Abstract: In this paper I argue that to understand the ethics of belief we need to put it in a context of what we care about. Epistemic values always arise from something we care about and they arise only from something we care about. It is caring that gives rise to the demand to be epistemically conscientious. The reason morality puts epistemic demands on us is that we care about morality. But there may be a (small) class of beliefs which it is not wrong to hold unconscientiously. I also argue that epistemic values enjoy a privileged place in the panorama of what we care about because they are entailed by anything we care about. That means that when there is a conflict between caring about knowledge or true belief and caring about something else, that conflict cannot be resolved simply by following the one we care about the most because caring about knowledge in any domain is entailed by caring about that domain. Finally, I argue that whereas caring demands different degrees of conscientiousness in different contexts, contextualism about knowledge is less plausible.
Introspecting Phenomenal States
Abstract: This paper defends a novel account of how we introspect phenomenal states, the Demonstrative Attention account (DA). First, I present a set of necessary and sufficient conditions for phenomenal state introspection which are not psychological, but purely metaphysical and semantic. Next, to explain how these conditions can be satisfied, I describe how demonstrative reference to a phenomenal content can be achieved through attention alone. This sort of introspective demonstration differs from perceptual demonstration in being non-causal. DA nicely explains key intuitions about phenomenal self-knowledge, makes possible an appealing diagnosis of blindsight cases, and yields a highly plausible view as to the extent of our first-person epistemic privilege. Because these virtues stem from construing phenomenal properties as non-relational features of states, my defense of DA constitutes a challenge to relational construals of phenomenal properties, including functionalism and representationalism. And I provide reason to doubt that they can meet this challenge.
The pleasures of Tragedy
Summary: This article addresses a paradox that has puzzled philosophers of art since Aristotle: tragedies produce, and are designed to produce, pleasure for the audiences, without supposing any special callousness or insensitivity on their part. The author introduces a distinction which enables us to understand how we can feel pleasure in response to tragedy, and which also sheds some light on the complexity of such responses. The virtues of this approach lie in its straightforward solution to the paradox of tragedy as well as the bridges the approach builds between this and some other traditional problems in aesthetics, and the promising ways in which we are helped to see their relationships. In particular, we are helped to understand the feeling many have had about the greatness of tragedy in comparison to comedy, and provided a new perspective from which to view the relationship between art and morality.
Privileged Access to the World
Summary: Addresses the so-called McKinsey problem, which aims to show that semantic externalism and armchair access to the contents of one’s own thoughts are incompatible: the conjunction of the two theses leads to the disastrous conclusion that it is possible to have armchair knowledge of the external world. Sawyer defends externalism by biting the bullet, thereby arguing that we do in fact have armchair knowledge of the external world.
Samvega, ‘Aesthetic Shock’
Summary: An explication of the Pali aesthetic term samvega as the state of shock and wonder at a work of art that occurs when the implications of its aesthetic qualities are experienced. Despite being an emotion, Coomaraswamy associates samvega with disinterested aesthetic contemplation.
Yue Ji 樂記—Record of Music: Introduction, Translation, Notes, and Commentary
Summary: The earliest extant Chinese treatise on music. The Yue Ji presents largely Confucian ideas on the connections between music, self-cultivation, proper governance, and the realization of natural patterns. Human character is described as a musical progression with ties to the transformation of sound into a kind of music that is distinguished by its relationship to virtue. The exact identity of the author(s) is debated, and it is believed to have been compiled from various sources no later than the middle of the Western Han dynasty (206BCE-24CE).
Li Yu’s Theory of Drama: A Moderate Moralism
Abstract: This essay presents an interpretation of Li Yu’s theory of drama that takes it to be a moderate moralism that is different from Confucian radical moralism, Daoist radical autonomism, and the moderate autonomism of fiction. In addition to practical considerations, Li Yu’s moderate moralism of drama is based on his awareness of the ontological difference between drama and music, poetry, and fiction. Drama was seen by Li Yu as a synthetic art that includes music, poetry, and fiction. If radical autonomism is appropriate for the evaluation of music, radical moralism for poetry and prose, and moderate autonomism for fiction, then moderate moralism would be most appropriate in the evaluation of drama.
Validity in Interpretation: Some Indian Views
Summary: An outline of the theory of interpretation within the language philosophies of ancient India. Chari organizes this extensive history according to topics such as verbal autonomy, intention, unity of meaning, polysemy, contextualism, and interpretation.
The Moral Dimension of Japanese Aesthetics
Summary: Saito presents the moral dimension of Japanese aesthetics in terms of two design principles: respect for the quintessential, innate characteristics of things and honor and responsiveness to human needs. She analyzes the sensitivity to objects and people at work in a wide range of Japanese arts and crafts, including garden design, haiku, painting, pottery, and food, emphasizing that the cultivation of a moral attitude toward things is often practiced through aesthetic means.
Korean Aesthetic Consciousness and the Problem of Aesthetic Rationality
Abstract: Aesthetic emotions are reputed to be irrational, but, aesthetic emotions as mental phenomena bear complex relations to rationality. Emotions give us knowledge about the world. The aesthetic consciousness of Korean is the internal roots of the Korean’s mentality. The aesthetic consciousness and the mentality are inseparably related to each other. The aesthetic consciousness as the analogy of reason, in the context of A.G. Baumgarten plays a role to extend the logical world. Aesthetic rationality is the common sense or the communicative rationality of it. For the argument of universality we discuss the problem of aesthetic rationality. Since the modern aesthetics, the problem of aesthetic rationality came on the stage of aesthetics. Shamanism as the deep-rooted element of Korean mentality is the most authentic cultural legacy of Koreans. Buddhism, Confucianism, Taoism, and other religious elements influence the unique nature of the Korean character together with shamanism. They play a decisive role in determining the Korean mentality or consciousness. For Koreans, nature is a mirror of the self and a world of meditation which gives life, restoring all things to their proper state. As a peculiar color consciousness, Korean monochrome is characterized by vitality, spontaneity and unconcern for technical perfection. Korean art also tends to be devoid of an artificial movement and this reflects dislike of disturbance, deformation and convention.
If we are to consider Korean contemporary art from an international perspective, we must define what it means to be Korean, i.e. our cultural habits and artistic elements hidden in the artist’s unconsciousness. In this age of multiculturalism, the new interpretation on tradition makes it possible to merge the Korean art with the world stage. The extension of aesthetic emotion through experimentation shows us the change of aesthetic consciousness as a new possibility of interpretation.