The relationship between philosophy and theatre is a central theme in the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. Where Plato argued that playwrights and actors should be banished from the ideal city for their suspect imitations of reality, Aristotle argued that theatre, particularly tragedy, was vital for stimulating our emotions and helping us to understanding ourselves. Despite this rich history the study of philosophy and theatre has been largely overlooked in contemporary philosophy. This is (...) the first book to introduce philosophy and theatre. It covers key topics and debates, presenting the contributions of major figures in the history of philosophy, including: what is theatre? How does theatre compare with other arts? theatre as imitation, including Plato on mimesis truth and illusion in the theatre, including Nietzsche on tragedy theatre as history theatre and morality, including Rousseau’s criticisms of theatre audience and emotion, including Aristotle on catharsis theatre and politics, including Brecht’s Epic Theatre. Including annotated further reading and summaries at the end of each chapter, Philosophy and Theatre is an ideal starting point for those studying philosophy, theatre studies and related subjects in the arts and humanities. (shrink)

Abstract:Contenders for serious, let alone worthwhile, philosophical works consisting entirely of jokes are hard to find. Tom Stoppard's comedy Dogg's Hamlet, built from the materials of Ludwig Wittgenstein's Philosophical Investigations, might be one. Wittgenstein could only use previously acquired language to argue that social performance is a necessary prerequisite for the process of learning that meaningful language in the first place. But Stoppard's audiences can experience the inadequacy of a static, constative theory of language; then they can self-consciously undergo a (...) socialized process of meaningful language acquisition. And that new language allows new jokes; so: did Stoppard put the wit into Wittgenstein? (shrink)

Tom Stoppard is not the sort of playwright one might call anti-intellectual, yet he has persistently singled out the field of academic philosophy for special assault in his plays. Stoppard’s antipathy emerges from a history of contention between the theater and philosophy in England, one that originates in Friedrich Nietzsche’s Birth of Tragedy and its particular reception at the hands of George Bernard Shaw. Stoppard offers an apotheosis of this disputation in his 1972 farce Jumpers, which imagines a marriage between (...) a philosopher and an actress meant to demonstrate the superiority of the theater as a mode of speculative discourse. (shrink)

Few stage plays have much to do with analytic philosophy: Tom Stoppard has written two of them—Rosencrantz and Guildenstern are Dead and Jumpers. The contrast between these, especially in how they involve philosophy, could hardly be greater. Rosencrantz does not parade its philosophical content; but the philosophy is there all the same, and it is solid, serious and functional. In contrast with this, the philosophy which is flaunted throughout Jumpers is thin and uninteresting, and it serves the play only in (...) a decorative and marginal way. Its main effect has been to induce timidity in reviewers who could not see the relevance to the play of the large stretches of academic philosophy which it contains. Since the relevance doesn't exist, the timidity was misplaced, and so the kid gloves need not have been used. Without doubting that I would have enjoyed the work as performed on the London stage, aided by the talent of Michael Hordern and the charm of Diana Rigg, I don't doubt either that Jumpers is a poor effort which doesn't deserve its current success. I shan't argue for that, however. I want only to explain why Jumpers is not a significantly philosophical play, before turning to the more important and congenial task of showing that Rosencrantz and Guildenstern are Dead is one. (shrink)

Tom Stoppard’s Rosencrantz and Guildenstern Are Dead is primarily a display of conceptual interrelationships of the same logical kind as might occur in an academic work of analytic philosophy. Its pyrotechnic show of jokes, puns and cross-purposes consists mainly in sparks thrown off by the underlying conceptual exploration. That philosophical insights are closely connected with jokes is a fact which Carroll exploited in Through the Looking Glass, a work which is brim-full of small-scale philosophy. Stoppard, unlike Carroll, works intensively at (...) a small cluster of intimately connected concepts. The central one is the concept of reality, and grouped around it are identity, memory, activity and death. One source of the play’s power - to move and disturb, as well as to amuse - is that these concepts are so important in our thinking about ourselves; but the power derives also from the sheer pertinacity and complexity and depth of the conceptual exploration. Although this can be felt by someone who does not fully realize what is going on, one’s experience of the play can be heightened, and the play made more illuminating and memorable, if one becomes consciously aware of its underlying structures. My aim here will be to make such an awareness available - both as a service (I hope) to readers who will subsequently encounter the play, and also as a defence of my judgment about what kind of play it is and how good it is of its kind. I shall write as though for readers who are ignorant of Stoppard’s play but not of Shakespeare’s. All quotations are from the Faber editions of the play. There will be no omissions within anything I quote, so any rows of ellipses in my quotations are Stoppard’s own. The chief personages are Rosencrantz and Guildenstern and “the Player” - the leader of the band of tragedians who perform for Hamlet the play within the play.. (shrink)

This paper attends to the curious affair of Jacques Derrida in Prague when he was arrested by the Czechoslovakian police on charges of drug smuggling. It reads two images by Valerio Adami and Nicolas Poussin, entitled, ‘The Massacre of the Innocents’, Tom Stoppard's play, Professional Foul about dissident philosophers in Prague, and a section from Ken McMullen's film Ghost Dance on Kafka. It turns around the question of what ‘innocence’ might mean in politics and reading.

This essay probes into the possibility of encountering the Deleuzian sense-event in four Tom Stoppard radio plays, Moon (1964), Boot (1964), Glad (1966) and Artist Descending A Staircase (1972). Itself an incorporeal – an occurrence of the interface – the wonderful and strange protagonist of Gilles Deleuze's 1969 Logic of Sense is approached in apophatic gestures, with a glimpse at the various vestiges it has left upon texts. Within this exercise in indirection, ‘empty forms’ present themselves as the texts’ circulating (...) words. Informed by and receiving infusions from two parallel flows of Deleuzian signifiers and signifieds, these entities are singled out as the texts’ pointers that open up a cleavage where the sense-event can issue forth. (shrink)

Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead” opens with a puzzling scene in which the title characters are betting on coin throws and observe a seemingly astonishing run of 92 heads in a row. Guildenstern grows uneasy and proposes a number of unsettling explanations for what is occurring. Then, in a sudden change of heart, he appears to suggest that there is nothing surprising about what they are witnessing, and nothing that needs any explanation. He says ‘…each individual coin spun (...) individually is as likely to come down heads as tails and therefore should cause no surprise each time it does.’ In this article I argue that Guildenstern is right – there is nothing surprising about throwing 92 heads in a row. I go on to consider the relationship between surprise, probability and belief. (shrink)

Tom Stoppard is justly praised by many for what are perceived as his technical skills as a dramatist—his wit, his seriousness, his mastery of parody and pastiche, his impressive control of dramatic structure. Stoppard earns his place as a giant of modern drama from these qualities. They, however, are not what concern me here. His plays are also in various ways riddled with philosophy. My purpose in this paper is to examine the claim that he is a philosopher's dramatist, rather (...) than a dramatist's dramatist or an ordinary thinking man's dramatist. I am not concerned with how far Stoppard himself as a matter of biographical fact may wish to make this claim, although Stoppard has made no secret of his fascination with Philosophy. I make the claim myself in order both to offer an interpretation of certain dramatic texts and to raise certain questions about philosophical method. I hope to show that to understand certain ways in which Stoppard's plays are philosophical is to appreciate something profound about the way in which philosophy and drama are akin—that is, I hope to make critical and philosophical points, not historical or biographical points. (shrink)

Tom Stoppard’s 1966 play (and 1990 movie) /Rosencrantz and Guildenstern are Dead/ is a metatext – as a text, it interprets, builds upon, and refers to another text, Shakespeare’s Hamlet. Similarly, David N. Reznick’s /The Origin then and now: An interpretative guide to the Origin of Species/ (Princeton UP, 2010) is also a metatext. In this review, I turn to the history of science to evaluate whether Reznick’s book shares three families of virtues with Stoppard’s play: (i) brevity and precision, (...) (ii) intrigue and appeal, and (iii) a genuine value-add to the original. (shrink)

Voyage is the first part of The Coast of Utopia , Tom Stoppard's long-awaited and monumental trilogy that explores a group of friends who came of age under the Tsarist autocracy of Nicholas I, and for whom the term intelligentsia was coined. Among them are the anarchist Michael Bakunin, who was to challenge Marx for the soul of the masses; Ivan Turgenev, author of some of the most enduring works in Russian literature; the brilliant, erratic young critic Vissarion Belinsky; and (...) Alexander Herzen, a nobleman's son and the first self-proclaimed socialist in Russia, who becomes the main focus of this drama of politics, love, loss, and betrayal. In The Coast of Utopia , Stoppard presents an inspired examination of the struggle between romantic anarchy, utopian idealism, and practical reformation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Being a Moral Agent in Shakespeare's ViennaRobert B. PierceIn one sense we are all moral agents because we make decisions that in some degree take account of what we think we should do and what sorts of selves we want to be. But the problem of moral agency as more than just a theoretical set of philosophical issues, as the lived experience of acting morally in a contingent world, (...) is especially acute for those who set out deliberately to try to uphold some moral ideal, for the idealist in that popular sense of the term. In describing moral agency, philosophers may tend to exaggerate the importance of reflective rationality in the human task of being moral, elevating their own habits of mind into the apex of human striving, but at least the experience of the intellectual idealist is of a special kind, and as such it is an endlessly fascinating subject for artistic contemplation in fiction and drama. That interest raises the issue of what kind of text a philosophical play or novel is. Does it constitute a kind of argument for some set of ideas? Does it show how those ideas play out in lived experience? Or are there other possible ways for a text to count as philosophical?One may also ask why Shakespeare is a good subject for such an enquiry. He is not first and foremost a dramatist of ideas. Bernard Shaw and Tom Stoppard, for example, are far more likely to dramatize the encounter of ideas than he; but for a few years after 1599 or so, beginning with the creation of Brutus, Shakespeare seems to have devoted considerable attention to portraying how ideas impinge on the human experience, and especially to studying moral idealists. Leonato may doubt the importance of philosophical moralizing when he protests that "there was never yet philosopher / That could endure the toothache patiently" (Much Ado 5.1.35–36),1 but in Julius Caesar Brutus is determined to cure the toothaches of the Roman political world by the power [End Page 267] of thought and to govern his own life by the precepts of Stoicism. A group of Shakespeare's plays over the next few years are unusually idea-centered for him and are especially concerned with characters who try to apply moral ideas in the world. Hamlet with its intellectual protagonist comes to mind of course, but perhaps the most systematic exploration of idealists trying to live by their ideas is Measure for Measure. Angelo, Isabella, and the Duke set out on that project in a world that the play analytically divides into four environments for their moral testing: the court, the convent, the tavern-brothel, and the prison.The dramatic richness of this topic of practical ethics lies in how terribly difficult it is to live by a morality worthy of respect. Most of us share the admiration for Brutus's idealism in Antony's tribute, "This was the noblest Roman of them all" (5.5.68), but we may also share the irony, even contempt, in the sarcastic catchphrase of his oration, "Brutus is an honorable man" (3.2.84 and following). The tragedy of Brutus's fate emerges from the difficulties of living out any idealism in our tangled and terribly imperfect world. First, moral principles like the categorical imperative and the Golden Rule, admired character traits like constancy and benevolence, even intuitions (or, as it may be, divine inspirations) about duty do not apply themselves automatically and unambiguously to a decision how to act in a specific situation.2 What does treating human beings as ends, not means entail in your quotidian dealings with your wife, your boss, the dealer who sells you a newspaper? Second, rival values may conflict with a good you are trying to uphold. How can you devote yourself to your work and also give your family the love and attention they need? Third, the demands of the ideal may extend past the limits of your will power or even attention. How many teachers are as patient and understanding of the eightieth student paper as of the first? And, finally, living up to an ideal can be painful... (shrink)

Oleg B. Zaslavskii. The little in a non-Euclidean world: On the artistic space in Tom Stoppard's film and play “Rosencrantz and Guildenstern are dead”. It is shown that quite different aspects of Tom Stoppard’s work — spatial organization, relationship between reality and the conditional character of events, causality and narrative links, the problems of choice and personality — are united by the spatial one-sided model like the Möbius strip or Klein bottle. The artistic space turns out to be not orientable, (...) the time being cyclic. This enables us to explain the mutual exchange of names between Rosencrantz and Guildenstern and a number of other paradoxical features in the plot and composition. The model like the Möbius strip embodies the absence of a free choice: there is no other side in the world and there is no chance to escape from the fate indicated in the title of Tom Stoppard’s work. The relevance of topology, e.g. the property of a globalnature, is connected with the fact that a bearer of danger is the world as a whole. Apart from this, it points to the fact that such a structure of the world is essentially “non-Euclidean” and cannot be understood on the basis of observations from every-day life or “obvious” experiments like those carried out by Rosencrantz. (shrink)

Preliminary expectoration -- Alas a dirty third: the logic of death -- Thomas Bernhard's rant -- Following Sebald -- Tickling the corpse: Tom Stoppard's memento mori -- Don Rickles's rant -- Too late, my brothers -- Re: Barth.

Through the use of some purposeful anachronisms, Tom Stoppard uses his 1993 play Arcadia to explore the effects on man's psyche of the transition from Newton's Laws to the laws of thermodynamics and from thermodynamics to chaos theory. However, remarkably similar reactions to these changes are also reflected in works from the actual time periods following these shifts in scientific understanding. Modernist literature is believed by many to reflect a sense of depression about the implications of the second law of (...) thermodynamics, which is exemplified in T. S. Eliot's 1922 poem The Waste Land. Likewise, the comfort provided by the revisions to thermodynamics made by chaos theory are reflected frequently in contemporary popular culture, such as in the current television series Numb3rs. Through the invocation of science, all three works suggest that man is uncomfortable with too much predictability and that comfort can instead be found in chaos and unpredictability. (shrink)

Inspired by the work of prominent University of Notre Dame political philosophers Catherine Zuckert and Michael Zuckert, this volume of essays explores the concept of natural right in the history of political philosophy. The central organizing principle of the collection is the examination of the idea of natural justice, identified in the classical period with natural right and in modernity with the concept of individual natural rights. Contributors examine the concept of natural right and rights in all the manifold and (...) interdisciplinary dimensions associated with the Zuckerts’ oeuvre. Part I explores the theme of natural right in the ancient and medieval political philosophy of Plato, Xenophon, Aristotle, and St. Augustine. Part II examines the early modern break from the classical tradition in the work of Montaigne, Spinoza, Montesquieu, Locke, and Hegel as well as the legacy of the modern natural rights tradition as explored by Leo Strauss and Pope John Paul II. Part III treats the theme of natural rights from the Puritans through the Founding period in such figures as Thomas Jefferson and Gouverneur Morris and up to the Progressive era with Booker T. Washington and Theodore Roosevelt. Part IV addresses questions of natural justice in literature, including works of Euripides, Cervantes, Shakespeare, Edith Wharton, and Tom Stoppard. "In this collection compiled in honor of Catherine and Michael Zuckert, the contributors address a wonderful variety of serious issues in important literary and philosophic texts. Their topics range from Plato on piety to Stoppard on socialist utopianism, and from Aristotle and Augustine to Euripides, Locke, Hegel, Shakespeare, and Booker T. Washington. The volume stands as an impressive introduction to the liberal arts and a lively introduction to many great issues of liberalism, Christianity, justice, and liberty; it is also a tribute to the Zuckerts' breadth of study, teaching, and influence." —_Robert K. Faulkner, Boston College_. (shrink)

In the middle of the 18th century, a new fad found its way into the gardens of England's well-to-do: building fake Gothic ruins. Newly constructed castle towers and walls looked like they were already falling apart, even on the first day of their creation. Made of stone, plaster, or even canvas, these "sham ruins" are often considered an embarrassing blip in English architectural history. However, Sham Ruins: A User's Guide expands the specific example of the sham ruin into a general (...) principle to examine the way purposely broken objects can be used both to uncover old truths and invent new ones. Along with architecture, work by Ivan Vladislavić, Tom Stoppard, Alain Mabanckou, Aleksei Fedorchenko, Michael Haneke, and Sturtevant is used to develop this thesis, as well as artifacts such as pre-torn jeans, fake histories, and broken screen apps. Using these examples, one of the key questions the book raises is: What is it that sham ruins ruin? In other words, if real ruins are ruins of what they actually are, then sham ruins should be considered ruins of what they are not. Thus sham ruins are about imposing new meaning where such meaning does not and should not exist. They also can show how things we think are functioning well are actually already broken. Sham ruins do this, and much more, by being lies, ruses, and embarrassments. This is what gives them the power with which we can think about objects in new, unintended ways. (shrink)

For forty years, successive editions of Ethical Theory and Business have helped to define the field of business ethics. The 10th edition reflects the current, multidisciplinary nature of the field by explicitly embracing a variety of perspectives on business ethics, including philosophy, management, and legal studies. Chapters integrate theoretical readings, case studies, and summaries of key legal cases to guide students to a rich understanding of business ethics, corporate responsibility, and sustainability. The 10th edition has been entirely updated, ensuring that (...) students are exposed to key ethical questions in the current business environment. New chapters cover the ethics of IT, ethical markets, and ethical management and leadership. Coverage includes climate change, sustainability, international business ethics, sexual harassment, diversity, and LGBTQ discrimination. New case studies draw students directly into recent business ethics controversies, such as sexual harassment at Fox News, consumer fraud at Wells Fargo, and business practices at Uber. (shrink)

How wrong is it to deceive someone into sex by lying, say, about one's profession? The answer is seriously wrong when the liar's actual profession would be a deal breaker for the victim of the deception: this deception vitiates the victim's sexual consent, and it is seriously wrong to have sex with someone while lacking his or her consent.

In this paper, we develop an analysis of the structure and content of loneliness. We argue that this is an emotion of absence-an affective state in which certain social goods are regarded as out of reach for the subject of experience. By surveying the range of social goods that appear to be missing from the lonely person's perspective, we see what it is that can make this emotional condition so subjectively awful for those who undergo it, including the profound sense (...) of being unable to realise oneself, in collaboration with others. (shrink)

Nearly everyone prefers pain to be in the past rather than the future. This seems like a rationally permissible preference. But I argue that appearances are misleading, and that future-biased preferences are in fact irrational. My argument appeals to trade-offs between hedonic experiences and other goods. I argue that we are rationally required to adopt an exchange rate between a hedonic experience and another type of good that stays fixed, regardless of whether the hedonic experience is in the past or (...) future. (shrink)

The authors demonstrate that Hume's views can stand up to contemporary criticism and are relevant to current debates on causality.

In an influential paper, L. A. Paul argues that one cannot rationally decide whether to have children. In particular, she argues that such a decision is intractable for standard decision theory. Paul's central argument in this paper rests on the claim that becoming a parent is ``epistemically transformative''---prior to becoming a parent, it is impossible to know what being a parent is like. Paul argues that because parenting is epistemically transformative, one cannot estimate the values of the various outcomes of (...) a decision whether to become a parent. In response, we argue that it is possible to estimate the value of epistemically transformative experiences. Therefore, there is no special difficulty involved in deciding whether to undergo epistemically transformative experiences. Insofar as major life decisions do pose a challenge to decision theory, we suggest that this is because they often involve separate, familiar problems. (shrink)

Deflationists believe that the question “What is truth?” should be answered not by means of a metaphysical inquiry into the nature of truth, but by figuring out what use we make of the concept of truth, and the word ‘true’, in practice. This article accepts this methodology, and it thereby rejects pluralism about truth that is driven by ontological considerations. However, it shows that there are practical considerations for a pluralism about truth, formulated at the level of use. The theory (...) expounded by this article states that truth is a dual-purpose tool; it can be used as a device for transferring justificatory burdens and, for select areas of discourse, it can also be used as a standard, a norm. This contrast in how truth is used introduces a bifurcation in our discourse that is reminiscent of metaphysical divides traced by more traditional versions of alethic pluralism. However, my pluralism “at the level of use” states that truth is plural solely at the level of use. It is unified at both the conceptual as well as the metaphysical level. At those levels, the theory takes its cue from deflationism. As such, this theory is offered as a midway point and as a potential way forward in the debate between deflationism and pluralism. (shrink)

Most of us are “time-biased” in preferring pains to be past rather than future and pleasures to be future rather than past. However, it turns out that if you are risk averse and time-biased, then you can be turned into a “pain pump”—in order to insure yourself against misfortune, you will take a series of pills which leaves you with more pain and better off in no respect. Since this vulnerability seems rationally impermissible, while time-bias and risk aversion seem rationally (...) permissible, we are left with a puzzle. (shrink)

This anthology represents all of the most important points of view on the most pressing topics in bioethics. Containing current essays and actual medical and legal cases written by outstanding scholars from around the globe, this book provides readers with diverse range of standpoints, including those of medical researchers and practitioners, legal exerts, and philosophers.

'By identifying the extent to which Aristotle's thinking about ethics was shaped by notions drawn from the crafts Angier has thrown new light on a surprising number of topics and has deepened our understanding of tensions within Aristotle's thought. It is by now a rare achievement to have said something new, true and important about Aristotle.' -- Alasdair MacIntyre, Emeritus Professor of Philosophy, University of Notre Dame, USA.

To develop a theoretical framework for drawing moral distinctions between instances of sexual misconduct, I defend the “Ameliorative View” of consent, according to which there are three possibilities for what effect, if any, consent has: “fully valid consent” eliminates a wronging, “fully invalid consent” has no normative effect, and “partially valid consent” has an ameliorative effect on a wronging in the respect that it makes the wronging less grave. I motivate the view by proposing a solution to the problem of (...) characterizing the moral effect of consent that is given in response to minor coercion. (shrink)

Why is there female under-representation among philosophy majors? We survey the hypotheses that have been proposed so far, grouping similar hypotheses together. We then propose a chronological taxonomy that distinguishes hypotheses according to the stage in undergraduates’ careers at which the hypotheses predict an increase in female under-representation. We then survey the empirical evidence for and against various hypotheses. We end by suggesting future avenues for research.

Conservatives claim that all phenomenal properties are sensory. Liberals countenance non-sensory phenomenal properties such as what it’s like to perceive some high-level property, and what it’s like to think that p. A hallmark of phenomenal properties is that they present an explanatory gap, so to resolve the dispute we should consider whether experience has non-sensory properties that appear ‘gappy’. The classic tests for ‘gappiness’ are the invertibility test and the zombifiability test. I suggest that these tests yield conflicting results: non-sensory (...) properties lend themselves to zombie scenarios but not to inversion scenarios. Which test should we trust? Against Carruthers & Veillet (2011), I argue that invertibility is not a viable condition of phenomenality. In contrast, being zombifiable is credibly necessary and sufficient for phenomenality. I conclude that there are non-sensory properties of experience that are ‘gappy’ in the right way, and that liberalism is therefore the most plausible position. (shrink)

In this paper we focus on a kind of perceptual states that we call perceptual motivations, that is, perceptual experiences that plausibly motivate us to act, such as itching, perceptual salience and pain. Itching seems to motivate you to scratch, perceiving a stimulus as salient seems to motivate you to attend to it and feeling a pain in your hand seems to motivate actions such as withdrawing from the painful stimulus. Five main accounts of perceptual motivation are available: Descriptive, Conative, (...) Imperativist, Reflexive and Dual Content views. Some of these have been developed in detail and others are natural extensions of existing views. However, we argue that none provides a satisfactory account of the target perceptual states. Driven by the failings of each account, we identify three conditions that any satisfactory theory of perceptual motivation must meet: Direct Motivational Force, Non-Obligatory Force and Intention-Independent Influence. Then we offer an account that attempts to fulfil these conditions: the Affordance Model. This model of perceptual motivation is premised on the claim that each of the target states involves the perception of a specific affordance for action and the triggering of Automatic Motor Initiations (AMIs). We suggest that AMIs can explain the motivational force of these perceptual states. (shrink)

The distinction between clinical research and clinical practice directs how we partition medicine and biomedical science. Reasons for a sharp distinction date historically to the work of the National Commission for the Protection of Human Subjects of Biomedical and Behavioral Research, especially to its analysis of the “boundaries” between research and practice in the Belmont Report (1978). Belmont presents a segregation model of the research-practice distinction, according to which research and practice form conceptually exclusive sets of activities and interventions. This (...) model is still the standard in federal regulations today. However, the Commission’s deliberations and conclusions about the boundaries are more complicated, nuanced, and instructive than has generally been appreciated. The National Commission did not conclude that practice needs no oversight comparable to the regulation of research. It debated the matter and inclined to the view that the oversight of practice needed to be upgraded, though the Commission stopped short of proposing new regulations for its oversight, largely for prudential political reasons. (shrink)

In the debate on the basis of moral equality, one conclusion achieves near consensus: that we must reject all accounts that ground equality in the possession of some psychological capacity (Psychological Capacity Accounts). This widely held view crystallises around three objections. The first is the Arbitrariness Objection, which holds that the threshold at which the possession of the relevant capacities places an individual within the required range is arbitrary. The second is the Variations Objection, which holds that there is rational (...) pressure to acknowledge that variations in psychological capacities between individuals are morally relevant. The third is the No Rational Agency Objection, according to which Psychological Capacity Accounts have unpalatable implications for our treatment of humans who do not possess the relevant capacities. We develop a Psychological Capacity Account based on the capacity for a conception of the good and offer a novel defence of the account against these objections. (shrink)

I argue that it is possible for a subject to undergo experiences of emotional absence, during which she becomes aware of her own failure to be moved by the world around her. Just as a part of one's body feels numb when it manifestly fails to incur the ordinary sensory consequences of transactions at the surface of the skin, so an individual feels emotional absence when her affective condition manifestly fails to vary in predictable ways as she navigates her surroundings. (...) Experiences of emotional absence, such as feeling numb with shock or grief, feeling unamused, or feeling fearless, are not simply flat or neutral states of awareness, but can bear psychological and epistemic significance for the agent. (shrink)

According to a standard view, the physical boundary of the person—the skin-and-skull boundary—matters morally because this boundary delineates between where the person begins and the world ends. On the basis of this view we make a distinction between invasive interventions that penetrate this boundary and non-invasive interventions that do not. The development of neuroprosthetics, however, raises questions about the significance of this boundary and the relationship between person and body. In particular it has been argued by appeal to the Extended (...) Mind thesis that mind and person can extend beyond the body, and hence the skin-and-skull boundary is of questionable significance. In this paper I argue that the Extended Mind thesis is consistent with the ethical relevance of the skin-and-skull barrier. Although it can be argued that cognitive processes and aspect of mind can extend beyond the skin-and-skull boundary as EM claims, it does not follow that the person is also extended beyond this boundary. The moral sense of person is closely related to the notion of person as a subject of experiences and this, in turn, is related to the sensory and somatosensory aspects of the body. The development of neuroprosthetics provides us with reason to see that persons can be variously embodied, but this is consistent with the functional and ethical significance of the skin-and-skull boundary. (shrink)

In Wrongs and Crimes, Victor Tadros clarifies the debate about whether consent needs to be communicated by separating the question of whether consent requires expressive behaviour from the question of whether it requires “uptake” in the form of comprehension by the consent-receiver. Once this distinction is drawn, Tadros argues both that consent does not require uptake and that consent does not require expressive behaviour that provides evidence to the consent-receiver. As a result, Tadros takes the view that consent requires an (...) attempt to communicate, but nothing more. While I have found Tadros’s arguments for this conclusion intriguing and challenging, I am yet to be persuaded by them. In this essay, I try to say why. (shrink)

Can the theory that reality is a simulation be tested? We investigate this question based on the assumption that if the system performing the simulation is nite (i.e. has limited resources), then to achieve low computational complexity, such a system would, as in a video game, render content (reality) only at the moment that information becomes available for observation by a player and not at the moment of detection by a machine (that would be part of the simulation and whose (...) detection would also be part of the internal computation performed by the Virtual Reality server before rendering content to the player). Guided by this principle we describe conceptual wave/particle duality experiments aimed at testing the simulation theory. (shrink)