J. David Velleman

“What do you see when you look at your face in the mirror?” asks J. David Velleman in introducing his philosophical theory of action. He takes this simple act of self-scrutiny as a model for the reflective reasoning of rational agents: our efforts to understand our existence and conduct are aided by our efforts to make it intelligible. Reflective reasoning, Velleman argues, constitutes practical reasoning. By applying this conception, _Practical Reflection_ develops philosophical accounts of intention, free will, and the foundation of morals. This new edition of _Practical Reflection_ contains the original 1989 text along with a new introduction and is the latest entry in The David Hume Series of Philosophy and Cognitive Science Reissues, which keeps in print previously published indispensable works in the area of cognitive science. _ _ _ _.

In How We Get Along, philosopher David Velleman compares our social interactions to the interactions among improvisational actors on stage. He argues that we play ourselves - not artificially but authentically, by doing what would make sense coming from us as we really are. And, like improvisational actors, we deal with one another in dual capacities: both as characters within the social drama and as players contributing to the shared performance. In this conception of social intercourse, Velleman finds rational grounds for morality, though not a rational guarantee. He maps a middle course between skepticism and rationalism, arguing that practical reasoning is 'pro-moral' without requiring moral action. The result is what he calls a 'Kinda Kantian metaethics'. How We Get Along is the summation of Velleman's thinking to date, incorporating and unifying previous work on agency, the self, the emotions, narrative and Kantian moral theory.

As a philosopher of action, I might be expected to believe that the will is a good thing. Actually, I believe that the will is a great thing - awesome, in fact. But I'm not thereby committed to its being something good. When I say that the will is awesome, I mean literally that it is a proper object of awe, a response that restrains us from abusing the will and moves us rather to use it respectfully, in a way that does it justice. To say that the will is a good thing, however, would imply that having a will is better than not having one, or that using it is better than not using it - neither of which I am prepared to assert as a general rule. Speaking metaphorically, I would say that the will is like a magic wand. In fairy tales, the character who looks upon a magic wand as an unalloyed good is destined to be sadder but wiser in the end. Being a magician isn't better than being an ordinary human, just different; and a magician must value his powers by respecting them and therefore using them appropriately, even sparingly, not by using them as much as possible.

I reconstruct Kant's derivation of the Categorical Imperative (CI) as an argument that deduces what the voice of conscience must say from how it must sound - that is, from the authority that is metaphorically attributed to conscience in the form of a resounding voice. The idea of imagining the CI as the voice of conscience comes from Freud; and the present reconstruction is part of a larger project that aims to reconcile Kant's moral psychology with Freud's theory of moral development. As I reconstruct it, Kant's argument yields an imperative commanding us to act for reasons whose validity we can consistently will to be common knowledge among all agents. Universalizing a maxim thus turns out to consist in willing, not that there be some universally quantified rule of conduct, but rather that a principle of practical reasoning be common knowledge - as a principle of reasoning ought to be.

Should a principle of charity be applied to the interpretation of the colour concepts exercised in visual experience? We think not. We shall argue, for one thing, that the grounds for applying a principle of charity are lacking in the case of colour concepts. More importantly, we shall argue that attempts at giving the experience of colour a charitable interpretation either fail to respect obvious features of that experience or fail to interpret it charitably, after all. Charity to visual experience is therefore no motive for resisting the natural, Galilean response to a scientific understanding of light and vision. The best interpretation of colour experience ends up convicting it of widespread and systematic error.