This paper examines the international information technology (IT) sourcing decision from an ethical perspective. The internationalsourcing of IT activities, termed IT offshoring in this paper, has received considerable attention recently. Differing views on IT offshoring prevail, ranging from the protection view that IT offshoring steals jobs away from the domestic economy, to the market view that it creates jobs and improves the overall global economy through market efficiencies. Despite the large amount of material devoted to managing and evaluating the practice (...) of IT offshoring, the ethical issues surrounding the decision has received little attention. This paper seeks to address that need, examining the IT offshoring decision through the application of a series of ethical frameworks. Several normative theories of ethics, including stockholder theory, stakeholder theory, social contract theory, utilitarianism, and a Kantian’ categorical imperative framework, are employed to gain insights into the ethical aspects of this practice. Our resulting framework represents an early attempt to examine the ethics of the IT offshoring and provides managers with practical guidelines and insights when addressing the IT offshoring decision. (shrink)

Quantities like mass and temperature are properties that come in degrees. And those degrees (e.g. 5 kg) are properties that are called the magnitudes of the quantities. Some philosophers (e.g., Byrne 2003; Byrne & Hilbert 2003; Schroer 2010) talk about magnitudes of phenomenal qualities as if some of our phenomenal qualities are quantities. The goal of this essay is to explore the anti-physicalist implication of this apparently innocent way of conceptualizing phenomenal quantities. I will first argue for a metaphysical thesis (...) about the nature of magnitudes based on Yablo’s proportionality requirement of causation. Then, I will show that, if some phenomenal qualities are indeed quantities, there can be no demonstrative concepts about some of our phenomenal feelings. That presents a significant restriction on the way physicalists can account for the epistemic gap between the phenomenal and the physical. I’ll illustrate the restriction by showing how that rules out a popular physicalist response to the Knowledge Argument. (shrink)

Appealing to imagination for modal justification is very common. But not everyone thinks that all imaginings provide modal justification. Recently, Gregory and Kung :620–663, 2010) have independently argued that, whereas imaginings with sensory imageries can justify modal beliefs, those without sensory imageries don’t because of such imaginings’ extreme liberty. In this essay, I defend the general modal epistemological relevance of imagining. I argue, first, that when the objections that target the liberal nature of non-sensory imaginings are adequately developed, those objections (...) also threaten the sensory imaginings. So, if we think that non-sensory imaginings are too liberal for modal justification, we should say the same about sensory imaginings. I’ll finish my defense by showing that, when it comes to deciding between saying that all imaginings are prima facie justificatory and saying that no imaginings are justificatory, there is an independent reason for accepting the former. (shrink)

About the book: Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, (...) and especially commissioned for the volume. Lively debate format sharply defines the issues, and paves the way for further discussion. Will serve as an accessible introduction to the major topics in aesthetics, while also capturing the imagination of professional philosophers. (shrink)

The conventional view is that Enlightenment thinkers all believed that the fruits of Reason would always be beneficial. Is this accurate? Laclos's celebrated novel "Les Liaisons dangereueses", published in 1782, provides a perspective on the world of Reason that certainly does not square with that view. Working at the level of individual psychology, Reason in Laclos's novel divides the world into the strong and the weak – more specifically, the astute and the naïve. It defines human worth in terms of (...) a capacity to deceive and control others, a capacity that can only be fully expressed by the complete defeat and humiliation of one’s adversary. (shrink)

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

Can novels, plays and poetry tell us something important and true about who we are, about others, and about life generally? The question seems to be of interest not only to writers on literary theory and aesthetics, but to people generally. This paper considers the issues involved.

Mark Schroeder’s expressivist program has made substantial progress in providing a compositional semantics for normative terms. This paper argues that it risks achieving this semantic progress at the cost of abandoning a key theoretical motivation for embracing expressivism in the first place. The problem can be summarized as a dilemma. Either Schroeder must allow that there are cases in which agents are in disagreement with one another, or can make valid inferences, but that these disagreements or inferences are not expressible (...) in natural language; or his version of expressivism must abandon one of the key theoretical advantages expressivist theories seemed to possess over cognitivism, the ability to provide a very straightforward explanation of the action- and attitude-guiding role of normative judgments. (shrink)

In his book _The Nature of Fiction_ Greg Currie makes the following proposal concerning the contents of works of fiction: 'Fs' is an abbreviation of 'P is true in fiction S', where P is some proposition and S is some work of fiction. 'Fs' is true iff it is reasonable for the informed reader to infer that the fictional author of S believes that P. In reading a fiction we engage in a make-believe, and the fictional author is that fictional (...) character constructed within our make-believe whom we take to be telling us the story as known fact. Currie's view applies a general account of communication to understanding fiction. This is an advantage for a number of reasons, not least that the capacities I use to understand a novel do seem to be those I use in understanding written factual information. From what the fictional author 'says', we infer what he believes; reading a book is 'an exploration of the fictional author's belief structure'. From this simple and plausible basis, Currie gives a convincing philosophical account of the nature of fiction. Convincing though the account is, it cannot be quite right. (shrink)

This paper criticises the current orthodoxy that people who engage with fiction fils are exercising their imagination.

This is—to my knowledge—the first anthology ever published to collect great texts in the history of political dissent from across the ideological spectrum and throughout world history. It provides a diverse set of historically important pieces of political dissent writing that connect to a range of disciplines, including history, political theory, philosophy, rhetoric, and religion and would make an excellent textbook for introductory courses in these fields, as well as in freshman composition courses.

In this essay, I muse upon aporia’s value as a pedagogical technique in the philosophy classroom using as a guide examples of aporia that are found in Plato’s Socratic dialogues. The word aporia, translated as “without passage” or “without a way,” is used metaphorically to describe the unsettling state of confusion many find themselves in after engaging in philosophical discourse. Following a brief introduction in which I situate aporia as a pedagogy amicable to experiential learning, I examine various ways in (...) which aporia appears in certain Platonic dialogues, which enables us to draw out some paradigmatic features of aporia. I then discuss how I apply aporia as a pedagogical technique in the contemporary philosophy classroom, taking up three specific concerns in detail: aporetic discomfort, right use, and potential misuse. (shrink)

The standard discussion of the relation between aesthetics and ethics tends to avoid the fundamental question: how are those two values ranked against each other in terms of importance. This paper looks at two arguments, the ‘resource allocation argument’ and the ‘relative weight argument’. It puts forward the view that any theory of aesthetic value should characterise aesthetic value in a way that allows for the existence of these arguments. It argues that hedonism does that successfully, but the more recent (...) approaches to aesthetic value—in particular Dominic McIver Lopes’s ‘Network Theory’ have more of a struggle. (shrink)

This article assesses the current state of the philosophical debate regarding the expression of emotion in music, or expressive properties of music. It defines the question, explores a few false‐starts and then considers the solution that expressive properties are a matter of a certain ‘way of appearing’ of the music. This solution is associated with Stephen Davies and Jerrold Levinson, whose work is discussed. It is argued that work in this area has reached an impasse, and it is not clear (...) where we should go next. (shrink)

In this paper I want to return to some well-worn ideas; specifically, the attempt to show that there is a distinctive subject-matter of the aesthetic via consideration of the difference between aesthetic and non-aesthetic concepts. The classic exposition of this distinction is Frank Sibley's 'Aesthetic Concepts'. Sibley claimed that, given a set of relevant terms, there will be widespread non-collusive agreement as to which are aesthetic and which non-aesthetic. Non-aesthetic terms include _'red, noisy, brackish, clammy, square, docile, curved, evanescent, intelligent, (...) faithful, derelict, tardy, freakish'_. Aesthetic terms include _'unified, lifeless, serene, sombre, dynamic, powerful, vivid, delicate, moving, trite, sentimental, tragic'_. Further examples have been given by other philosophers working in the field. Given the widespread agreement, I shall assume there is a distinction of some sort whose nature is open to be discussed. (shrink)

It’s common knowledge that those objects we regard as great works of art have a capacity to survive across time. But that observation is only a half-truth: it tells us nothing about the nature of this power of survival – about how art endures. -/- This question was once at the heart of Western thinking about art. The Renaissance solved it by claiming that great art is “timeless”, “eternal” – impervious to time, a belief that exerted a powerful influence on (...) Enlightenment philosophers and, later, on modern aesthetics. -/- The notion that art is timeless was contradicted by nineteenth century thinkers such as Hegel, Marx, and Taine who stressed the historical embeddedness of art. The conflict of these two ideas, together with other major factors discussed in this paper, has left us today without a viable account of the nature of art’s capacity to transcend time. -/- This paper proposes an alternative solution: the proposition that art survives by a process of metamorphosis. But the principal emphasis of the paper is on the question itself: how does art transcend time? (a question that has nothing to do with the so-called “test of time”). If modern aesthetics is to remain relevant to our modern world of art, in which the art of the past – stretching back to Lascaux and beyond – is as important as Picasso and contemporary art, it urgently needs to address this neglected question. (shrink)

Los canales de YouTube, Alanna y WITCHYSOFFIE, enseñan al espectador sobre hechicería y tradiciones paganas. Estas se oponen a la estigmatización, el tótem patriarcal y los tabúes religiosos generados por la Inquisición los cuales aún son mantenidos por una parte de la sociedad actual. La magia de varios grupos wiccanos se encamina hacia la espiritualidad y alabanza de un Dios creador, algo semejante con la filosofía católica. De igual forma, su estudio por la naturaleza y su aplicación en rituales se (...) enfocan en el autoconocimiento y la conexión con el universo. Los factores como la globalización y modernización actúan de manera crucial en las impresiones colectivas que se tiene sobre la brujería. (shrink)

This paper weaves together a number of separate strands each relating to an aspect of Wittgenstein’s Philosophical Investigations. The first strand introduces his radical and incoherent idea of a private object. Wittgenstein in § 258 and related passages is not investigating a perfectly ordinary notion of first person privacy; but his critics have treated his question, whether a private language is possible, solely in terms of their quite separate question of how our ordinary sensation terms can be understood, in a (...) philosophical context, to acquire meaning. Yet it is no part of his intention to demonstrate logically that ordinary sensations are not intrinsically meaningful. This is a tempting yet misleading picture, the picture also expressed through the idea of Augustine’s child who is conceptually articulateprior to learning how to talk. This picture lies behind the born Crusoe, an idea at the centre of the dichotomy between language as essentially shared and essentially shareable, a dichotomy considered here to result from a misconception of two quite separate but related aspects of Wittgenstein’s treatment offollowing a rule. The notion of a misleading picture, in both its pre-theoretical and philosophical aspects, also plays a crucial role in a treatment of Saul Kripke’s well-known “Postscript: Wittgenstein and Other Minds.”. (shrink)

A *very* rough draft of a paper on Anselm's "ontological argument" in which I argue that the argument in the Proslogion rests on a robust notion of having "that then which nothing greater can be thought" in one's mind.

Many of the judgements we make of particular works of art employ the vocabulary of feelings or emotions. Typically, the critic uses terms such as 'sad', 'joyful', 'optimistic', 'gloomy', 'angry', 'lusty', 'exuberant' and so forth to describe aspects of works of art. Such descriptions generate one of the most intractable problems in aesthetics: that of specifying the relation between art and the feelings and emotions thus ascribed to them.

Wittgenstein as Shakespearean critic. Because Wittgenstein’s commentators agree that Shakespeare is the world’s greatest ever playwright, they have to account for those few remarks of his that may suggest a negative evaluation of Shakespeare as a poet. But these remarks can also be used to reveal that Shakespeare is a poet of a kind uniquely different to the majority of those whom Wittgenstein admired. This view is central to John Middleton Murry’s interpretation of Shakespeare and Keats. In a more positive (...) light, he echoes those remarks of Wittgenstein that are often assumed to embody a critical devaluation or “misunderstanding” of Shakespeare’s work.Recent commentators: Wolfgang Huemer and William Day. If we were... (shrink)

This paper considers the argument that we have a duty to colonise other planets because we owe it to future generations. It puts forward the view that formulations of this argument in the current literature are confused. It distinguishes (at least) four versions of the argument and shows that none of them are compelling. It draws the conclusion that, should people put forward these arguments, they ought to be more precise in their formulations and more rigorous in their defence.

Recent articles in this journal by Frances Colpitt and Richard Lind have attempted to defend some works of minimal and conceptual art against the charge of being boring. I am skeptical about both of these attempts.

This paper considers the view, recently put forward by David Davies in Art and Performance , that works of art should be identified with the generative performances that result in the object, rather than with the object. It attempts to disarm two of Davies arguments by, first, providing a criterion by which the contextualist can accommodate all and only the relevant generative properties as properties of the work, and, second, providing an alternative explanation for his modal intuitions. Finally, it draws (...) attention to Davies’ difficulties in providing a clear criterion for the identity of the work of art. (shrink)

Relative price stability is central to the security of valued forms of life in contemporary liberal democracies, and disruptions to price stability can be and have been understood and experienced as emergencies. However, while the relation between price and emergency can be understood in juridico–political terms, this article argues for the importance of attending to the affective dimensions of this relation. This argument is developed through a discussion of the affective life of price in relation to the disruptive event of (...) inflation, an event characterized by an atmosphere of emergency that takes place as a disturbance of the rhythms and relations of which everyday life consists. Haunted by the spectre of this emergency, governing price in liberal democracies needs to be understood not only through regulatory measures designed to act directly upon price, but also in terms of efforts to act upon the affective spacetimes from which price-emergencies can emerge. (shrink)

This paper starts from the fact that the study of narrative in contemporary Anglo-American philosophy is almost exclusively the study of fictional narrative. It returns to an earlier debate in which Hayden White argued that “historiography is a form of fiction-making.” Although White’s claims are hyperbolical, the paper argues that he was correct to stress the importance of the claim that fiction and non-fiction use “the same techniques and strategies.” A distinction is drawn between properties of narratives that are simply (...) properties of narratives and properties of narratives that play a role in forming readers’ beliefs about the world. Using this distinction, it is shown that it is an important feature of non-fictions that they are narratives; it is salutary to recognise non-fictions as being more like fictions than they are like the events they represent. (shrink)

In this paper, I offer an argument for cultivating cheerfulness as a remedy to sadness and other emotions, which, in turn, can provide some relief to certain cases of depression. My thesis has two tasks: first, to establish the link between cheerfulness and sadness, and second, to establish the link between sadness and depression. In the course of accomplishing the first task, I show that a remedy of cultivating cheerfulness to counter sadness is supported by philosophers as diverse as Thomas (...) Aquinas, Baruch Spinoza, and David Hume in their writings on the passions. I also show that my argument can generalize to promote the cultivation of other emotions. In the course of accomplishing the second task, I consider different models of depression and how the emotions are related to depression. The purpose of this paper is to offer conceptual, philosophical support that is consistent with the most current empirical data on depression. (shrink)

The Private Language Sections of Ludwig Wittgenstein’s Philosophical Investigations, -/- generally agreed to run from §§ 243 - 271, but extending to § 315 with the book’s continued -/- treatment of the private object model and the inner and outer conception of the mind, have -/- proved remarkably resistant to any generally agreed interpretation. Even today, ways of -/- looking at these sections which were first in vogue half a century ago when discussions of -/- this aspect of Wittgenstein’s work (...) were at their height, still have their adherents, at a time -/- when the emphasis in Wittgenstein exegesis has graduated towards anti-theoretical, -/- non-doctrinal, and therapeutic conceptions of his entire methodology. Discussion about -/- the rule-following considerations after Saul Kripke’s new interpretation of the argument -/- against private language, which predominated during the last quarter of the 20th century, -/- has tended to be superseded into the new millennium by controversy over substantial v -/- resolute conceptions of nonsense in the Tractatus Logico-Philosophicus, a debate now -/- seen by some interpreters to illuminate Wittgenstein’s later work.This paper sheds light -/- on these complex matters firstly by studying a very popular interpretative approach to the -/- relevant sections within its historical context, and secondly by attempting to grasp his overall -/- methodology, primarily as practised in the private language passages themselves. This can -/- help to show how they may reflect the content of §§ 89 -133. However, just as it can be argued -/- that Hume never fully reconciles the sceptical and naturalistic tendencies in his writing, it can -/- be surmised that Wittgenstein never really finds a proper balance between the avowedly -/- therapeutic intent of those stated passages and what, at least for some commentators, are -/- the clearly discoverable argumentative strategies that he employs throughout his treatment -/- of private language and, indeed, throughout Part 1 of the Philosophical Investigations. (shrink)

A discussion of the concept of Descriptive v Revisionary Metaphysics as it applies to the work of P.F. Strawson amongst others.

This is an overview of, and criticism of, theories on the role of the emotions in accounting for expression in the arts - both music and painting.

In this paper I argue against the current consensus that there is such a thing as 'the philosophy of fiction'. I argue instead that what are taken to be problems with fiction, are in fact problems with narrative more generally.

About the book: One of the issues underlying current debates between practitioners of art history, visual culture and aesthetics is whether the visual is a unique, irreducible category, or whether it can be assimilated with the textual or verbal without any significant loss. Can paintings, buildings or installations be 'read' in the way texts are read or deciphered, or do works of visual art ask for their own kind of appreciation? This is not only a question of choosing the right (...) method in dealing with visual works of art, but also an issue that touches on the roots of the disciplines involved: can a case be made for the visual as an irreducible category of art, and if so, how is it best studied and appreciated? In this anthology, this question is approached from the angles of three disciplines: aesthetics, visual culture and art history. Unlike many existing overviews of visual culture studies, it includes both painting and architecture, and investigates historical ways of defining and appreciating the visual in their own, contemporary terms. Dealing with the Visual will be of great use to advanced students because it offers an overview of current debates, and to graduate students and professionals in the field because the essays offer in-depth investigations of the methodological issues involved and various historical ways of defining visuality. The topics included range from early modern ways of viewing pictures and sixteenth-century views of Palladio's villas in their landscape settings to contemporary debate about whether there is life yet in painting. (shrink)

This paper is a response to that of Christopher New. It argues that New has no alternative to an earlier solution I proposed to the problem of specifying the content of a fiction fails, as his solution is in terms of facts external to the game of make-believe being played, while mine was internal. It argues that understanding fiction is only a special case of understanding representation, which can be given a Gricean analysis. It proposes that the inferences crucial to (...) our understanding should be those we think reasonable of the world of the fiction. (shrink)