Diversity Reading List

Abstract:
In recent years, autopoietic enactivism has been used to address persistent conceptual problems in psychiatry, such as the problem of demarcating disorder, that other models thus far have failed to overcome. There appear to be three main enactive accounts of psychopathology with subtle, although not incompatible, differences: Maiese characterizes disorder as distinct disruptions in autonomy and agency; Nielsen characterizes disorder as behaviors that relevantly conflict with the functional norms of an individual; De Haan emphasizes patterns of disordered sense-making, that are transformed through the existential dimension. Given that these accounts are intended to provide not only an ontologically richer account of psychopathology but also reduce the stigma experienced by individuals with mental disorders by accounting for lived experience, a critical analysis of these approaches is needed. Russell provides a problematization of enactive accounts of mental disorder, showing that this particular framework does not, as it stands, necessarily reduce the harm and suffering experienced by individuals with mental disorder because of its ontological openness; enactivism leaves much to be interpreted and applied by the clinician (or patient) such that practical and ethical problems in its use arise.

Abstract: After surveying the strengths and weaknesses of several well-known approaches to wisdom, I argue for a new theory of wisdom that focuses on being epistemically, practically, and morally rational. My theory of wisdom, The Deep Rationality Theory of Wisdom, claims that a wise person is a person who is rational and who is deeply committed to increasing his or her level of rationality. This theory is a departure from theories of wisdom that demand practical and/or theoretical knowledge. The Deep Rationality Theory salvages all that is attractive, and avoids all that is problematic, about theories of wisdom that require wise people to be knowledgeable.

Introduction: What is wisdom? Philosophers, psychologists, spiritual leaders, poets, novelists, life coaches, and a variety of other important thinkers have tried to understand the concept of wisdom. This entry will provide a brief and general overview, and analysis of, several philosophical views on the topic of wisdom. It is not intended to capture the many interesting and important approaches to wisdom found in other fields of inquiry. Moreover, this entry will focus on several major ideas in the Western philosophical tradition. In particular, it will focus on five general approaches to understanding what it takes to be wise: (1) wisdom as epistemic humility, (2) wisdom as epistemic accuracy, (3) wisdom as knowledge, (4) a hybrid theory of wisdom, and (5) wisdom as rationality.

Introduction: What is wisdom? Remarkably few contemporary analytic philosophers have proposed an answer to this ancient question. I think the question is interesting and deserves some careful attention. In this paper, I will present and evaluate several analyses of wisdom. I will then defend my own analysis of wisdom.

Publisher's Note: Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues.

Abstract: Revolution in the aesthetics of nature often takes place when people start appreciating the parts of nature formerly regarded as aesthetically negative. One such example is the change in the aesthetics of mountains which occurred during the early eighteenth century. We are witnessing another revolution in this country which started a century ago. Its primary purpose is to overcome the pictorial appreciation of the natural environment, a legacy left by the picturesque aesthetics established during the latter half of the eighteenth century. The picturesque emphasis on vision as the vehicle for appreciating the natural environment has led us to regard nature as a series of scenes consisting of two- dimensional designs. This approach to nature has also encouraged us to look for and appreciate primarily the scenically interesting and beautiful parts of our natural environment. As a result, those environments devoid of effective pictorial composition, excitement, or amusement (that is, those not worthy of being represented in a picture) are considered lacking in aesthetic values. Consider, for example, John Muir's experience of encountering two artists on Mt. Ritter in the High Sierras. Muir complains that they were satisfied only with a few scenic spots affording spectacular, startling views. However, other parts that attracted Muir, such as the autumn colors of the surrounding meadows and bogs, were "sadly disappointing" to the artists because they did not make "effective pictures." Half a century later, Aldo Leopold echoes Muir's complaint. "Concerned for the most part with show pieces," Leopold claims, we are "willing to be herded through 'scenic' places" and "find mountains grand if they be proper mountains with waterfalls, cliffs, and lakes." Because we expect to be entertained by the grand, amusing, and spectacular parts of nature (such as in national parks), we find the Kansas plains "tedious" and the prairies of Iowa and southern Wisconsin boring. Against such a common tendency, Leopold reminds us that "in country, as in people, a plain exterior often conceals hidden riches," and urges us to develop the aesthetic sensitivity to penetrate the "plain" exterior to reach the hidden riches. The same sentiment is expressed by a contemporary painter, Alan Gussow. While not objecting to the popular appreciation of the "crown jewels" in the National Park system, he calls for "the cultivation of an ability to see beauty in more modest, less aggressive settings," such as tidal wetlands and wildlife habitats. According to Gussow, their beauty is primarily based upon health and sustainability and is more subtle, less visible, than the grandiose splendor of the Grand Canyon, Yellowstone, or Mt. Rainier. Holmes Rolston III, a contemporary writer on environmental ethics, reiterates this concern for the common inclination to depreciate the scenically challenged parts of nature. In defending the positive aesthetic value of a rotten carcass of an elk full of maggots (not our typical example of scenic beauty), he advises against our tendency to look for pretty objects and picturesque scenes fit for a postcard. 'At the beginning," Rolston claims, "we search for something pretty or colorful, for scenic beauty, for the picturesque. Landscapes regularly provide that, but when they do not, we must not think that they have no aesthetic properties."' In his recent writings on nature aesthetics, Allen Carlson also challenges the pictorial approach to nature. According to Carlson, considering nature as a series of landscape paintings is inappropriate, simply because that is not what nature is. This landscape model for appreciating nature "requires us to view the environment as if it were a static representation which is essentially 'two dimensional.' It requires the reduction of the environment to a scene or view." Experiencing nature as a static, representational, two-dimensional scene, however, "unduly limits our appreciation ..., it also misleads it." Carlson claims that with a proper approach (to be specified later), even pictorially challenged natural objects would appear aesthetically positive, confirmed by the change of people's attitudes regarding mountains, jungles, insects, and reptiles.

Abstract: Philosophers of language have tended to focus on examples that are not politically significant in any way. We spend a lot of time analyzing natural kind terms: We think hard about 'water' and 'pain' and 'arthritis.' But we don't think much about the far more politically significant kind terms (natural or social - it's a matter for dispute) like 'race,' 'sex,' 'gender,' 'woman,' 'man,' 'gay,' and 'straight.' In this essay, I will try to show, using the example of 'woman,' that it's worth thinking about terms like these, for at least three reasons: (1) There are some interesting puzzles. (2) Politically significant terms matter to people's lives - and it's worth spending at least some of our energy thinking about things that matter in this way. (3) Most importantly, interesting methodological issues emerge at the intersection of philosophy of language and politics.

Abstract: I want to suggest that the notion of the suspension of disbelief cannot coherently be used to explain or account for our reactions to fictional characters and events, and that in any case it is unnecessary to the solution of the alleged paradox. I take fiction here to cover art works in which a story is told, presented or represented, i.e. novels, short stories, plays, certain kinds of painting and sculpture and dance-any works in fact is connection with which it makes sense to speak of characters appearing and events taking place in them.

Publisher’s Note:
Publisher: This book examines some of the primary questions for the impassibility debate through the lens of contemporary philosophy of emotion: is the property of being able to experience emotions a susceptibility and a weakness, or a capacity and a strength? What does it mean to experience emotions, and what sort of being is able to experience them? In examining these questions, it explores the relationship between emotions, body, will and intelligence, addressing questions concerning whether emotions are essentially physiological or cognitive, whether emotions detract from intelligence or may actually contribute towards it, and whether (and to what extent) emotions can be controlled and/or cultivated. The book moves away from some of the artificially extreme accounts of emotion towards a more subtle account that sees most emotions as on a spectrum between cognitive and physiological, voluntary and non-voluntary.

Summary: How does one make a clever adaptive machine that can recognise speech, control an aircraft, and detect credit card fraud? Recent years have seen a revolution in the kinds of tasks computers can do. Underlying these advances is the burgeoning field of machine learning and computational neuroscience. The same methods that allow us to make clever machines also appear to hold the key to understanding ourselves: to explaining how our brain and mind work. This chapter explores this exciting new field and some of the philosophical questions that it raises.