Diversity Reading List

Publisher's Note: Nomy Arpaly rejects the model of rationality used by most ethicists and action theorists. Both observation and psychology indicate that people act rationally without deliberation, and act irrationally with deliberation. By questioning the notion that our own minds are comprehensible to us--and therefore questioning much of the current work of action theorists and ethicists--Arpaly attempts to develop a more realistic conception of moral agency.

Abstract: In this paper, I submit that it is the controlled part of skilled action, that is, that part of an action that accounts for the exact, nuanced ways in which a skilled performer modifies, adjusts and guides her performance for which an adequate, philosophical theory of skill must account. I will argue that neither Jason Stanley nor Hubert Dreyfus have an adequate account of control. Further, and perhaps surprisingly, I will argue that both Stanley and Dreyfus relinquish an account of control for precisely the same reason: each reduce control to a passive, mechanistic, automatic process, which then prevents them from producing a substantive account of how controlled processes can be characterized by seemingly intelligent features and integrated with personal-level states. I will end by introducing three different kinds of control, which are constitutive of skilled action: strategic control, selective, top-down, automatic attention, and motor control.

Abstract: Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art's powers to capture subtlety and emotion. In particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified.

Abstract: In his paper on 'The Concept of Voluntariness', Ben Colburn helpfully takes up the task of developing my view about the sense of voluntariness that is relevant for judgments of substantive responsibility, or judgments about individuals' liability to pick up some costs of their choices. On my view, a necessary condition for holding people responsible for their choices is that those choices be voluntary in the sense that they are not made because there is no acceptable alternative, where the standard for the acceptability of options is an objective standard of well-being. [...] Colburn's first point is entirely well-taken. By way of endorsing it, I ask whether we are justified in taking some but not all kinds of beliefs to affect the voluntariness of choice, as his elaboration of my view suggests. However, I find Colburn's second point less convincing, and argue that we should allow for the moral character of options to affect the voluntariness of choice.

Abstract:

In our philosophical tradition and our wider culture, we tend to think of persons as agents. This agential conception is flattering, but in this paper I will argue that it conceals a more complex truth about what persons are. In 1. I set the issues in context. In 2. I critically explore four features commonly presented as fundamental to personhood in versions of the agential conception: action, capability, choice and independence. In 3. I argue that each of these agential features presupposes a non-agential feature: agency presupposes patiency, capability presupposes incapability, choice presupposes necessity and independence presupposes dependency. In 4. I argue that such non-agential features, as well as being implicit within the agential conception, are as apt to be constitutive of personhood as agential features, and in 5. I conclude.

Abstract: The paper considers and opposes the view that processes are best thought of as continuants, to be differentiated from events mainly by way of the fact that the latter, but not the former, are entities with temporal parts. The motivation for the investigation, though, is not so much the defeat of what is, in any case, a rather implausible claim, as the vindication of some of the ideas and intuitions that the claim is made in order to defend — and the grounding of those ideas and intuitions in a more plausible metaphysics than is provided by the continuant view. It is argued that in addition to a distinction between events (conceived of as count-quantified) and processes (conceived of as mass-quantified) there is room and need for a third category, that of the individual process, which can be illuminatingly compared with the idea of a substance. Individual processes indeed share important metaphysical features with substantial continuants, but they do not lack temporal parts. Instead, it is argued that individual processes share with substantial continuants an important property I call ‘modal robustness in virtue of form’. The paper explains what this property is, and further suggests that the category of individual process, thus understood, might be of considerable value to the philosophy of action.

Publisher's Note: This book puts forward a radical critique of the foundations of contemporary philosophy of mind, arguing that it relies too heavily on insecure assumptions about the nature of some of the sorts of mental entities it postulates: the nature of events, processes, and states. The book offers an investigation of these three categories, clarifying the distinction between them, and argues specifically that the assumption that states can be treated as particular, event-like entities has been a huge and serious mistake. The book argues that the category of token state should be rejected, and develops an alternative way of understanding those varieties of causal explanation which have sometimes been thought to require an ontology of token states for their elucidation. The book contends that many current theories of mind are rendered unintelligible once it is seen how these explanations really work. A number of prominent features of contemporary philosophy of mind token identity theories, the functionalists conception of causal role, a common form of argument for eliminative materialism, and the structure of the debate about the efficacy of mental content are impugned by the book's arguments. The book concludes that the modern mind-body problem needs to be substantially rethought.

Abstract: The diversity and increasing number of recent artistic collaborations raise new and substantive philosophical questions about the nature of authorship. In the past, the problems surrounding the authorship of collaboratively produced art were tackled primarily by film theorists, who defended the conservative view that films were on a par with other artworks, having a single author. Fortunately, this is starting to change. Recently, a number of theorists, including Berys Gaut, Paisley Livingston, and C. Paul Sellors, have argued, contra auteur theory, that films (and many other artworks) are the product of multiple authors.1 Livingston and Sellors draw on recent theories of collective intentionality, specifically theories of shared intention, in order to develop their theories of coauthorship. Although we agree entirely with this anti?individualistic movement, we think there are problems with the accounts of coauthorship on offer. Some of the accounts are too weak, failing to distinguish between mere contributors and genuine coauthors, while others rely on a theory of shared intention that does not adequately account for the range and complexity of artistic collaborations present in contemporary art. Fortunately, there is an alternative theory of collective intentionality that has yet to be considered as a point of departure in developing an account of coauthorship: Margaret Gilbert's plural subject theory. We argue that her theory provides for an account of coauthorship that successfully distinguishes between mere contributors and coauthors. It also makes sense of a number of actual cases of collaboratively produced art in which intuitively the group, rather than any set of individuals, is the author. In Section I, we rehearse Gaut's arguments against auteur theory and explain why Gaut's account of multiple authorship is problematically overpermissive. In Section II, we consider Livingston and Sellors's attempts to develop an account of coauthorship that relies on the theories of shared intentions by Michael Bratman and John Searle, respectively. Both accounts are ultimately problematic in different ways. In Section III, we turn to Margaret Gilbert's plural subject theory. At the heart of Gilbert's theory is the notion of a joint commitment. We develop a theory of coauthorship that appeals to the notion of a joint commitment, and then we show how it helps us to distinguish between mere contributors and genuine coauthors. We also present a number of actual cases of collaboratively produced art and show how Gilbert's plural subject theory can accommodate these cases in a way that other accounts of coauthorship cannot.