Massive open online courses take university lectures and other educational materials and make them available for free as online “courses.” Liberal and neoliberal MOOC supporters laud these courses for opening up education to the world while incorporating market dynamics to improve quality and drive down costs. Skeptics claim MOOCs are a bald attempt to privatize higher learning, thus creating an apartheid educational system with traditional universities serving the wealthy while everyone else is left with cut-rate online learning. This essay draws (...) on the political theory of autonomist Marxism, arguing that MOOCs are capital's defensive reaction to the threats of resistant universities on one side, and unmanageable Internet-based learning on the other. It then looks at which MOOC designs would support education for the “multitude,” which is the term used by autonomist Marxism to describe an autonomous, diverse, networked political body. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Garrulus sum et loquax et expedire nescio. Diu te tenui in istis, sed de cetero procedam.” These are the words of Richard Rufus of Cornwall, a thirteenth-century Scholastic and lecturer at the Universities of Paris and Oxford. Rufus is apologizing to his readers: “I am garrulous and loquacious, and I don’t know how to be efficient. I have detained you with these things a long while, but let me (...) now proceed to another topic.” This apology introduces the third part of the Speculum animae, a preliminary modern edition of which we publish here. In this short treatise, Rufus presents a unique Aristotelian theory of perception, describes what is and is not intelligible, and finally proves to his own satisfaction the immortality of the rational soul. To us this would hardly seem the place to apologize for being long-winded; indeed, we might wonder how Rufus could accomplish such an ambitious task in such a short treatise. We would certainly not accuse him of excessive verbosity. But Rufus was a man of exceptional humility, who once referred to himself as the least of the lesser thinkers of his time.1Despite Rufus’s humility, he was no minor figure in the development of Scholastic philosophy. A teacher at the Universities of Paris and Oxford ,2 he is the author of the earliest known, surviving lectures on several of Aristotle’s major texts, including the Metaphysics, the Physics, De generatione et corruptione, and De anima3 . In fact, Rufus was one of the very first lecturers to teach the libri naturales at Paris after a ban on such instruction was effectively lifted in 1231 A.D. His works were influential not only among his contemporaries, but also among later authors, particularly John Duns Scotus. Roger Bacon, though a harsh critic of Rufus, acknowledged Rufus’s influence and fame decades after his death, albeit among what Bacon termed the “vulgar multitude.”4The Speculum animae is one of Rufus’s later works. He begins the treatise by posing the following question: “In what way is the soul all things?” This refers, of course, to a familiar doctrine Aristotle establishes in the De anima—that the soul is, in some way, all things —and Rufus is here seeking to clarify it. But this is, in fact, only the first of five questions addressed in the Speculum. The five questions Rufus posits and answers in this treatise are, in order:1. In what manner is the soul all things?2. In what manner do a sensible and the sense, or an intelligible and the possible intellect, become one?3. What is predicated and of what is it predicated?4. What is intelligible?5. What is the cause of the immortality of the soul?In this short work, therefore, Rufus addresses apparently diverse topics including perception, understanding, logic, and the nature of the soul. But, in fact, the Speculum is principally a summary of Rufus’s theory of human perception and understanding. Like other medieval theories of perception and understanding, Rufus’s theory centers around the notion of species, a kind of form that is received in the soul when a person senses something or grasps something intellectually.5 In this, and in other aspects of the theory, Rufus was heavily dependent on Aristotle and St. Augustine. Rufus was working in a philosophical tradition based on Aristotle’s categories that had been accepted for centuries in the West. But in his lifetime, the Aristotelian corpus was enlarged to include Aristotle’s psychology and more generally his natural philosophy and metaphysics, together with the commentaries of Averroës . As is well known, this philosophical tradition was respected and continued not just by Rufus but by many authors after his time.So what makes Rufus’s theory.. (shrink)

Conspiracy theories are a popular topic of conversation in everyday life but are often frowned upon in academic discussions. Looking at the recent spate of philosophical interest in conspiracy theories, The Philosophy of Conspiracy Theories looks at whether the assumption that belief in conspiracy theories is typically irrational is well founded. -/- The Philosophy of Conspiracy Theories is aimed at both the philosopher and the non-philosopher. It is a qualified defence of belief in conspiracy theories: belief in conspiracy theories can (...) be rational in some circumstances. It covers such issues as: who might be considered a qualified conspiracy theorist; how do we analyse claims of disinformation; is our reliance on official theories a good reason to be suspicious of rival conspiracy theories; and what should we do when official theories and conspiracy theories are in conflict? -/- Matthew Dentith is a New Zealand-based philosopher whose research includes analyses of why we have grounds to be suspicious of official theories, the reliability of the transmission of rumours, and the role of trust in the acceptance of theories. (shrink)

Belief in conspiracy theories is typically considered irrational, and as a consequence of this, conspiracy theorists––those who dare believe some conspiracy theory––have been charged with a variety of epistemic or psychological failings. Yet recent philosophical work has challenged the view that belief in conspiracy theories should be considered as typically irrational. By performing an intra-group analysis of those people we call “conspiracy theorists”, we find that the problematic traits commonly ascribed to the general group of conspiracy theorists turn out to (...) be merely a set of stereotypical behaviours and thought patterns associated with a purported subset of that group. If we understand that the supposed prob- lem of belief in conspiracy theories is centred on the beliefs of this purported sub- set––the conspiracists––then we can reconcile the recent philosophical contribu- tions to the wider academic debate on the rationality of belief in conspiracy theories. (shrink)

A reply to Patrick Stokes' “Between Generalism and Particularism About Conspiracy Theory".

In the literature on conspiracy theories, the least contentious part of the academic discourse would appear to be what we mean by a “conspiracy”: a secretive plot between two or more people toward some end. Yet what, exactly, is the connection between something being a conspiracy and it being secret? Is it possible to conspire without also engaging in secretive behavior? To dissect the role of secrecy in con- spiracies – and thus contribute to the larger debate on the epistemology (...) of conspir- acy theories – we dene the concepts of “conspiracy,” “conspirator,” and “secret,” and argue that while conspirators might typically be thought to commit to keeping secrets once their conspiracy is underway, the idea that conspiracies are necessarily secretive to start with is not as obvious as previously thought. (shrink)

Conspiracy theories are typically thought to be examples of irrational beliefs, and thus unlikely to be warranted. However, recent work in Philosophy has challenged the claim that belief in conspiracy theories is irrational, showing that in a range of cases, belief in conspiracy theories is warranted. However, it is still often said that conspiracy theories are unlikely relative to non-conspiratorial explanations which account for the same phenomena. However, such arguments turn out to rest upon how we define what gets counted (...) both as a ‘conspiracy’ and a ‘conspiracy theory’, and such arguments rest upon shaky assumptions. It turns out that it is not clear that conspiracy theories are prima facie unlikely, and so the claim that such theories do not typically appear in our accounts of the best explanations for particular kinds of events needs to be reevaluated. (shrink)

The contributors to this volume argue that whilst there is a commonplace superstition conspiracy theories are examples of bad beliefs (and that the kind of people who believe conspiracy theories are typically irrational), many conspiracy theories are rational to believe: the members of the Dewey Commission were right to say that the Moscow Trials of the 1930s were a sham; Woodward and Bernstein were correct to think that Nixon was complicit in the conspiracy to deny any wrongdoing in the Watergate (...) Hotel break in; and if we either accept the terrorist events of 9/11 were committed by Al-Qaeda, or that the Bush Administration was responsible, then it seems we are endorsing some theory about a conspiracy to commit an act of terror on American soil. As such, there is no reason to reject conspiracy theories sui generis. This volume challenges the prima facie that conspiracy theories are irrational beliefs, arguing that we should treat conspiracy theories and the phenomena of conspiracy theories seriously. It presents fresh perspectives from the wider philosophical, sociological and psychological community on what is becoming an issue of increasing relevance in our time. (shrink)

A response to Lee Basham's 'The Need for Accountable Witnesses: A Reply to Dentith'.

A reply to Gérald Bronner, Véronique Campion-Vincent, Sylvain Delouvée, Sebastian Dieguez, Nicolas Gauvrit, Anthony Lantian, and Pascal Wagner-Egger's piece, '“They” Respond: Comments on Basham et al.’s “Social Science’s Conspiracy-Theory Panic: Now They Want to Cure Everyone”.

Typical analyses of belief in conspiracy theories have it that identifying as a conspiracy theorist is irrational. However, given that we know conspiracies occur, and theories about said conspiracies can be warranted, should we really be scared of the locution 'I'm a conspiracy theorist...'?

A reply to Patrick Stokes' 'Reluctance and Suspicion'—itself a reply to an early piece by myself replying to Stokes—in which I clarify what it is I intend when talking about how we should investigate conspiracy theories.

Psychiatry is rapidly adopting digital phenotyping and artificial intelligence/machine learning tools to study mental illness based on tracking participants’ locations, online activity, phone and text message usage, heart rate, sleep, physical activity, and more. Existing ethical frameworks for return of individual research results (IRRs) are inadequate to guide researchers for when, if, and how to return this unprecedented number of potentially sensitive results about each participant’s real-world behavior. To address this gap, we convened an interdisciplinary expert working group, supported by (...) a National Institute of Mental Health grant. Building on established guidelines and the emerging norm of returning results in participant-centered research, we present a novel framework specific to the ethical, legal, and social implications of returning IRRs in digital phenotyping research. Our framework offers researchers, clinicians, and Institutional Review Boards (IRBs) urgently needed guidance, and the principles developed here in the context of psychiatry will be readily adaptable to other therapeutic areas. (shrink)

We are encouraged by the many positive commentaries on our target article. In this response, we recapitulate some of the points raised and identify synergies between them. We have arranged our response based on the tension between data and architecture that arises in the meta-learning framework. We additionally provide a short discussion that touches upon connections to foundation models.

This paper considers two competing pictures of knowledge of what one ought to do—one which assimilates this to other propositional knowledge conceived as partial ‘locational’ knowledge of where one is in a space of possibilities, the other which distinguishes this from other propositional knowledge by construing it as partial ‘directional’ knowledge of what to do in particular circumstances. I argue that the apparent tension can be lessened by better understanding the contextualized modal-cum-prescriptive nature of ‘ought’ and enriching our conception of (...) the kinds of possibilities within which we can locate ourselves. (shrink)

It is sometimes claimed that each of us has a special ‘first-person perspective’ on our own mind. It is also sometimes claimed that each of us confronts questions about what to do from a distinctively ‘agent-centred’ standpoint. This essay argues that the analogies between these claims are not just superficial, but point to the importance, in both cases, of a representational structure that sets ‘first-person’ awareness apart from external or ‘third-person’ awareness. I describe this structure and show its importance in (...) clarifying some well-known claims about the importance of the agent’s standpoint in ethics. (shrink)

Building on the insights of the late Roy Bhaskar and the late Roger Matthews, as well as some recent developments in ultra-realist criminology, this article introduces and delineates some core inte...

Psychologists and neuroscientists extensively rely on computational models for studying and analyzing the human mind. Traditionally, such computational models have been hand-designed by expert researchers. Two prominent examples are cognitive architectures and Bayesian models of cognition. Although the former requires the specification of a fixed set of computational structures and a definition of how these structures interact with each other, the latter necessitates the commitment to a particular prior and a likelihood function that – in combination with Bayes' rule – (...) determine the model's behavior. In recent years, a new framework has established itself as a promising tool for building models of human cognition: the framework of meta-learning. In contrast to the previously mentioned model classes, meta-learned models acquire their inductive biases from experience, that is, by repeatedly interacting with an environment. However, a coherent research program around meta-learned models of cognition is still missing to date. The purpose of this article is to synthesize previous work in this field and establish such a research program. We accomplish this by pointing out that meta-learning can be used to construct Bayes-optimal learning algorithms, allowing us to draw strong connections to the rational analysis of cognition. We then discuss several advantages of the meta-learning framework over traditional methods and reexamine prior work in the context of these new insights. (shrink)

The deflationary aim of this book, which occupies Part I, is to show that a widely held view has little to be said for it. The constructive aim, pursued in Part II, is to make plausible a measure-theoretic account of propositional attitudes. The discussion is throughout instructive, illuminating and sensitive to the many intricacies surrounding attitude ascriptions and how they can carry information about a subject's psychology. There is close engagement with cognitive science. The book should be read by anyone (...) seriously engaged with issues about propositional attitudes.According to the widely held view, which Matthews calls the Received View, the attitude of Φing that p is a matter of standing in a computational/functional relation to an explicit Representation that expresses the proposition that p, and thinking is ‘an inferential computational process defined over one or more of these Representations that eventuates in the production of either another Representation or a behavior’. The representations are understood to be sentences in a language of thought and thus to have a compositional syntax and semantics. The theory that Matthews aims to make plausible has it that ascriptions of propositional attitudes in the form ‘X Φs that p’, ascribe a state to a person by relating that person to an abstract object that is the representative of the state in roughly the way that numbers on a scale are the measure-theoretic representations of certain physical magnitudes. We are to think of the role of ‘Jones believes that interest rates will fall’ by analogy with that of ‘Jones weighs 150lbs’. The latter depends on there being arithmetical relations defined over numbers that enable its particular assignment of a number to Jones's weight to represent physical properties that Jones has in virtue …. (shrink)

Pluralisms of various sorts are popular in philosophy of science, including those that imply some scientific concept x should be eliminated from science in favour of a plurality of concepts x1, x2, … xn. This article focuses on influential and representative arguments for such eliminative pluralism about the concept species. The main conclusions are that these arguments fail, that all other extant arguments also fail, and that this reveals a quite general dilemma, one that poses a defeasible presumption against many (...) eliminative pluralisms about various scientific concepts. The article ends by outlining a novel integrative alternative in defence of species. 1) Introduction 2) The species Concept, the Category ‘Species’, and the ‘Species’ Category Problem 3) What Are Eliminative Pluralism about species, and the Arguments for It? 4) Evaluation of Arguments 4.1 Splitting? 4.2 Lumping? 4.3 The eliminative pluralist’s dilemma 5) More General Lessons6Species Cohesion: An Integrative Alternative7Conclusion. (shrink)

Tieu, Matthew When we speak of rationality we generally speak of logic and reason in an abstract sense. However, one can also think of rationality in a practical sense. Practical rationality is our capacity to use reason and logic to form beliefs, arrive at decisions, and act in accordance with those beliefs and decisions. If we believe that we ought to do X then, all things being equal, we will do X. If we believe that we ought to refrain (...) from smoking, or drinking or having that extra serving of dessert, then all things being equal, the rational outcome from our subjective point of view is that we are moved to act in accordance with those beliefs. This is what defines humankind as rational agents. (shrink)

This paper examines the empirical and armchair evidence concerning the practical profiles of normative judgments. It then argues that the theory of normative judgment that best explains these practical profiles is a version of cognitivism: subjectivism. The preferred version says, roughly, i) each normative predicate is conventionally associated with a certain conative attitude, and ii) for S to judge that x has normative status N is for S to judge that x has a property picked out by the conative attitude (...) associated with N. In short, having a normative judgment about x semantically necessitates having a conative attitude toward x's properties, to be contrasted with conceptual necessitation, metaphysical necessitation, rational necessitation, etiological necessitation, and other flavors of necessitation. (shrink)

For decades, intensive research on emotion has advanced general theories of culture and cognition. Yet few theories can comfortably accommodate both the regularities and variation empirically manifest in affective phenomena around the world. One recent theoretical model (Gervais & Fessler, 2017) aims to do so. The Attitude-Scenario-Emotion (ASE) model of sentiments specifies an evolved psychological architecture that potentiates regular variation in affective experience and behavior in lived interaction with social, ecological and normative contexts. This model holds that sentiments – functional (...) networks of bookkeeping attitudes and commitment emotions – produce context-dependent universals in salient social-relational experiences, predictably patterning affect concepts. The present research aims to empirically evaluate implications of the ASE model of sentiments using quantitative data from 10 months of fieldwork in Indigenous iTaukei villages on Yasawa Island, Fiji. Study 1 is a series of structured interviews that aim to elicit the full breadth of the Yasawan affect lexicon. In freelists and sentence frames, Yasawans use distinct sets of terms to refer to “feelings about” particular people (attitudes), and “feelings because of” particular events (emotions). Study 2 uses a pile sort task to show that the salient features of Yasawan affective experience are social-relational dimensions of communion and power, while both HCA and MDS reveal distinct social attitudes – “love” (lomani) and “like’ (taleitaki), “respect” (dokai), “contempt” (beci), “hate” (sevaki), and “fear” (rerevaki) – anchoring the conceptual organization of Yasawan emotions. Study 3 uses hypothetical vignettes with a between-subjects attitude manipulation and Likert-style emotion ratings to show that these attitudes differentially moderate emotions across social scenarios; differences are both quantitative and qualitative; each attitude is emotionally pluripotent; and divergent attitudes (e.g., “love” and “hate”) produce the same emotions in starkly different situations – a predicted three-way interaction of attitude x scenario x emotion. These data are broadly consistent with ASE hypotheses; population variation in affective worlds may follow from differential engagement of universal attitude-emotion networks (sentiments) experienced across social, ecological and normative contexts. (shrink)

I argue that Aristotle took pleasure to be a certain aspect of perfect activities of awareness, namely, their very perfection. I also argue that this reading facilitates an attractive interpretation of his view that pleasures differ in kind along with the activities they arise in connection with.

An agent's intentional doings are often taken to be those for which a certain sort of teleological explanation is available: they are the ones that can be fitted into sequences of the form 'agent A-s in order to B, B-s in order to C, and so on'. It is natural to think that such teleological orderings are produced entirely by the agent's own (perhaps idealized) practical reasoning, and that they thus reveal the intentions with which the agent acts: he A-s (...) with the intention of thereby B-ing, B-s with the intention of thereby C-ing, and so on. This in turn suggests that if an agent X-s 'non-basically', he X-s intentionally if and only if he does something else with the intention of thereby X-ing. But what an agent intentionally does can also depend upon how his doings fit into 'autonomous teleologies' - teleologies having their origins outside of his will. If an agent intentionally A-s as part of his job, he might thereby intentionally A-s, where A-ing consists in operating a machine, he might thereby intentionally B not because his intention in A-ing is to B, but because A-ing is for the sake of B-ing in the machine's teleology. (shrink)

When Saint Thomas Aquinas makes claims such as “that which is not just seems to be no law at all” it is a bit difficult to discern what he means. Some think that Aquinas is defending what is now called the Strong Natural Law Thesis: for all X, X is a law only if X is just. Others think that Aquinas is defending what is now called the Weak Natural Law Thesis: for all X, X is a non-defective law only (...) if X is just. In this paper, focusing on Aquinas’s metaphysics, I argue that both of these interpretations are mistaken. Aquinas is primarily defending what we can call The Metaphysical Natural Law Thesis: since being and goodness are convertible, legal validity comes in degrees—and this entails that the justice of a law literally increases the amount of being a law possesses, while the injustice of a law literally decreases the amount of being a law possesses. On this interpretation, then, the injustice of a law entails an ontological attenuation of the law without entailing an ontological annihilation of the law. (shrink)

Richard Shusterman, Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love (Cambridge: Cambridge University Press, 2021), 436 pages./ Like other contributors, I would like to begin by expressing my respect and admiration for the scale and scope of Richard Shusterman’s achievement in Ars Erotica. The Preface acknowledges “the vast amount of material” involved in this project of charting “the history of erotic theory in the world’s most influential premodern cultures,” with each chapter on a different cultural tradition potentially (...) meriting its own monograph (AE, x, xi). As a scholar who has worked in depth on the work of Pierre Hadot, as well as Michel Foucault’s works on the practices of philosophy conceived as an art or craft (technê) of living in the Western tradition, my response will necessarily be more limited. It will address in detail just the first major chapter of the book – especially as I note with appreciation the piece in this symposium by Marta Faustino on the relations between the ars vivendi and ars erotica. I take some comfort in accepting these limitations from the statement of a particular debt that Shusterman proffers in his Preface to Foucault’s works in the finally-not-completed History of Sexuality series. The author notes both what he owes to Foucault on sexuality, particularly in his studies on the ancient Greeks and Romans, as well as his differences from Foucault’s work. (shrink)

This report describes the rationale, approaches, organization, and resource development leading to a large-scale deletion bin map of the hexaploid wheat genome. Accompanying reports in this issue detail results from chromosome bin-mapping of expressed sequence tags representing genes onto the seven homoeologous chromosome groups and a global analysis of the entire mapped wheat EST data set. Among the resources developed were the first extensive public wheat EST collection. Described are protocols for sequencing, sequence processing, EST nomenclature, and the assembly of (...) ESTs into contigs. These contigs plus singletons were used for selection of distinct sequence motif unigenes. Selected ESTs were rearrayed, validated by 5′ and 3′ sequencing, and amplified for probing a series of wheat aneuploid and deletion stocks. Images and data for all Southern hybridizations were deposited in databases and were used by the coordinators for each of the seven homoeologous chromosome groups to validate the mapping results. Results from this project have established the foundation for future developments in wheat genomics. (shrink)

The Heythrop Journal, Volume 63, Issue 2, Page 324-325, March 2022.

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)