Explaining how something is possible is a familiar and epistemically important achievement in both science and ordinary life. But a satisfactory general account of how-possibly explanation has not yet been given. A crucial desideratum for a successful account is that it must differentiate a demonstration that something is possible from an explanation of how it is possible. In this paper, I offer an account of how-possibly explanation that fully captures this distinction. I motivate my account using two cases, one from (...) ordinary life and one from ornithology. On my account, a how-possibly explanation is a greater achievement than a mere description of how a state of affairs might possibly obtain. In addition to being a potential explanation of why some state of affairs actually obtains, a how-possibly explanation must involve the relief of an imaginative frustration on the part of its recipient. When a recipient’s imaginative frustration is relieved, she does not just know that the state of affairs in question is possible, but is also able to imagine how it could possibly obtain. (shrink)

This paper seeks to answer the question: Can contemporary forms of artificial intelligence be creative? To answer this question, I consider three conditions that are commonly taken to be necessary for creativity. These are novelty, value, and agency. I argue that while contemporary AI models may have a claim to novelty and value, they cannot satisfy the kind of agency condition required for creativity. From this discussion, a new condition for creativity emerges. Creativity requires curiosity, a motivation to pursue epistemic (...) goods. I argue that contemporary AI models do not satisfy this new condition. Because they lack both agency and curiosity, it is a mistake to attribute the same sort of creativity to AI that we prize in humans. Finally, I consider the question of whether these AI models stand to make human creativity in the arts and sciences obsolete, despite not being creative themselves. I argue, optimistically, that this is unlikely. (shrink)

I argue for an account of creativity that unifies creative achievements in the arts, sciences, and other domains and identifies its characteristic value. This account draws upon case studies of creative work in both the arts and sciences to identify creativity as a kind of successful exploration. I argue that if creativity is properly understood in this way, then it is fundamentally a property of processes, something only agents can achieve, something that comes in degrees, subjectively novel, and non-formulaic. As (...) I develop the account, I show how it avoids challenges faced by other accounts of creativity, especially concerning creativity’s value. Hills and Bird (2018, 2019) have together argued that creativity is not necessarily valuable. My account challenges this view. If I am right that creativity is a kind of successful exploration, then creativity does have a characteristic value, specifically epistemic value. (shrink)

Presenting the first step-by-step commentary on Husserl’s Ideas I, Marcus Brainard’s Belief and Its Neutralization provides an introduction not only to this central work, but also to the whole of transcendental phenomenology. Brainard offers a clear and lively account of each key element in Ideas I, along with a novel reading of Husserl, one which may well cause scholars to reconsider many long-standing views on his thought, especially on the role of belief, the effect and scope of the (...) epoché, and the significance of the universal neutrality modification. (shrink)

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors in (...) philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

Many prescriptions offered in the literature for enhancing creativity and innovation in organizations raise ethical concerns, yet creativity researchers rarely discuss ethics. We identify four categories of behavior proffered as a means for fostering creativity that raise serious ethical issues: breaking rules and standard operating procedures; challenging authority and avoiding tradition; creating conflict, competition and stress; and taking risks. We discuss each category, briefly identifying research supporting these prescriptions for fostering creativity and then we delve into ethical issues associated with (...) engaging in the prescribed behavior. These four rubrics illustrate ethical issues that need to be incorporated into the creativity and innovation literature. Recommendations for how organizations can respond to the ethical issues are offered based on practices of exemplary organizations and theories of organizational ethics. A research agenda for empirically investigating the ethical impact these four categories of behavior have on organizations concludes the article. (shrink)

There is an underappreciated respect in which the widespread availability of generative artificial intelligence (AI) models poses a threat to human connection. My central contention is that human creativity is especially capable of helping us connect to others in a valuable way, but the widespread availability of generative AI models reduces our incentives to engage in various sorts of creative work in the arts and sciences. I argue that creative endeavors must be motivated by curiosity, and so they must disclose (...) the creative agent’s inquisitive self. It is through self-disclosure, including the disclosure of the inquisitive self, that we put ourselves in a position to be seen by and connect with others through our creative pursuits. Because relying on AI for certain generative tasks is less self-disclosive than the creative work such technologies supplant, this reliance threatens to weaken our connections to one another. (shrink)

The first generation of children to grow up with electronic toys and games saw computers as our “nearest neighbors.” They spoke of computers as rational machines and of people as emotional machines, a fragile formulation destined to be challenged. By the mid-1990s, computational creatures, including robots, were presenting themselves as “relational artifacts,” beings with feelings and needs. One consequence of this development is a crisis in authenticity in many quarters. In an increasing number of situations, people behave as though they (...) no longer place value on living things and authentic emotion. This paper examines watershed moments in the history of human–machine interaction, focusing on the pertinence of relational artifacts to our collective perception of aliveness, life’s purposes, and the implications of relational artifacts for relationships. For now, the exploration of human–robot encounters leads us to questions about the morality of creating believable digital companions that are evocative but not authentic. (shrink)

This book is the culmination of Heinrich Meier's acclaimed analyses of the controversial thought of Carl Schmitt. Meier identifies the core of Schmitt's thought as political theology—that is, political theorizing that claims to have its ultimate ground in the revelation of a mysterious or supra-rational God. This radical, but half-hidden, theological foundation unifies the whole of Schmitt's often difficult and complex oeuvre, cutting through the intentional deceptions and unintentional obfuscations that have eluded previous commentators. Relating this religious dimension to Schmitt's (...) support for National Socialism and his continuing anti-Semitism, Meier compels the reader to come to terms with the irreconcilable differences between political theology and political philosophy. His book will give pause to those who have tended to gloss over the troubling aspects of some of Schmitt's ideas. With editions in German, French, Italian, and now English, Meier's two books on Schmitt have dramatically reoriented the international debate about Carl Schmitt and his significance for twentieth-century political thought. "Standing far above the rest... is Heinrich Meier's new study, _Die Lehre Carl Schmitts_, which covers all of Schmitt's writings.... Meier's work has forced everyone to take a second look at the assumptions underlying Schmitt's better-known writings and reconsider some that have been ignored."—Mark Lilla, reviewing the German edition in _The New York Review of Books_. (shrink)

Heinrich Meier’s work on Carl Schmitt has dramatically reoriented the international debate about Schmitt and his significance for twentieth-century political thought. In _The Lesson of Carl Schmitt_, Meier identifies the core of Schmitt’s thought as political theology—that is, political theorizing that claims to have its ultimate ground in the revelation of a mysterious or suprarational God. This radical, but half-hidden, theological foundation underlies the whole of Schmitt’s often difficult and complex oeuvre, rich in historical turns and political convolutions, intentional deceptions (...) and unintentional obfuscations. In four chapters on morality, politics, revelation, and history, Meier clarifies the difference between political philosophy and Schmitt’s political theology and relates the religious dimension of his thought to his support for National Socialism and his continuing anti-Semitism. New to this edition are two essays that address the recently published correspondences of Schmitt—particularly with Hans Blumberg—and the light it sheds on his conception of political theology. (shrink)

The numbering in the new edition of Wittgenstein's Remarks does not in general correspond to the part and section numbers of the 1956 edition. The following concordance is useful for making cross references between the two editions.

Ideas are important in shaping the policy choices of governments. But many ideas that have not been successful in the past continue to be used by policymakers, and some good ideas tend not to be adopted. This Element will focus on why governments make these poor policy choices. We will discuss a number of examples of 'zombie ideas' that refuse to die, and then discuss the factors that are associated with their survival. Those factors occur at the elite, the organizational (...) and the societal level. We will also examine some 'ghost' ideas that may well be successful but have a difficult time being adopted, and the factors that are associated with the exclusion of these ideas from the policy process. (shrink)

Many feminists have aruged that researchers must “give voice” to hitherto silenced women by adopting “the view from below.” Critically reviewing the literature on feminist methodology, the author argues that this perspective, while absolutely essential, is not sufficient. Confining research to induction-based methods ignores the limits to such research: Ideologies of oppression are often internalized, while the underlying structures of oppression are hidden. Marxist approaches may help reveal hidden determinants of oppression, but they risk exacerbating inequalities between researcher and researched. (...) Women's experience of a world shaped by structures of inequality produces contradictory relationships among researcher and researched and requires a methodology that deals with difference and the blindness of privilege among women. Women's oppression is “a complex of many contradictions” and necessitates a new standpoint-based methodology, created by researchers and participants of diverse race, class, and other oppressed groups, refocusing and re-visioning knowledge based on theory, action, and experience. (shrink)

Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based (...) media art, and participatory art. -/- Sherri Irvin shows how rules are now an artistic medium: they are part of the work's structure and shape what it expresses. Rules are meaningful in themselves and help to activate the meanings of non-art materials and found objects, so audiences need to know about the rules to get the most out of their art experiences. Loss of information about the rules, like loss of a chunk of marble, can seriously damage the work, and preserving rules as well as objects is reshaping how museums maintain their collections. Where rules collide with real-world circumstances, they may be broken maliciously, mistakenly, or for good reasons, threatening the work's meanings and sometimes its very existence. -/- Should we celebrate the prominence of rules in contemporary art? Irvin argues that, while rules aren't always used well, they can be used to create distinctive meanings and provide powerful immersive experiences not achievable through any other means. (shrink)

Ethical choice paralysis is a major barrier to the implementation of ethical design materials into the technology design process. Choice paralysis seems to result from tacit background assumptions propagated by humanistic modes of critical inquiry. I propose that one way of obviating choice paralysis at the professional level is to educate STEM students on how to select ethical design materials for a project. In order to advance that endeavor, I propose some obligations especially for humanistically trained STEM ethics educators. Specifically, (...) I propose that these include obligations to affirm that students can indeed select workable ethical design materials for their projects, to avoid using humanistic modes of critical ethical inquiry when instructing on how to make those selections, and to note that maximizing for ideally ethical results may not be a primary selection criterion. (shrink)

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

Aesthetic responses to human embodiment play important roles in our individual and social flourishing. Our ability to feel comfortable with and even take pleasure in our own embodiment contributes to our well-being, and our capacity to appreciate the embodiment of others contributes to our full recognition of them as persons and to their feeling of being valued and at home in the world. We are socialized into practices of appreciating bodily beauty: the facial and bodily qualities that a culture picks (...) out for special valuing. But these practices are deeply intertwined with objectionable social hierarchies. I argue that we should can and should opt out of practices of appreciating bodily beauty, despite the pleasures they afford, and choose instead to participate in other practices. Practices of appreciating the variety of aesthetic affordances of human bodies in all their diversity are both aesthetically rewarding and more compatible with our duties to ourselves and each other. (shrink)

Open Access: This article argues for an aesthetic approach to resisting oppression based on judgments of bodily unattractiveness. Philosophical theories have often suggested that appropriate aesthetic judgments should converge on sets of objects consensually found to be beautiful or ugly. The convergence of judgments about human bodies, however, is a significant source of injustice, because people judged to be unattractive pay substantial social and economic penalties in domains such as education, employment and criminal justice. The injustice is compounded by the (...) interaction between standards of attractiveness and gender, race, disability, and gender identity. -/- I argue that we should actively work to reduce our participation in standard aesthetic practices that involve attractiveness judgments. This does not mean refusing engagement with the embodiment of others; ignoring someone’s embodiment is often a way of dehumanizing them. Instead, I advocate a form of practice, aesthetic exploration, that involves seeking out positive experiences of the unique aesthetic affordances of all bodies, regardless of whether they are attractive in the standard sense. I argue that there are good ethical reasons to cultivate aesthetic exploration, and that it is psychologically plausible that doing so would help to alleviate the social injustice attending judgments of attractiveness. -/- This essay was the winner of the 30th Anniversary of the American Society for Aesthetics Feminist Caucus Committee Feminist Research Essay prize in 2020. (shrink)

In formal logic there is a premium on clever paraphrase, for it subsumes troublesome inferences under a familiar theory. (A paradigm is Davidson's analysis 1967 of inferences like ?He buttered his toast with a knife; so, he buttered his toast?.) But the need for paraphrase in formal logic runs deeper than the odd recalcitrant inference, and thus, I shall argue, commits logicians to some interesting consequences. First, the thesis that arguments are valid in virtue of their form must be severely (...) qualified (?4). And second, it is misleading to view a formal logical theory as a standard for justifying and criticizing inference (?7). The latter point depends on the nature and role of paraphrase, which permit a range of conflicting logical theories. Conflicting logical theories arise from the conflicting goals of logical theorists and the promiscuous nature of paraphrase makes reconciliation impossible. (shrink)

Drawing upon contemporary virtue ethics theory, The Model of The Principled Advocate and The Pathological Partisan is introduced. Profiles are developed of diametrically opposed archetypes of public relations and advertising practitioners. The Principled Advocate represents the advocacy virtues of humility, truth, transparency, respect, care, authenticity, equity, and social responsibility. The Pathological Partisan represents the opposing vices of arrogance, deceit, secrecy, manipulation, disregard, artifice, injustice, and raw self-interest. One becomes either a Principled Advocate or a Pathological Partisan by habitually enacting or (...) embodying the virtues or vices in the context of professional practices. (shrink)

Physician-based transparency approaches have been advanced as a strategy for informing patients of the likely financial consequences of using services. The structure of health care pricing and insurance coverage, and the low uptake of existing tools, suggest these approaches are likely to be unwieldy and unsuccessful. They may also generate new ethical challenges.