I argue that a popular view about self-locating evidence implies that there are cases in which agents have surprisingly strong evidence for their own reincarnation. The central case is an ‘Immortal Beauty' scenario, modelled after the well-known Sleeping Beauty puzzle. I argue that if the popular ‘thirder’ solution to the puzzle is correct, then Immortal Beauty should be confident that she's going to be reincarnated. The essay also examines another pro-reincarnation argument due to Michael Huemer (2021). I (...) argue that his argument fails, and that my argument establishes an alternative way in which mere existence can be evidence for reincarnation. I then examine whether my result generalizes. (shrink)

In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside (...) as well. (shrink)

To what extent does dance contribute to an ideal of beauty that can enrich human quality of life? To what extent are standards of beauty predicated on an ideal human body that has no disability? In this chapter, we show how conceptions of proportionality, perfection, and ethereality from the Ancient Greeks through the 19th century can still be seen today in some kinds of dance, particularly in ballet. Disability studies and disability-inclusive dance companies, however, have started to change (...) this. The disabled person can be beautiful, we will show, in dance and in life, under a disability aesthetics that follows Edmund Burke (1730-1797) and that suggests an alternative standard of beauty, which we call “beauty-in-experience,” where beauty is perceived in the qualitative experience of abled and disabled dancers moving together in dance. (shrink)

It is shown through examples ranging from Parmenides and Plato to Whitehead and Wittgenstein that beauty is central among the values that have made metaphysical theories appealing and credible. A common attitude would be that the aesthetic properties of metaphysical theories may be important for effective presentation but are irrelevant to the cognitive value of the theories. This however is question-begging, since it assumes without argument that ultimate reality is indifferent to ’value considerations’ such as beauty. If on (...) the contrary we allow that the aesthetic properties of theories may be cognitively relevant, which such properties should be considered? This question is explored in the final section of the paper. (shrink)

In two excellent recent papers, Jacob Ross has argued that the standard arguments for the ‘thirder’ answer to the Sleeping Beauty puzzle lead to violations of countable additivity. The problem is that most arguments for that answer generalise in awkward ways when he looks at the whole class of what he calls Sleeping Beauty problems. In this note I develop a new argument for the thirder answer that doesn't generalise in this way.

Reasoning that takes into account self-locating evidence in apparently plausible ways sometimes yields the startling conclusion that rational credences are such as if agents had bizarre causal powers. The present paper introduces a novel version of the Sleeping Beauty problem—Choosing Beauty—for which the response to the problem advocated by David Lewis unappealingly yields this conclusion. Furthermore, it suggests as a general desideratum for approaches to problems of self-locating belief that they should not recommend credences that are as if (...) anyone had anomalous causal powers. Adopting this desideratum, as the paper shows, yields uniformly plausible verdicts on the most-discussed problems of self-locating belief. (shrink)

This essay shows how, in Shakespeare’s Antony and Cleopatra, the relation between the protagonists can be seen as an insurmountable contrast between two different cultures – on the one hand, the “diurnal” and “rational” culture of Rome and, on the other hand, the “nocturnal” and “passionate” culture of Egypt –, but also as an opposition between two different ways of understanding the relation between illusion and reality, appearance and truth, and thus between theatre and life. More specifically, what emerges is (...) the awareness that art, embodied in Cleopatra’s beauty, constantly reminds us of the unredeemable finitude and transience of the human being, who is inevitably immersed in time. In this light, if art is able to become a manifestation of truth, the fact remains that such truth, as final sense, is something that art can “show”, but only to indicate its perpetually elusive character. It is indeed a truth which, like the indecipherable secret kept in the Mausoleum, cannot be “told” or “represented” once and for all. (shrink)

Aesthetics in philosophy of mathematics is too narrowly construed. Beauty is not the only feature in mathematics that is arguably aesthetic. While not the highest aesthetic value, being interesting is a sine qua non for publishability. Of the many ways to be interesting, being explanatory has recently been discussed. The motivational power of what is interesting is important for both directing research and stimulating education. The scientific satisfaction of curiosity and the artistic desire for beautiful results are complementary but (...) both aesthetic. (shrink)

This chapter contains section titled: Background for Hume's Views Beauty, Virtue, and the Double Association Beauty and Virtue as Powers of Producing Pleasure Beauty, Utility, and Sympathy Sympathy and the Standard of Virtue Beauty and Virtue in Hume's Later Philosophy The Standard of Taste More on Delicacy and the Pleasures of Beauty Beauty and Morality in “Of the Standard of Taste” References Further Reading.

Elga's presentation of The Sleeping Beauty Problem is often misread, with analyses that impute extra premises and derive false answers to the problem as Elga presented it. Here it is shown that hewing to the text requires that the Sleeping Beauty's degree of belief in a coin flip upon her first awakening is 1/2.

This chapter contains sections titled: Evolution and Climbing Fallacies and Evolutionary Theory Climbing and Evolution and Pleasure Ethics Notes.

Kant’s concern for the universal validity of aesthetic judgment turns on its providing a needed bridge between our understanding of the world as governed by mechanical laws and our ability freely to realize our true humanity. That obliges us to find beauty in nature that is expressive of our ethical and moral values. It shapes the way we should understand aesthetic judgment itself.

Individual differences in bodily beauty result in significant differences in life outcomes. Some such differences seem unwarranted. On this basis, various authors have argued that there is a kind of discrimination—lookism—that affects those who are aesthetically disadvantaged. Several strategies have been proposed to address lookism. One aim of this paper is to draw a distinction between two sorts of anti-lookist strategies. Redistributive approaches propose to alter the current distribution of beauty, either by broadening beauty standards, or by (...) giving individuals more options to improve their appearance. Revisionary approaches argue that we should drop our current conception of human beauty in favour of one that is more compatible with social justice goals. Another aim of the paper is to argue that two problems posed by revisionary strategies represent a prima facie reason to prefer redistributive ones. Both problems are rooted in a trade-off between value and justice that is characteristic of revisionary approaches. (shrink)

In this paper, I argue for a view largely favorable to the Thirder view: when Sleeping Beauty wakes up on Monday, her credence in the coin’s landing heads is less than 1/2. Let’s call this “the Lesser view.” For my argument, I (i) criticize Strict Conditionalization as the rule for changing de se credences; (ii) develop a new rule; and (iii) defend it by Gaifman’s Expert Principle. Finally, I defend the Lesser view by making use of this new rule.

Ravasio (2023) recently presents an interesting discussion of strategies to deal with lookism. He categorizes strategies into revisionary and redistributive ones and argues for a case against the former. This note is a critical response to both the taxonomy and the evaluation. I argue that the taxonomy needs to be improved and that the case against revisionary strategies cannot be maintained.

Islāmic aesthetic is an outcome of Islāmic civilisation based on Islāmic metaphysics and theology and emphasizes that God is the origin or source of all art and thought, including various art forms. Thus, the essences or forms of all things have their reality in the Divine Wisdom or Intellect (Al-‘Aql-i-Awwal). Islāmic conception of art and beauty has its origin in Islāmic Weltanschauung, so, each object of beauty in nature reflects the Creative and Aesthetic aspect of Jamīl Allāh with (...) His Jamāl. Generally, in Muslim world, art and beauty are almost neglected ones, so, they are not given significant and sufficient importance because of some unauthentic and false notions and consequently, we have almost lost this pristine Islāmic heritage and now we must revisit it and realise its vital function and role in our socio-political and ethico-spiritual life. Islāmic aesthetics has a significant role in the cultural tradition of Islāmic Ummah, so it must be revitalised for a peaceful life’s onward caravan. In the present paper, an effort has been made to discuss the etymological meaning of ‘aesthetics’ in general and the main features of Islāmic conception of aesthetics, including art and beauty, in particular, along with various Islāmic art-forms. Philosophy and Progress, Vol#69-70; No#1-2; Jan-Dec 2021 P 119-144. (shrink)

According to Stephen Davies, there is no such thing as free beauty. Using actual and imaginary examples, he tries to show that our aesthetic evaluations of objects inevitably pay heed to the kinds to which they belong or in which we judge them to belong. His examples are not as compelling as he thinks, however. Furthermore, nature looked at through a microscope (or a telescope) provides us with a particular class of counter-examples which have not been dealt with by (...) Davies and which put considerable pressure on his account. (shrink)

What degrees of belief does Sleeping Beauty's evidence support? That depends.

Although Plotinus’ two treatises on beauty could be taken to reflect an evolution in his thought, a careful examination shows that he consistently argues for a conception of beauty as the illuminated unity in multiplicity of the Intellect.

I offer a set of sufficient conditions for beauty, drawing on Parsons and Carlson’s account of ‘functional beauty’. First, I argue that their account is flawed, whilst falling short of...

The Sleeping Beauty problem has spawned a debate between “thirders” and “halfers” who draw conflicting conclusions about Sleeping Beauty's credence that a coin lands heads. Our analysis is based on a probability model for what Sleeping Beauty knows at each time during the experiment. We show that conflicting conclusions result from different modeling assumptions that each group makes. Our analysis uses a standard “Bayesian” account of rational belief with conditioning. No special handling is used for self-locating beliefs (...) or centered propositions. We also explore what fair prices Sleeping Beauty computes for gambles that she might be offered during the experiment. (shrink)