Diversity Reading List

Abstract: While the concept of adaptive preferences is an important tool for criticizing injustice, it is often claimed that using the concept involves showing disrespect for persons judged to have adaptive preferences. In this paper, I propose an account of adaptive preferences that does the relevant political work while still showing persons two centrally important kinds of respect. My account is based in what I call an indirect substantive account of autonomy, which places substantive requirements on the options available to a person, rather than on the option that she ultimately prefers. This allows us to pinpoint cases in which a person's circumstances have rendered her insufficiently autonomous, without saying that any conception of the good must be non-autonomous tout court.

Abstract: A thesis that is rarely stated but often assumed in art criticism and aesthetics concerns the inseparability of form and content in art. The thesis of inseparability states that (1) it is impossible to have the same content in two different forms; and (2) it is impossible to have the same form in two different contents. 1 Clearly, the thesis needs elucidation in terms of a plausible account of the distinction between form and content. It also needs to be considered whether the inseparability of form and content motivates a theory of art or, less ambitiously, identifies an important criterion in an account of art. 2 The inseparability thesis is traditionally associated with formalism, which, as a general theory of art, has been widely condemned. Nevertheless, formalism is currently making a comeback in particular philosophies of the arts - notably, philosophy of music and philosophy of film.3 Sophisticated formalism in relation to both music and film allows for the aesthetic relevance of other features of the work besides form while recommending a structural focus for aesthetic appreciation. If the assumption that formalism is no longer relevant to our under- standing of the arts involves a major oversight, then the inseparability thesis cannot be ignored just because of its traditional association with formalism. But even if one persisted in this oversight, it does not warrant ignoring the importance of the inseparability thesis for the thesis bears no necessary relation to any theory of art, including a formalist one. In what follows, I consider whether the inseparability thesis is compatible with aesthetic cognitivism, the view that art is valuable in part because it can give us nontrivial knowledge. Ultimately, I argue that the two are compatible because there are ways of learning from art that depend on the inseparability of form and con- tent. Given the long and tangled history of the debate over the possibility and value of learning from art, it is supremely important to recognize, finally, such compatibility. Against defenders of aesthetic cognitivism, skeptics and critics have regularly resorted to brandishing the inseparability thesis, defiantly claiming that you cannot expect to learn about the world from art if you cannot 'get to' a work's content unaffected by style and medium. Here the assumption is that the kind of aesthetic transformation that grounds the inseparability of form and con- tent precludes either the practicality or the aesthetic significance of looking to art for real-life insight in the form of facts, principles, or new perspectives. If the compatibility I defend is really there, however, we can expect insight through such transformation. As we shall see, art serves as a primary means for gaining insight of a rare and valuable kind. In what follows, I begin by outlining the preliminaries of the contemporary debate between aesthetic cognitivists and aesthetic anti-cognitivists.4 Then I employ three strategies for elucidating the thesis of inseparability: I identify a particular account of form and content as the one invoked by the thesis, I show that the thesis does not motivate a theory of art in order to circumvent standard criticisms against the thesis as a necessary and sufficient condition of art status, and I explore the ways inseparability influences our understanding of representational art. Armed with a proper understanding of inseparability, I then consider its relation to the debate over aesthetic cognitivism. This involves laying out the assumption that inseparability precludes the aesthetic relevance of learning from art. Finally, I challenge this assumption by outlining two kinds of insight that depend on inseparability. The point is not that such insight can only be gained from art but that it is most readily and relevantly gained from art because of the aesthetic value of inseparability.

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.

Abstract: Nonconceptualists maintain that there are ways of representing the world that do not reflect the concepts a creature possesses. They claim that the content of these representational states is genuine content because it is subject to correctness conditions, but it is nonconceptual because the creature to which we attribute it need not possess any of the concepts involved in the specification of that content. Appeals to nonconceptual content have seemed especially useful in attempts to capture the representational properties of perceptual experiences, the representational states of pre-linguistic children and non-human animals, the states of subpersonal visual information-processing systems, and the subdoxastic states involved in tacit knowledge of the grammar of a language. Nonconceptual content is also invoked in the explanation of concept possession, concept acquisition, sensorimotor behaviour, and in the analysis of the notion of self-consciousness. The notion of nonconceptual content plays an important role in many discussions about the relationships between perception and thought.

Abstract: Temporal logic as a modern discipline is separate from classical logic; it is seen as an addition or expansion of the more basic propositional and predicate logics. This approach is in contrast with logic in the Middle Ages, which was primarily intended as a tool for the analysis of natural language. Because all natural language sentences have tensed verbs, medieval logic is inherently a temporal logic. This fact is most clearly exemplified in medieval theories of supposition. As a case study, we look at the supposition theory of Lambert of Lagny (Auxerre), extracting from it a temporal logic and providing a formalization of that logic.

Abstract: This article provides a conceptual map of the debate on ideal and non-ideal theory. It argues that this debate encompasses a number of different questions, which have not been kept sufficiently separate in the literature. In particular, the article distinguishes between the following three interpretations of the 'ideal vs. non-ideal theory' contrast: (i) full compliance vs. partial compliance theory; (ii) utopian vs. realistic theory; (iii) end-state vs. transitional theory. The article advances critical reflections on each of these sub-debates, and highlights areas for future research in the field.

Content: The authors present ‘the paradox of porn’: pornography seems to score very highly on various evaluative criteria which make art good (e.g. ability to elicit strong emotions), and has features similar to great art (e.g. ‘Brechtian’ acting, idealisation of the human body), yet is rarely consider art. They proceed to discuss some arguments for the exclusivist thesis, suggesting that they ‘reflect a limited knowledge of or experience with pornography’ (168). A review of various types of non-mainstream porn leads them to claim that the division between pornography and art is a false dichotomy. Section 3 revisits the paradox, offering an analysis of various reasons which could lead to so little porn being (considered) art. After rejecting most of the common arguments, the authors suggest that a great majority of porn is not art for purely contingent reasons: very few pornographers even try to pursue that possibility. But pornography has the potential to be great art, and section 4 explores the ways in which it could.

Abstract: Hermeneutic phenomenology is absent in 4 EAC literature (embedded, embodied, enactive, extended and affective cognition). The aim of this article is to show that hermeneutic phenomenology as elaborated in the work of Heidegger is relevant to 4 EAC research. In the first part of the article I describe the hermeneutic turn Heidegger performs in tandem with his ontological turn of transcendental phenomenology, and the hermeneutic account of cognition resulting from it. I explicate the main thesis of the hermeneutic account, namely that cognition is interaction with the world, followed by a discussion of the modes of cognition distinguished in the hermeneutic account. In the second part of the article I discuss the implications of this account with respect to the status and meaning of first, second and third person perspective of cognition. The article concludes with the draft and discussion of an exploratory model of hermeneutic cognition.

Abstract: Evolutionary debunking arguments move from a premise about the influence of evolutionary forces on our moral beliefs to a skeptical conclusion about those beliefs. My primary aim is to clarify this empirically grounded epistemological challenge. I begin by distinguishing among importantly different sorts of epistemological attacks. I then demonstrate that instances of each appear in the literature under the ‘evolutionary debunking- title. Distinguishing them clears up some confusions and helps us better understand the structure and potential of evolutionary debunking arguments.

Abstract:

Comparing the typologies of human activities developed by Beauvoir and Arendt, I argue that these philosophers share the same concept of labor as well as a similar insight that labor cannot provide a justification or evaluative measure for human life. But Beauvoir and Arendt think differently about work (as contrasted with labor), and Arendt alone illuminates the inability of constructive work to provide non-utilitarian value for human existence. Beauvoir, on the other hand, exceeds Arendt in examining the ethical implications of our existential need for a plurality of free peers in a public realm.