the traditional metaphysics, as well as current analytical metaphysics, might be in the business of developing and assessing synthetic theories of the world supported by a posteriori evidence. From the ontological point of view, naturalism sees science as already giving us a full account of everything, including our place within that picture. Despite this, the debate around the nature of metaphysics remains very much alive (and complex), spreading its influence all across philosophy and our view of the world. The upshot is that much of metaphysical work is nowadays motivated by the naturalist desire to accommodate what the natural sciences have taught us about the world. This special issue stems exactly from the ongoing debate between naturalist and non-naturalist metaphysicians and aims to assess the prospects of naturalized projects in metaphysics and their relationships to traditional metaphysics.Are science and metaphysics separable enterprises? Should allowable metaphysical theories be constrained by and continuous with natural sciences? Does successful scientific research presuppose metaphysics? These are some of the questions addressed in the contributions comprising this special issue. In response, most of them undertake theoretical commitments of a general naturalist stamp, others challenge their philosophical cogency, while still others discuss and contrast the various versions of naturalism that are currently at the center of many metaphysical debates—which often involve some mixture of the two above-mentioned ones, in different proportions. As a result, this special issue hopes to represent the state of the art drawn from different perspectives, helping somehow to clarify extent and ongoing work in metaphysics with respect to the challenges posed by naturalist thinking and eventually to pave the way for future developments and discussions.The issue opens with Don Ross's paper “A flexible, sloppy blob? Ontology, AI, and the role of metaphysics.” In it, Ross defends a naturalized metaphysics that, in contrast with traditional metaphysical projects, is driven directly by fundamental physics. Therefore, since fundamental physics is taken to be the authoritative source of knowledge on the general structure of the universe, metaphysics should neither be separated from nor transcend it. In particular, he rejects more recent works on building metaphysical foundations for applied ontology—e.g., metaphysics for the foundations of AI—as somehow apt to vindicate the value of analytic metaphysics for the edifice of human knowledge. At the same time, however, he points out how his naturalist (methodological) naturalist approach neither incorporates nor implies a physicalistic reduction.Ferdinando Ceravolo and Steven French, in their contribution “What is a Naturalized Principle of Composition?” also support the project of a methodologically naturalized metaphysics. They focus on Van Inwagen's General Composition Question (GCQ). Specifically, they address the issue concerning whether GCQ could be underpinned by principles that are found to be naturalistically acceptable—that is, constrained and informed by advanced physical knowledge. Arguing positively, they outline two candidates for naturalistically accredited principles of composition and explore the various costs of choosing between them.Along the same lines, in his essay “Naturalism and the Question of Ontology,” Javier Cumpa argues for a naturalistic approach in metaontology based on the project of Wilfrid Sellars. He proposes a naturalistic criterion of relational substantivity for ontological questions, which is held to be naturalistic insofar as it relies on the epistemic value and the degree of understanding of the world in line with science that those questions provide us. Cumpa's view is certainly methodologically naturalist, however, although ontologically he does not seem to be committed to metaphysical notions such as ontological categories, he endorses what he calls an “Impure Eliminativism about Categories.”A more straightforward version of eliminativism is advocated by Otávio Bueno in his chapter “Dispensing with Facts, Substances, and Structures.” He contends that, even though ontological categories (i.e., structures, substances, and facts) play a central role in metaphysical theorizing, we do not need to be committed to their existence. Unlike metaphysical realists – who see true thought or assertion as adequately shaped in terms of the correct representation of completely thought and/or language independent bits of reality – he accounts for metaphysical discourse by offering a naturalist account of the linguistic practice that govern it, but without the ontological commitments that realism recommends. Nevertheless, by dropping realism he does not aim to drop metaphysics as an important form of understanding the world. In order to qualify metaphysical judgements as meaningful, he explores and invokes a distinctive deflationary strategy. The result is a view that takes metaphysical discourse literally but without ontologically inflationary maneuvers.The same deflationary strategy is pursued by Anjan Chakravartty in his piece “Last Chance Saloons for Natural Kind Realism.” But rather than on ontological categories in general, he focuses on natural kinds, arguing against realist views that contend for their mind-independent existence. Nevertheless, he shows how a deflationary approach to kinds, while rejecting kind realism, can be integrated with broader realist doctrines such as scientific realism. That is, we need not be committed to either the existence of these posits or with the metaphysically inflationary interpretations that support them in order to invoke these items in scientific theorizing and to vindicate as objective or mind-independent the truth or falsity of scientific as well as everyday claims about natural kinds.In contrast to the previous standpoints, in her article “Metaphysics as Essentially Imaginative and Aiming at Understanding,” Michaela M. McSweeney defends a non-naturalist view of metaphysics. She explores the idea that metaphysics is essentially imaginative and (at least in part) “up to us.” But treating metaphysics as essentially imaginative makes metaphysics methodologically different from scientific inquiry and more akin to art. Nevertheless, she maintains, it can still be deemed epistemologically valuable to the extent that imagination can lead to understanding. On her view, the central goal of the metaphysical project thus turns out to be understanding rather than truth.The closing paper of the issue investigates precisely the relationship between methodological naturalism and ontological naturalism. In “Methodological naturalism undercuts ontological naturalism,” Peter Forrest argues that the combination of ontological with methodological naturalism is untenable. According to his view, one way to defend ontological naturalism is to retain a version of nominalism: specifically, what he calls Redundancy Nominalism (a kind of deflationary nominalism). On the other hand, methodological naturalism requires adopting Categorial Realism. This means being a realist about universals in at least a minimal way. As a result, the fundamental description that methodological naturalism requires proves be contrary to ontological naturalism, whose precondition, in turn, is not available to methodological naturalists. This leads him to criticize ontological naturalism as a belief but, at the same time, to vindicate it as a speculation. (shrink)

Photo ID 72893750 © Rawpixelimages|Dreamstime.com ABSTRACT Solidarity is a concept increasingly employed in bioethics whose application merits further clarity and explanation. Given how vital cooperation and community-level care are to mitigating communicable disease transmission, we use lessons from the COVID-19 pandemic to reveal how solidarity is a useful descriptive and analytical tool for public health scholars, practitioners, and policymakers. Drawing upon an influential framework of solidarity that highlights how solidarity arises from the ground up, we reveal how structural forces can (...) impact the cultivation of solidarity from the top down, particularly through ensuring robust access to important social determinants of health. Public health institutions can support solidarity movements among individuals and communities by adopting a lens of social justice when considering public health priorities and, in turn, promote health equity. INTRODUCTION Over the past two decades, scholars have invoked the concept of solidarity when assessing a wide range of topics in bioethics, from CRISPR-Cas9 technology to organ donation to structural racism.[1] However, the growing literature on solidarity has not fully examined the roles and responsibilities of institutions and governments in fostering solidarity, especially regarding public health measures that implicate entire populations. We argue that it remains unclear how public health institutions should engage with solidarity and how their engagement will affect public health and its ethics. We first take Prainsack and Buyx’ three-tiered framework as an analytical starting point.[2] We then explore how public health institutions can foster solidarity by carefully considering factors that may bolster it on an interpersonal, community, and national scale. We conclude that public health institutions should adopt a lens of social justice to promote solidarity at the interpersonal and community levels, thereby promoting equity in future public health efforts. BACKGROUND Calls for solidarity in bioethics raise longstanding normative questions about the nature and limits of our duties to one another and how to weigh autonomy over considerations of justice.[3] Though the term is diversely applied, Prainsack and Buyx propose a potentially unifying definition in the 2011 Nuffield Council report, “Solidarity: Reflections On An Emerging Concept in Bioethics.” The report defines solidarity as an activity involving “shared practices reflecting a collective commitment to carry financial, social, emotional, and or other ‘costs’ to assist others.” Their conceptualization also includes important features that distinguish solidarity from other values like empathy or altruism: solidarity emphasizes action rather than mere internal feeling and recognition of connection as motivation.[4] Bioethicists have since applied this conceptualization when analyzing issues in public and global health, given that population-level efforts need cooperation from individuals and communities. Prainsack and Buyx further note that solidarity is relevant in bioethics discourses about justice and equity, in support of providing aid to low- and middle-income countries, and as a value exemplified by European welfare states.[5] Other bioethicists have argued that promoting solidarity can contribute to community engagement, partnership with Tribal communities, and global health equity.[6] Most recently, scholars have applied solidarity as a lens to assess the COVID-19 pandemic, highlighting the pitfalls of national mitigation efforts and global disparities in disease outcomes.[7] I. Solidarity at Three Levels It seems impossible to foster solidarity in public health if we cannot identify it in general contexts. Prainsack and Buyx articulate three levels of solidarity: interpersonal solidarity, group solidarity, and legal or contractual codifications of solidarity.[8] They argue that each level inherently informs the one ‘above’ it in a unilateral direction. In other words, solidarity is fundamentally a bottom-up phenomenon. Solidarity among individuals influences group norms, which then have the potential to shape policy and institutional practice.[9] Within the Prainsack and Buyx framework, it would seem nonsensical to posit how solidarity might be expressed vertically or from the “top down.” It appears intuitively odd to imagine how a government entity might ‘be’ in solidarity with a person or group if solidarity requires some cognition about their condition per Prainsack and Buyx’ definition. Some have argued that solidarity does not seem like something that one can impose, as instances of it arise from agents recognizing and acting upon some bond rather than in response to a command. Indeed, people may be rightfully hesitant to engage in solidarity if the official messaging is overly paternalistic or coercive.[10] However, some authors have countered that governments can express solidarity through enacting structural and policy changes, though it is ambiguous how these actions are distinct from a justice-driven approach.[11] If a bottom-up approach is thus the most practical means of achieving policy that reflects solidarity, then it does not add much to public health. Institutions would be ineffective without the population’s initiation of the corresponding social norms. However, we find this conclusion overly pessimistic. Fostering a culture of solidarity to improve public health has potential merit. Prainsack and Buyx’ framework overlooks how public health actors can influence solidarity between individuals and across communities. To clarify, we agree with the view that solidarity is a bottom-up phenomenon. Solidarity may not be able to originate in a top-down fashion, but we suggest that public health institutions can take a more active role in providing the public with accurate information, promoting social justice, and intervening in the social determinants of health. II. The COVID-19 Pandemic as a Case Study Lessons learned from the ongoing COVID-19 pandemic support our argument. The pandemic deepened socioeconomic disparities in the US and hindered access to vital resources such as food, housing, and healthcare.[12] Prainsack recently noted: “[n]ext to the immediate health effects of the virus, poverty and grave inequalities have been the root causes of human suffering during the pandemic.”[13] Prior to the pandemic, many rural and low-income populations lacked reliable access to the internet and devices like laptops or smartphones. This continued lack of access restricts the flow of information and prevents people from accessing telemedicine services.[14] Preexisting social, political, and health inequities worsened health outcomes among many marginalized racial and ethnic groups. It is well-documented that communities of color, including Black, American Indian or Alaska Native, and Latinx populations, had greater COVID-related mortality and morbidity due to the effects of structural racism.[15] Although federal US agencies such as the Centers for Disease Control and Prevention enacted laws that provided safety nets (e.g., the Federal Eviction Moratorium), the majority of such programs have ended, leaving many with little assistance and the threat of further hardship.[16] These disparities are relevant because Prainsack, Buyx, and others note that solidarity arises from agents recognizing and acting on some perceived attainable collective goal(s). Income inequality and disparate access to food, education, and health care may lead people to consider public health goals unattainable. This could limit the desire to work toward those goals collectively.[17] The existing literature on collective action theory supports this intuition. It emphasizes that structural conditions, such as an absence of perceived hope for social change among a group, can lead to low ‘group efficacy’ and little willingness to cooperate, both within and across socioeconomic strata.[18] The pandemic spurred countless messages from public health agencies. The messaging did not recognize or attend to the different material realities and circumstances of the US population. How can people feel comfortable getting vaccinated if they deeply distrust the government, including public health institutions? How can people remain motivated to wear masks and distance themselves if they cannot afford basic necessities and work jobs without adequate pay and leave policies? We ask these questions to illustrate how socioeconomic disparities can marginalize people if they feel ignored, apathetic, or resentful of those better off or those in power whom they perceive to “not be doing enough.” This marginalization precludes the formation of solidarity. There are instances when a population has disparate access to resources and social capital, but solidarity may still emerge from a shared goal or vision for the future. For example, a heterogeneous population living in the same town may come together to protest an environmental injustice that impacts their water supply with the common goal of securing access to safe drinking water. However, many populations in the US failed to recognize shared goals of this kind during the COVID-19 pandemic. A significant minority of the US population was reluctant to acknowledge the severity of COVID-19 infection and thus refused to participate in efforts to mitigate its spread. Even between groups who shared the goal of slowing COVID-19 transmission, the methods were widely debated. Approximately 20 percent of the adult population eligible for vaccination remains unvaccinated.[19] Governmental bodies responsible for disseminating information, coordinating the allocation of resources, and establishing guidelines have a large role in mediating these disagreements and intervening in socioeconomic conditions that impact people's ability and willingness to engage in solidarity. III. Solidarity, Social Justice, and the Role of Public Health Institutions Adopting a lens of social justice provides further insights into how public health actors impact solidarity. Powers and Faden argue that the “foundational moral justification for the social institution of public health is social justice.”[20] Their theory of social justice has two aims. First, it ensures that everyone has a sufficient amount of the six core elements of well-being and that public health institutions are responsible for “adopting policies and creating environments” where all can flourish.[21] Second, public health institutions should distribute resources meant to promote well-being and focus on the “needs of those who are the most disadvantaged.”[22] Public health institutions should enact policies that address injustice. In doing so, public health institutions can seed the opportunity to build solidarity from the bottom up. Equipping individuals and communities with resources will foster cooperation and adherence to policies that require solidarity, such as masking and vaccination. This is consistent with arguments illustrating how institutions such as Tribal governments promote the conditions needed for their group, and especially its most vulnerable members, to flourish.[23] Addressing social determinants of health with a social justice lens will create the circumstances under which more individuals and groups can find common causes and foster solidarity. In the long run, such efforts may result in the establishment of values and practices from the bottom up. There are societal and public health preconditions required before institutions can expect their audience to act in solidarity with one another. Through their great influence over information and resources, public institutions do have the power to impact what values are most widespread. Furthermore, public health may foster trust and hope, which are important psychosocial factors that influence collective action,[24] if policies increase access to resources that promote well-being. Messaging efficacy also depends on the context of public trust, education, and whether the institutions meet one’s basic needs. Disparate messaging across different public institutions may confuse or disillusion individuals. To apply our theory of solidarity to the decision to vaccinate, a policy would be to foster conditions that facilitate access to vaccines and information about vaccine efficacy instead of imposing a top-down mandate without first eliciting public trust. IV. Counterargument Some argue that discordant public health messaging, ineffective government, and inadequate social programs can also bring people together under pressure and foster solidarity. One may argue that the most powerful motivators towards solidarity are strife and disparity, as evidenced throughout history. During the pandemic alone, political struggle and personal hardship inspired solidarity in the US, from individual neighbors helping each other to mutual aid groups forming across communities. We thus do not claim that solidarity is possible only when our government programs and public health institutions are most effective. We instead point out that solidarity can be further hindered when people feel alienated, hopeless, and pitted against each other. CONCLUSION Many competing conceptualizations of solidarity persist in the bioethics literature, and Prainsack and Buyx offer one compelling framework that public health ethicists continue to draw upon.[25] However, their framework fails to acknowledge how public health institutions impact interpersonal and group solidarity. Public health institutions can foster solidarity through actions other than mere messaging, invoking catchphrases like “we are all in this together.” Efforts to address socioeconomic preconditions and alleviate health disparities can cultivate group solidarity. As we saw during the pandemic, cooperation and solidarity go hand-in-hand with disease mitigation efforts; solidarity has clear intrinsic value.[26] As this relationship becomes more apparent, we will continue to see attempts from public health institutions to foster or invoke solidarity. Therefore, public health institutions would be remiss to ignore their role in addressing the social determinants of health. Adopting a social justice lens when planning public health interventions will clarify and strengthen their role in facilitating solidarity. Ultimately, if health disparities continue to persist or widen, it is very hard to imagine how group solidarity can ever be achieved. The widescale adoption of many public health measures needed to promote health and well-being would be conducive to solidarity. - Disclaimer: The opinions expressed are the authors’ and do not represent the views of the NIH, DHHS, or the U.S. government. Funding Disclosure: This work was supported in part by the Intramural Program of the National Institutes of Health Clinical Center. - [1] John J Mulvihill et al., “Ethical Issues of CRISPR Technology and Gene Editing through the Lens of Solidarity,” British Medical Bulletin 122 (2017): 17–29, https://doi.org/10.1093/bmb/ldx002; Ben Saunders, “Altruism or Solidarity? The Motives for Organ Donation and Two Proposals,” Bioethics 26, no. 7 (September 2012): 376–81, https://doi.org/10.1111/j.1467-8519.2012.01989.x; -Vanessa Y Hiratsuka, “SPECIAL REPORT: A Critical Moment in Bioethics: Reckoning with Anti-Black Racism through Intergenerational Dialogue A Call for Solidarity in Bioethics: Confronting Anti-Black Racism Together,” 2022, https://doi.org/10.1002/hast.1380. [2] Prainsack and Buyx, Solidarity: Reflections on an Emerging Concept in Bioethics London: Nuffield Council on Bioethics, 2011; Prainsack and Buyx, “Solidarity in Contemporary Bioethics--towards a New Approach.” Bioethics 26, no. 7 (September 2012): 343–50. https://doi.org/10.1111/J.1467-8519.2012.01987.X. [3] Bob Simpson, “A ‘We’ Problem for Bioethics and the Social Sciences: A Response to Barbara Prainsack,” Science, Technology, & Human Values 43, no. 1 (January 12, 2018): 45–55, https://doi.org/10.1177/0162243917735899. [4] Barbara Prainsack and Alena Buyx, Solidarity: Reflections on an Emerging Concept in Bioethics (London: Nuffield Council on Bioethics, 2011). [5] Barbara Prainsack and Alena Buyx, “Solidarity in Contemporary Bioethics--towards a New Approach,” Bioethics 26, no. 7 (September 2012): 343–50, https://doi.org/10.1111/J.1467-8519.2012.01987.X. [6] Bridget Pratt, Phaik Yeong Cheah, and Vicki Marsh, “Solidarity and Community Engagement in Global Health Research,” The American Journal of Bioethics : AJOB 20, no. 5 (May 3, 2020): 43–56, https://doi.org/10.1080/15265161.2020.1745930; Sara Chandros Hull, F. Leah Nez (Diné), and Juliana M. Blome, “Solidarity as an Aspirational Basis for Partnership with Tribal Communities,” The American Journal of Bioethics 21, no. 10 (October 3, 2021): 14–17, https://doi.org/10.1080/15265161.2021.1965258; Mbih J. Tosam et al., “Global Health Inequalities and the Need for Solidarity: A View from the Global South,” Developing World Bioethics 18, no. 3 (September 1, 2018): 241–49, https://doi.org/10.1111/DEWB.12182. [7] Peter West-Oram, “Solidarity Is for Other People: Identifying Derelictions of Solidarity in Responses to COVID-19,” Journal of Medical Ethics 47, no. 2 (February 1, 2021): 65–68, https://doi.org/10.1136/MEDETHICS-2020-106522; Barbara Prainsack, “Solidarity in Times of Pandemics,” Democratic Theory 7, no. 2 (December 1, 2020): 124–33, https://doi.org/10.3167/DT.2020.070215; F. Marijn Stok et al., “Social Inequality and Solidarity in Times of COVID-19,” International Journal of Environmental Research and Public Health 18, no. 12 (June 2, 2021), https://doi.org/10.3390/IJERPH18126339; Ming Jui Yeh, “Solidarity in Pandemics, Mandatory Vaccination, and Public Health Ethics,” American Journal of Public Health 112, no. 2 (February 1, 2022): 255–61, https://doi.org/10.2105/AJPH.2021.306578; Barbara Prainsack, “Beyond Vaccination Mandates: Solidarity and Freedom During COVID-19.,” Am J Public Health 112, no. 2 (February 1, 2022): 232–33, https://doi.org/10.2105/AJPH.2021.306619. [8] Prainsack and Buyx, Solidarity: Reflections on an Emerging Concept in Bioethics London: Nuffield Council on Bioethics, 2011; Prainsack and Buyx, “Solidarity in Contemporary Bioethics--towards a New Approach.” Bioethics 26, no. 7 (September 2012): 343–50. https://doi.org/10.1111/J.1467-8519.2012.01987.X. [9] Prainsack and Buyx, Solidarity: Reflections on an Emerging Concept in Bioethics London: Nuffield Council on Bioethics, 2011; Prainsack and Buyx, “Solidarity in Contemporary Bioethics--towards a New Approach.” Bioethics 26, no. 7 (September 2012): 343–50. https://doi.org/10.1111/J.1467-8519.2012.01987.X. [10] Yeh, “Solidarity in Pandemics, Mandatory Vaccination, and Public Health Ethics”; Prainsack, “Beyond Vaccination Mandates: Solidarity and Freedom During COVID-19.” [11] Ho, Anita, and Iulia Dascalu. "Relational solidarity and COVID-19: an ethical approach to disrupt the global health disparity pathway." Global Bioethics 32, no. 1 (2021): 34-50; West-Oram, Peter. "Solidarity is for other people: identifying derelictions of solidarity in responses to COVID-19." Journal of Medical Ethics 47, no. 2 (2021): 65-68. [12] Monica Webb Hooper, Anna María Nápoles, and Eliseo J. Pérez-Stable, “COVID-19 and Racial/Ethnic Disparities,” JAMA 323, no. 24 (June 23, 2020): 2466, https://doi.org/10.1001/jama.2020.8598. [13] Prainsack, Barbara. “Beyond Vaccination Mandates: Solidarity and Freedom During COVID-19.” Am J Public Health 112, no. 2 (February 1, 2022): 232–33. https://doi.org/10.2105/AJPH.2021.306619. [14] Camille A Clare, “Telehealth and the Digital Divide as a Social Determinant of Health during the COVID-19 Pandemic,” Network Modeling Analysis in Health Informatics and Bioinformatics 10 (2021): 26, https://doi.org/10.1007/s13721-021-00300-y. [15] Patrick Nana-Sinkam et al., “Health Disparities and Equity in the Era of COVID-19,” Journal of Clinical and Translational Science 5, no. 1 (March 16, 2021): e99, https://doi.org/10.1017/cts.2021.23. [16] Kathryn M Leifheit et al., “Expiring Eviction Moratoriums and COVID-19 Incidence and Mortality,” American Journal of Epidemiology 190, no. 12 (December 1, 2021): 2503–10, https://doi.org/10.1093/aje/kwab196. [17] Barbara Prainsack, “Solidarity in Times of Pandemics,” Democratic Theory 7, no. 2 (December 1, 2020): 124–33, https://doi.org/10.3167/DT.2020.070215 [18] Maximilian Agostini and Martijn van Zomeren, “Toward a Comprehensive and Potentially Cross-Cultural Model of Why People Engage in Collective Action: A Quantitative Research Synthesis of Four Motivations and Structural Constraints.,” Psychological Bulletin 147, no. 7 (July 2021): 667–700, https://doi.org/10.1037/bul0000256. [19] Department of Health and Human Services (HHS) Centers for Disease Control and Prevention (HHS/CDC), “COVID Data Tracker,” 2023, https://covid.cdc.gov/covid-data-tracker. [20] Powers, Madison, and Ruth Faden. Social Justice: The Moral Foundation of Public Health and Health Policy. 1st editio. New York: Oxford Press, 2006, p. 9 and Chapter 4 [21] Powers and Faden, Social Justice: The Moral Foundation of Public Health and Health Policy; Madison Powers and Ruth Faden, Structural Injustice: Power, Advantage, and Human Rights (New York: Oxford University Press, 2019). [22] Powers, Madison, and Ruth Faden. Social Justice: The Moral Foundation of Public Health and Health Policy. 1st editio. New York: Oxford Press, 2006, p. 10 [23] Bobby Saunkeah et al., “Extending Research Protections to Tribal Communities,” The American Journal of Bioethics 21, no. 10 (October 3, 2021): 5–12, https://doi.org/10.1080/15265161.2020.1865477. [24] Agostini and van Zomeren, “Toward a Comprehensive and Potentially Cross-Cultural Model of Why People Engage in Collective Action: A Quantitative Research Synthesis of Four Motivations and Structural Constraints.” [25] Prainsack and Buyx, Solidarity: Reflections on an Emerging Concept in Bioethics. [26] Ruth Chadwick, “COVID‐19 and the Possibility of Solidarity,” Bioethics 34, no. 7 (September 8, 2020): 637–637, https://doi.org/10.1111/bioe.12813. (shrink)

Architectural experience and creation is studied through a selection of projects, each driven by an obsessive creator towards particular levels of architectural experience, both physical and virtual. The article investigates the processes of turning dreams into physical space, exemplified by four extraordinary creators and collectors of space, each one a pursuer of obsessive architectural activities, all haunted by transitive dreams: Baron Des Esseintes, Joris-Karl Huysmans’ fictional character in the novel À Rebours (Against Nature) from 1884; Kurt Schwitters, the dadaist painter (...) and constructor of the Merzbau created in Hannover between 1919 and 1937; Sir John Soane, the architect and collector, who arranged his home as a museum from 1790 until 1837; and the German artist Gregor Schneider, whose home in Rheydt since 1985 is slowly folding in on itself under the name Haus Ur. Whereas Des Esseintes is a fictional builder of dreams in physical form; Schwitters, Soane and Schneider are real builders of dreams in physical form - the author Huysmans is a real builder of dreams in fictional form. Three of the four selected projects introduce layers of hybrid existence into ordinary building shells, and one represents the virtual architecture of narrative space. Their creators are driving architectural space into different ontological states, providing a field of perceptional and representational problems. The architects of parallel realities are subsequently challenging our basic understanding of architectural organization, aesthetics and methods. This erratic field of subjective and obsessive architecture serves my purposes of investigating architectural imagination as the main asset of virtual space. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction 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. 2 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. 4 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. 7 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. 9 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. 11 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. 13 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. 15 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. 17 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. 19 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):. ‘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):. ‘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):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. 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 [1790]. • 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 [1757]. 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)

This article explores the critical limitations of the now decades-long shift toward digital culture in the material and cultural constitution of biotechnology. It does this by telling the story of three contemporary efforts to reimagine the logic of life on the logic of the digital and the struggles attendant to building the infrastructures needed to actualize that re-imagination and make it profitable. In tracing these stories, it lifts out how biotechnologists, once caught in the spell of the digital sublime, (...) are having to confront the ways in which dreams of a data-driven and automated biology, far from eliciting an exalted future of health, wealth, and security, are simply reinforcing at the level of the organism a world already boxed in by algorithmic modes of reason and governed by imperatives of optimization. In the midst of these binds, this article points to a pathos which is beginning to stir at the bench as blue-collar technologists seek to activate an older feel for craftwork, and how this pathos signals a familiar but vital reciprocity between the maker and the made. It concludes that, in the end, breakdowns in the digital sublime make space for a more interesting biotechnical proposition, one in which the living thing being crafted has to be accommodated rather than rendered algorithmic: the cellular targets of biotechnical intervention must be coerced, cajoled, and enticed into playing along with our biotechnical imaginations. To act differently proves to be the real source of our trouble. The stories in this article draw on fieldwork conducted by the author through multiple experiments in collaborative anthropology. These experiments began in connection to a then-emerging brand of biotechnology called synthetic biology, were carried forward in view of a “post-engineering” approach to systems biology, and are currently (as of the writing of this essay) being conducted among biologists and technologists working to build “digital infrastructures” for the life sciences (i.e., digital tools for assembling, mediating, and synthesizing post-genomic biology). (shrink)

What is your purpose in life? This simple question motivates some of our most life-altering decisions, deeply-held beliefs, and profound emotions, as well as the choices we make every single day. How we derive meaning from our existence is crucial to finding happiness, developing relationships, and building societies. In On Purpose, Paul Froese brings together data from large national and international surveys with interviews that illuminate the ways in which people from all walks of life grapple with their continuous (...) search for reason, truth, sense, success, happiness, and-ultimately-transcendence. Froese argues that the desire to connect with something larger than oneself is a universal urge, manifested most directly, but far from solely, in religious communities. Written in vivid, accessible prose, On Purpose takes the reader on a journey through the complexities and consequences of life's most important question. From the start, Froese admits that the answer to the question is deceptively simple: our purpose is whatever we imagine it to be. But what we imagine our purpose to be depends on innumerable factors beyond our control: our wealth, race, education level, upbringing, past experiences, and community. Froese argues that one's surroundings serve as a kind of soil that can either nurture purpose or foster meaninglessness. Framing the book around six key questions, Froese refuses to collapse the meaning of life into a single authoritative answer, as self-help gurus do. Instead, he deconstructs each question to reveal the social pathways that guide people to distinctive answers.Through lively, engaging storytelling that mixes data and analysis with literary and historical examples of the quest for purpose, Froese sheds new light on a timeless and all-too-human quandary. The moral of the book is not that life has some ultimate meaning or no meaning at all, but rather that creating a purpose-driven life has always been a collective project. (shrink)

mim•ic•ry (n.pl.mim•ic•ries) 1. (a) the art, practice, or art of mimicking; (b) an instance of mimicking. 2. Biology: The resemblance of one organism to another, or to an object in its surroundings for concealment and protection from predators. In evolutionary biology, mimicry is a similarity of one species to another, which protects one or both. This similarity can be in appearance, behaviour, sound, scent or location. Mimics are typically found in the same areas as their models. The pervasive condition of (...) African architectural education and practice is one of mimicry, in which students and architects are (sub-consciously) driven to copy ‘solutions’ posed by practitioners outside the continent, most typically European or American, whose understanding and experience of Africa is often limited in nature. Wired, switched-on and connected, current and future young African architects are able, at the click of a finger, to peruse the ‘appearance, behaviour and [even] scent and sound’ of buildings and architectural projects that they may never experience ‘in the flesh’, but whose form, material and programmes are multiplying across the continent in ways and places that their original ‘makers’ could not possibly have imagined. Maboneng is now ‘the Manhattan of Africa’; Kigali its Singapore. Unlike biological mimics, in this context a ‘cut-and-paste’ approach neither protects nor conceals: it simply exposes. As far back as 1997, the Dutch architect and theorist, Rem Koolhaas, argued that it had become increasingly important for architects to operate on a level independent of architecture in order to understand, at the most basic level, the phenomena affecting the development of architecture and the city. In this article, rather than treat ‘cut-and-paste’ as pastiche, a quick-fix intervention that solves the ‘problem’ of original thinking, a new proposition for An Architectural Brief, for An (as yet) Unnamed African Architectural Student, in An (as yet) Unnamed African Location is proposed which fuses art, culture and digital technology to demand a radical, post-Afro urban example. (shrink)

Our aim in this article is twofold. First, we challenge the essentialized notion of adolescents and young people as perpetually driven to resist the authority of adults. At the same time, we disrupt linguistic conceptions of adolescent discourse, along with the discourse of youth at risk, by analyzing a transcript of classroom discourse that reflects an exchange between a highly regarded and well liked preservice teacher and his students. This representative transcript highlights the preservice teacher's ability to query, without a (...) concomitant ability to listen, respond, and build a classroom dialogue with his students; what we call here a Socratic monologue. Second, we link the notions of dialogue and responsiveness to Bakhtin's concept of answerability, emphasizing the joint construction of classroom discourse as an ethically answerable relation between teacher and students. He is currently doing research on new Asian pedagogies. Her research interests include applying sociocultural and critical lenses to the study of identity construction, in particular, the social construction of “at risk” identities for young people. Her current research documents the experiences of students and teachers in alternative high school programs. She is co-editor of Re/constructing “the adolescent”: Sign, symbol and body forthcoming from Peter Lang, Educational imaginings: On the play of texts and contexts with Shaun Rawolle published by Australian Academic Press, and Crossing boundaries: Perspectives across paradigms in educational research, with Paula Jervis-Tracey, also published by Australian Academic Press. (shrink)

The recent technological revolution, often referred to as the Fourth Industrial Revolution or the Second Machine Age, has brought significant changes in both the knowledge production process and its outputs. These changes have raised the question of whether a doctoral degree will retain its unique value as a knowledge creator in the future. In addition, the global challenges confronting society, such as climate change and economic inequality, require a better response from doctoral education and raise the question of whether the (...) current form of doctoral education will meet the demands of future society. Doctoral education might harness technological developments wisely to address these challenges, or it might miss this opportunity and thus lose its valuable role in educating advanced researchers. Based on a critical review of the literature, this paper explores the meaning of the profession in the future at a time of technological revolution and imagines possible future scenarios for doctoral education. The paper applies Ronald Barnett’s framework for the imaginative university, focusing on ideological, dystopian, persuasive and utopian universities, and describes the potential changes to doctoral education. (shrink)

This chapter outlines the utility for employing case study methodologies to provide sufficient external validity upon which to craft policy relevant to maintaining healthy democratic politics. The broader theoretical context is an investigation into the conditions that might structurally condition democracies to fail via democratic means. Venezuela’s democratic decline serves as the basis for the heuristic case study, wherein the objective is to identify the failures of the Venezuelan case in a larger framework that addresses the complexity of institutional design (...) in democratic political systems states broadly. Cases are selected based upon the objective of the researcher, and similarly, the case study methodology chosen rests firmly on their research goals. Lastly, the chapter outlines the research design necessary for satisfying broader inquiry within the more modest approach to how heuristic case studies can be used to inform both theory and policy. (shrink)

Modelling became one of the primary tools of mathematical economic research in the twentieth century, but when we look at examples of how nonanalogical models were first built in economics, both the process of making representations and aspects of the representing relation remain opaque. Like early astronomers, economists have to imagine how the hidden parts of their world are arranged and to make images, that is, create models, to represent how they work. The case of the Edgeworth Box, a model (...) widely used for theoretical work in twentieth-century economics, provides a good example to explore the process of making mathematical representations of the economy. It shows how, in making these new representations, conceptual elements were developed which could not have been represented in the older verbal forms of economics. (shrink)

presenting my response to j. vink’s “Designing for Plurality in Democracy by building reflexivity”, I feel the urge to divert from the conventional format of a commentary. In place of analyzing and recontextualizing her ideas or linking them with further relevant literature, I would like to use this opportunity to embark on a self-reflective inquiry into effects that Dr Vink’s impulses had on my own thoughts and interactions. I would like to interpret her paper as one step in a (...) design process that is continuing as we are holding this meeting. At present, we are largely oblivious as to what the product will be, how its material and “invisible” aspects will be experienced, or what it... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Context Building and Educating Imaginative EngagementDavid E. W. Fenner (bio)IntroductionIn my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic (...) reward depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context is objective—such as the physical conditions surrounding and history concerning the aesthetic object—the majority of it is subjective, and I want to take another step and say that the majority is psychological.1 Aesthetic attenders bring to aesthetic experiences thick sets of background beliefs, personal associations, taste preferences, attitudes, and values—and this is not to mention the more temporal items like how they feel on the day or whether they are attending alongside friends, relatives, or colleagues. Hundreds of psychological factors result in differences in aesthetic experience; this is most likely true of all experiences, but it is even more the case in aesthetic experience and those kinds of experiences that set the occasions for attenders to think, feel, consider, spend time with, introspect, and be in a relationship—subject and object—that is distinct from the ordinary and the routine.Attenders can employ a single lens or multiple ones. It is entirely possible to attend in the absence of the employment of any lens—a purely disinterested or purely formalist perspective would be such a thing—but the vast majority of aesthetic attenders bring with them layers of lenses through which they naturally, nontheoretically (which is not to say noncognitively) view objects. On different occasions, given particular objects and particular subjects, the subject may view an aesthetic object from an art historical [End Page 109] perspective (whether or not the object is an art object); a moral perspective; a cultural, political, or national perspective; a social, class, race, ethnic, or gender perspective; a religious or spiritual point of view; an emotional point of view; a point of view colored by personal associations, personal history, personal identification, personal preference; and on and on.2 Sometimes the employment of lenses is distracting, and sometimes the experience is less than positive given such employment. But (1) many times—I want to say most times—the employment of such lenses results in a richer and more meaningful experience, and (2) it is the natural stance. Adopting a noncontextualized perspective requires conscious volitional effort. Seeing through particular psychological lenses is the default.I want to focus in this paper on a kind of perspective, a kind of psychological context, that has not been much discussed: I will call it aesthetic engagement preparation. Essentially, this has to do with the level of readiness that the subject possesses for engaging with particular objects aesthetically. To engage in a way that will provide a good return on her investment of attention, the subject must be open to the object, must be comfortable with the objective context, must be ready to enter into a relationship with the object—a relationship that may be psychologically associational in all sorts of ways (affectively, cognitively, and so forth)—and must be ready to employ a range of lenses, like the ones described above, to get the most out of her experience. Again, those who advocate noncontextualized (disinterested or formalist) approaches—Shaftesbury, Hutcheson, Addison, Kant, Schopenhauer, Wilde, Whistler, Wimsatt, Greenberg, Brooks, Wolfflin, Bell, Moore, Bullough, Hanslick, Ortega y Gassett, Fry, Hampshire, Stolnitz, and Zangwill, just to name a few—will find aesthetic engagement preparation not only unnecessary but counterproductive. However, given its efficacy for enhancing actual aesthetic experience, I take this as a sign that these noncontextualists may have been on the wrong path. But of course this is an empirical question, and certainly there are cases—though rare, I claim—where employment of aesthetic lenses results in a less positive experience than otherwise.What I will try to do in this paper is to demonstrate (1) the scope of aesthetic engagement preparation on... (shrink)

John Paul Lederach's work in the field of conciliation and mediation is internationally recognized. As founding Director of the Conflict Transformation Program and Institute of Peacebuilding at Eastern Mennonite University, he has provided consultation and direct mediation in a range of situations from the Miskito/Sandinista conflict in Nicaragua to Somalia, Northern Ireland, the Basque Country, and the Philippines. His influential 1997 book Building Peace has become a classic in the discipline. This new book represents his thinking and learning over (...) the past several years. He explores the evolution of his understanding of peacebuilding by reflecting on his own experiences in the field. Peacebuilding, in his view, is both a learned skill and an art. Finding this art, he says, requires a worldview shift. Conflict professionals must envision their work as a creative act - an exercise of what Lederach terms the "moral imagination.". (shrink)

In 1815, the clever, courted and cherished Annabella Milbanke married the notorious and brilliant Lord Byron. Just one year later, she fled, taking with her their baby daughter, the future Ada Lovelace. Byron himself escaped into exile and died as a revolutionary hero in 1824, aged 36. The one thing he had asked his wife to do was to make sure that their daughter never became a poet. Ada didn't. Brought up by a mother who became one of the most (...) progressive reformers of Victorian England, Byron's little girl was introduced to mathematics as a means of calming her wild spirits. Educated by some of the most learned minds in England, she combined that scholarly discipline with a rebellious heart and a visionary imagination. As a child invalid, Ada dreamed of building a steam-driven flying horse. As an exuberant and boldly unconventional young woman, she amplified her explanations of Charles Babbage's unbuilt calculating engine to predict, as nobody would do for another century, the dawn today of our modern computer age. When Ada died - like her father, she was only 36 - great things seemed still to lie ahead for her as a passionate astronomer. Even while mired in debt from gambling and crippled by cancer, she was frenetically employing Faraday's experiments with light refraction to explore the analysis of distant stars. Drawing on fascinating new material, Seymour reveals the ways in which Byron, long after his death, continued to shape the lives and reputations both of his wife and his daughter. During her life, Lady Byron was praised as a paragon of virtue; within ten years of her death, she was vilified as a disgrace to her sex. Well over a hundred years later, Annabella Milbanke is still perceived as a prudish wife and cruelly controlling mother. But her hidden devotion to Byron and her tender ambitions for his mercurial, brilliant daughter reveal a deeply complex but unsuspectedly sympathetic personality. Miranda Seymour has written a masterful portrait of two remarkable women, revealing how two turbulent lives were often governed and always haunted by the dangerously enchanting, quicksilver spirit of that extraordinary father whom Ada never knew. (shrink)

Modelling became one of the primary tools of economic research in the 20th century and economists understand their mathematical models as giving some kind of representation of the economic world, one adequate enough for the purpose of reasoning about that world. But when we look at examples of how non-analogical models were first built in economics, both the process of making representations and aspects of the representing relation remain opaque. Like early astronomers, economists have to imagine how the hidden parts (...) of their world are arranged and to make images, that is, create models, to represent how they work. The case of the Edgeworth Box, a widely used model in 20th century economics, provides a good example to explore the role of imagination and images in the process of making representations of the economy. (shrink)

The countercultural healer's guide for building a sustainable practice: work toward your purpose, grow your client base, and thrive with integrity within an unjust capitalist system.

In my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic reward depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context (...) is objective—such as the physical conditions surrounding and history concerning the aesthetic object—the majority of it is subjective, and I want to take another .. (shrink)

Engaging citizens with digital technology to co-create data, information and knowledge has widely become an important strategy for informing the policy response to COVID-19 and the ‘infodemic’ of misinformation in cyberspace. This move towards digital citizen participation aligns well with the United Nations’ agenda to encourage the use of digital tools to enable data-driven, direct democracy. From data capture to information generation, and knowledge co-creation, every stage of the data lifecycle bears important considerations to inform policy and practice. Drawing on (...) evidence of participatory policy and practice during COVID-19, we outline a framework for citizen ‘e-participation’ in knowledge co-creation across every stage of the policy cycle. We explore how coupling the generation of information with that of social capital can provide opportunities to collectively build trust in institutions, accelerate recovery and facilitate the ‘e-society’. We outline the key aspects of realising this vision of data-driven direct democracy by discussing several examples. Sustaining participatory knowledge co-creation beyond COVID-19 requires that local organisations and institutions incorporate adaptive learning mechanisms into their operational and governance structures, their integrated service models, as well as employing emerging social innovations. (shrink)

In barely the space of one generation, Athens was transformed from a conventional city-state into something completely new--a region-state on a scale previously unthinkable. This book sets out to answer a seemingly simple question: How and when did the Athenian state attain the anomalous size that gave it such influence in Greek politics and culture in the classical period? Many scholars argue that Athens's incorporation of Attica was a gradual development, largely completed some two hundred years before the classical era. (...) Anderson, however, suggests that it is not until the late sixth century that we see the first systematic attempts by the Athenian polis to integrate all of Attica. Anderson first takes issue with the prevailing view of Cleisthenes' landmark political reforms of 508-7 b.c., arguing that they were animated by a more comprehensive vision of regional political community in Attica. The Athenians' strengthened the state by establishing institutional mechanisms that would allow inhabitants of the Attic periphery to participate as never before in the life of the center. The creation of a suitable physical setting for the new order was accompanied by religious, military, and symbolic innovations. Regional participation in Athenian affairs was stimulated by encouraging the Attic populace to imagine themselves, for the first time ever, as members of a single, like-minded, self-governing political community. Greg Anderson is Assistant Professor of Classics and History, University of Illinois at Chicago. (shrink)

What does imagination do for our perception of the world? Why should reality be broken off from our imagining of it? It was not always thus, and in these essays, Tim Ingold sets out to heal the break between reality and imagination at the heart of modern thought and science. Imagining for Real joins with a lifeworld ever in creation, attending to its formative processes, corresponding with the lives of its human and nonhuman inhabitants. Building on his two previous (...) essay collections, The Perception of the Environment and Being Alive, this book rounds off the extraordinary intellectual project of one of the world's most renowned anthropologists. Offering hope in troubled times, these essays speak to coming generations in a language that surpasses disciplinary divisions. They will be essential reading not only to for anthropologists but also for students in fields ranging from art, aesthetics, architecture and archaeology to philosophy, psychology, human geography, comparative literature and theology. (shrink)

We study imagination as reality-oriented mental simulation : the activity of simulating nonactual scenarios in one’s mind, to investigate what would happen if they were realized. Three connected questions concerning ROMS are: What is the logic, if there is one, of such an activity? How can we gain new knowledge via it? What is voluntary in it and what is not? We address them by building a list of core features of imagination as ROMS, drawing on research in cognitive (...) psychology and the philosophy of mind. We then provide a logic of imagination as ROMS which models such features, combining techniques from epistemic logic, action logic, and subject matter semantics. Our logic comprises a modal propositional language with non-monotonic imagination operators, a formal semantics, and an axiomatization. (shrink)

Philosophers of mathematics have become increasingly interested in the explanatory role of mathematics in empirical science, in the context of new versions of the Quinean ‘Indispensability Argument’ which employ inference to the best explanation for the existence of abstract mathematical objects. However, little attention has been paid to analysing the nature of the explanatory relation involved in these mathematical explanations in science (MES). In this paper, I attack the only articulated account of MES in the literature (an account sketched by (...) Mark Steiner), according to which a genuine MES incorporates an explanatory proof of the mathematical result being used. The central case study involves an explanation for why bees build the cells of their honeycombs in the shape of hexagons. I make a distinction between two kinds of MES, mathematics-driven explanation in science and science-driven mathematical explanation, and argue that it is the second category which is both scientifically and philosophical more central. I conclude that the explanatory relation involved in MES is genuinely scientific and hence that the phenomenon of MES poses a challenge to general accounts of scientific explanation. (shrink)

This paper develops a mechanistic account of basic mental agency by identifying similarities between two of its major exemplars: endogenous attention and imagination. Five key similarities are identified: i) that both capacities are driven by currently prioritised goals that are either person-level or apt to become person-level. ii) that both deliver their outputs to the working memory iii) that both range across all and only conceptual contents; iv) that both proceed under the guidance of norms and/or habits; and v) that (...) both directly activate rather than inhibit content. These five features are consolidated by proposing that basic mental agency is essentially the power to call for conceptual content and hold it within our working memories. (shrink)

This paper investigates the concepts of hope, despair and the radical imagination, driven by the following questions: Can we exist beyond the binaries of hope and despair, two key concepts that drive educational practices? What is the radical imagination and what are the conditions for it to be put to work in educational spaces? First, education is explored as a hyperobject that is owned, imagined and practiced collectively. The semiotic square is introduced as a heuristic tool to illustrate the limitations (...) of the binary opposition between hope and despair, and allows for an exploration of what is possible when these binaries are being set aside. The radical imagination then, is described as a collective practice that is radical in the sense that alternative social forms can always be imagined once we acknowledge that every social form is the result of the collective imagination. Finally, the paper explores conceptual as well as practical ideas that underpin Education for Uprising which is understood as the emergence of micro-political, autonomous spaces of direct action where community, solidarity and self-organization are key principles. Education for Uprising allows us to radically reimagine how we view education and to actively engage in alternative world-making. (shrink)

It has long been recognized that we have a great deal of freedom to imagine what we choose. This paper explores a thesis—what we call “intentionalism (about the imagination)”—that provides a way of making this evident (if vague) truism precise. According to intentionalism, the contents of your imaginings are simply determined by whatever contents you intend to imagine. Thus, for example, when you visualize a building and intend it to be of King’s College rather than a replica of the (...) college you have imagined the former rather than the latter because you intended to imagine King’s College. This is so even if the visual image you conjure up equally resembles either. This paper proposes two kinds of counterexamples to intentionalism and discusses their significance. In particular, it sketches a positive account of how many sensory imaginings get to be about what they are about, which explains how the causal history of our mental imagery can prevent us from succeeding in imagining what we intended. (shrink)

Building Abolition: Decarceration and Social Justice explores the intersections of the carceral in projects of oppression, while at the same time providing intellectual, pragmatic, and undetermined paths toward abolition. Prison abolition is at once about the institution of the prison, and a broad, intersectional political project calling for the end of the social structured by settler colonialism, anti-black racism, and related oppressions. Beyond this, prison abolition is a constructive project that imagines and strives for a transformed world in which (...) justice is not equated with punishment, and accountability is not equated with caging. Composed of sixteen chapters by an international team of scholars and activists, with a Foreword by Perry Zurn and an Afterword by Justin Piché, the book is divided into four themes: - Prisons and Racism - Prisons and Settler Colonialism - Anti-Carceral Feminisms - Multispecies Carceralities. This book will be of interest to undergraduate and postgraduate students, activists, and scholars working in the areas of Critical Prison Studies, Critical Criminology, Native Studies, Postcolonial Studies, Black Studies, Critical Race Studies, Gender and Sexuality Studies, and Critical Animal Studies, with particular chapters being of interest to scholars and students in other fields, such as, Feminist Legal Studies, Animal Law, Critical Disability Studies, Queer Theory, and Transnational Feminisms. (shrink)

Experiential imagination consists in an imaginative projection that aims at simulating the experiences one would undergo in different circumstances. It has been traditionally thought to play a role in how we build our lives, engage with other agents, and appreciate art. Although some philosophers have recently expressed doubts over the capacity of experiential imagination to offer insight into the perspective of someone other than our present-selves, experiential imagination remains a much sought-after tool. This paper substantiates pessimism about the epistemological value (...) of these uses of experiential imagination by developing an embodied approach. Our thesis is that experiential imagination is _robustly embodied_ because the _sociohistorically situated_ body makes an irreducible contribution to the imaginative project, and that, as such, it is constrained by who we are as _concrete_ agents. We argue that experiential imagination is an embodied, virtual exploration of imagined scenarios that depends on our situated history of sensorimotor and affective interactions. We conclude that experiential imagination is much more limited than commonly acknowledged, as it can hardly be divorced from who we are and where we have been. (shrink)

While theories of rationality and decision making typically adopt either a single-powertool perspective or a bag-of-tricks mentality, the research program of ecological rationality bridges these with a theoretically-driven account of when different heuristic decision mechanisms will work well. Here we described two ways to study how heuristics match their ecological setting: The bottom-up approach starts with psychologically plausible building blocks that are combined to create simple heuristics that fit specific environments. The top-down approach starts from the statistical problem facing (...) the organism and a set of principles, such as the bias– variance tradeoff, that can explain when and why heuristics work in uncertain environments, and then shows how effective heuristics can be built by biasing and simplifying more complex models. We conclude with challenges these approaches face in developing a psychologically realistic perspective on human rationality. (shrink)

Imagination has received a great deal of attention in different fields such as psychology, philosophy and the cognitive sciences, in which some works provide a detailed account of the mechanisms involved in the creation and elaboration of imaginary worlds. Although imagination has also been formalized using different logical systems, none of them captures those dynamic mechanisms. In this work, we take inspiration from the Common Frame for Imagination Acts, that identifies the different processes involved in the creation of imaginary worlds, (...) and we use it to define a dynamic formal system called the Logic of Imagination Acts. We build our logic by using a possible-worlds semantics, together with a new set of static and dynamic modal operators. The role of the new dynamic operators is to call different algorithms that encode how the formal model is expanded in order to capture the different mechanisms involved in the creation and development of imaginary worlds. We provide the definitions of the language, the semantics and the algorithms, together with an example that shows how the model is expanded. By the end, we discuss some interesting features of our system, and we point out to possible lines of future work. (shrink)

Imagination has received a great deal of attention in different fields such as psychology, philosophy and the cognitive sciences, in which some works provide a detailed account of the mechanisms involved in the creation and elaboration of imaginary worlds. Although imagination has also been formalized using different logical systems, none of them captures those dynamic mechanisms. In this work, we take inspiration from the Common Frame for Imagination Acts, that identifies the different processes involved in the creation of imaginary worlds, (...) and we use it to define a dynamic formal system called the Logic of Imagination Acts. We build our logic by using a possible-worlds semantics, together with a new set of static and dynamic modal operators. The role of the new dynamic operators is to call different algorithms that encode how the formal model is expanded in order to capture the different mechanisms involved in the creation and development of imaginary worlds. We provide the definitions of the language, the semantics and the algorithms, together with an example that shows how the model is expanded. By the end, we discuss some interesting features of our system, and we point out to possible lines of future work. (shrink)

Re-Imagining Ecological Democracy offers an original, thought-provoking, and engaging treatment of why and how democracy should be re-imagined in reaction to today's ecological crisis. The book explains that one need to re-imagine both the view on nature and democratic ideals within the same framework in the Anthropocene, the present geological epoch of human-made instability in the Earth system and its planetary boundaries. This book proposes unique and challenging readings of green political theory and its development of ecological democracy in the (...) last four decades. The book is the first to offer a systematic and detailed interpretation of the role of critical theory vis-à-vis green political theory through an update regarding current non-anthropocentric critical theorists and how they may contribute to the further development of ecological democracy. Re-Imagining Ecological Democracy builds further on deep ecology, ecophenomenology, and animism by articulating an ecocentric view on nature which defends an intrinsic moral value of all existence as well as formulating the democratic principle of all ecologically affected parties. This book provides a sophisticated, convincing, and accessible argument for how to re-imagine ecological democracy as ecocentrism in practice: ecological love. To love ecologically means caring for and encountering all existence on the Earth and in the cosmos. This book is multi-disciplinary and will be of great value to researchers as well as undergraduate and postgraduate students from many disciplines. (shrink)

Aristotle's De Anima discusses the psychological causes of what he calls locomotion – i.e, roughly, purpose-driven behavior. One cause is desire. The other is cognition, which falls into two kinds: thought (nous) and imagination (phantasia). Aristotle’s discussion is dense and confusing, but I argue that we can extract from it an account that is coherent, compelling, and that in many ways closely anticipates modern psychological theories, in particular Dual Processing theory. Animals and humans are driven to pursue objects that attract (...) us. Objects take on that power when we cognize them as valuable. If we rely on imagistic, automatic, uncontrolled processing mechanisms – Aristotle’s phantasia, which closely anticipates the modern notion of Type 1 processing – our resulting desires and actions will be impulsive. If we rely instead on rational, critical, deliberative capacities – Aristotle’s thought, which closely anticipates the modern notion of Type 2 processing – our resulting desires and actions will be reflective. Animals are capable only of the first kind of behavior; the human psyche is constituted of an animal psyche united with an intellectual one, so we are capable of both. (shrink)

To understand the evolution of imaginative culture, we need to understand its unique affective power. The purpose of this article is to explain our enjoyment of imaginative culture from the standpoint of a distinctive theoretical approach to understanding affect in terms of the dynamic and energetic features of consciousness. This approach builds upon John Dewey’s view of enjoyment as the enrichment of experience, adding perspectives from studies of the dynamics of consciousness and from ecological psychology. Its main thesis is that (...) positive affect is determined by the causal enrichment of experience, which is defined as the differentiated-ness of conscious states. This approach suggests that the affective power of imaginative culture lies in the way it affords experiences of enriched meaning, as exemplified by our enjoyment of highly nuanced emotion in music. (shrink)

This paper builds on London and Hart’s critique that Prahalad’s best-selling book prompted a unilateral effort to find a fortune at the bottom of the pyramid. Prahalad’s instrumental, firm-centered construction suggests, perhaps unintentionally, a buccaneering style of business enterprise devoted to capturing markets rather than enabling new socially entrepreneurial ventures for those otherwise trapped in conditions of extreme poverty. London and Hart reframe Prahalad’s insight into direct global business enterprise toward “creating a fortune with the base of the pyramid” rather (...) than at the BoP. This shift in language requires a recalibration of strategic focus, we argue, and will necessitate implementation of “moral imagination” to formulate new mental models that can frame the possibility of local entrepreneurs working collaboratively and discursively with development partners drawn from civil society, corporate, and government sectors. Successful partnerships will arise from interactive processes of emergent, co-creative learning within a shared problem domain or “community of practice”. We call attention to three related pluralist framings of situated learning within such communities of practice: decentered stakeholder networks; global action networks; and a focus on “faces and places” as a cognitive lens to humanize and locally situate diverse inhabitants within base of the pyramid partnership projects. (shrink)

Moral imagination is a central component of moral agency and person‐centred care. Becoming moral agents who can sustain attention on patients and their families through their illness and suffering involves imagining the other, what moral possibilities are available, what choices to make, and how one wants to be. This relationship between moral agency, moral imagination, and personhood can be effaced by a focus on task‐driven technical rationality within the multifaceted challenges of contemporary healthcare. Similarly, facilitating students' moral agency can also (...) be obscured by the task‐driven technical rationality of teaching. The development of moral agency requires deliberate attention across the trajectory of nursing education. To prepare nursing students for one practice challenge, workplace violence, we developed a multimodal education intervention which included a simulated learning experience (SLE). To enhance the realism and consistency of the educational experience, 11 nursing students were trained as simulated participants (SP). As part of a larger study to examine knowledge acquisition and practice confidence of learners who completed the SLE, we explored the experience of being the SP through interviews and a focus group with the SP students. The SP described how their multiple performances contributed to imagining the situation ‘on both sides’ prompting empathy, a reconsideration of their moral agency, and the potential to prevent violence in the workplace beyond technical rational techniques, such as verbal de‐escalation scripts. The empirical findings from the SP prompted a philosophical exploration into moral imagination. We summarise the multimodal educational intervention and relevant findings, and then, using Johnson's conception of moral imagination and relevant nursing literature, we discuss the significance of the SP embodied experiences and their professional formation. We suggest that SLEs offer a unique avenue to create pedagogical spaces which promote moral imagination, thereby teaching for moral agency and person‐centred care. (shrink)

Resumen En este artículo se propone una reflexión sobre los requerimientos -éticos y teóricos- para la factible superación de situaciones violentas. Situaciones en las que la realidad se impone de manera indefectible y agresiva, bajo las que difícilmente se pueden generar espacios de justicia, dado que en ellos prevalece la desigualdad y marginación social. La persistencia de injusticias constituye el caldo de cultivo para la violencia. El caso específico de este tipo de circunstancias es la matanza de 43 estudiantes de (...) la Escuela Normal Rural en Ayotzinapa el 26 de noviembre de 2014. En estos contextos, para formular alternativas en que la paz sea un horizonte viable, se parte de la reflexión sobre la injusticia real, principalmente, desde la teoría de Luis Villoro. A partir del reconocimiento de esta condición se posibilita la imaginación colectiva de alternativas en pro de la superación de la violencia y el alcance de la paz.This article proposes to reconsider the feasibility of overcoming violent situations. Situations in which reality imposes itself in an indefectible and aggressive manner and in which it is hard to generate spaces of justice, since in them, social inequality and marginalization prevail. The persistence of injustice is the breeding ground for violence. An explicit case of such conditions was the massacre of 43 students of the Rural Teachers' College in Ayotzinapa on November 26, 2014. Under these circumstances, and, in order to formulate alternatives where peace becomes a viable horizon, this paper assumes the perspective about real injustice developed by Luis Villoro. Based on the recognition of this condition, the collective imagination of alternatives for overcoming violence and achieving peace becomes possible. (shrink)

Pretense imagination is imagination understood as the ability to recreate rational belief revision. This kind of imagination is used in pretend-play, risk-assessment, etc. Some even claim that this kind of hypothetical belief revision can be grounds to justify new beliefs in conditionals, in particular conditionals that play a foundational role in the epistemology of modality. In this paper, I will argue that it cannot. I will first provide a very general theory of pretense imagination, which I formalise using tools from (...) dynamic epistemic logic. As a result, we can clearly see that pretense imagination episodes are build up out of two kinds of imaginative stages, so I will present an argument by cases. This argument shows that pretense imagination might indeed provide us with justification for believing certain conditionals. Despite this, I will argue that these are not the kind of conditionals that allow pretense imagination to play a foundational role in the epistemology of modality. (shrink)