Adrian M. S. Piper

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 1 These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular works of art. These presuppositions are sensible rather than intellectual because on Kant’s view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant’s view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects.

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the...

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the...

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the...

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the...

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the...

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the...

Editor's note: Adrian Piper is a conceptual artist whose work from the past twenty-five years has included performances, graphic art, and installation pieces. Always provocative, Piper seeks to challenge viewers' assumptions about the nature of art, aesthetic response, and modes of evaluating by creating art that involves issues of gender and race. Piper uses political art to confront viewers with emotionally charged environments that preclude our maintaining a safe, aesthetically distanced stance toward the subject matter. being forced to confront our own prejudices, both emotionally and aesthetic ally, we undergo a process of change that is both cognitive (evidenced by how our interpretations of the work change and evolve) and affective (resulting in a higher level of social awareness and sensitivity). Thus, according to Piper, political art has "the potential for furnishing a forceful antidote to racism." The following two statements consist of text written by Piper and recorded on audiotapes for two installation pieces, "Four Intruders Plus Alarm Systems" (1980) and "Safe" (1990).

Adrian Piper joins the ranks of writer-artists who have provided much of the basic and most reliable literature on modern and contemporary art. Out of Order, Out of Sight is an artistic and intellectual autobiography and an (occasionally scathing) commentary on mainstream art, art criticism, and American culture of the last twenty-five years. Piper is an internationally recognized conceptual artist and the only African American in the early conceptual art movement of the 1960s. The writings in Out of Order, Out of Sight trace the development of her thinking about her artwork and the art world, and her evolving awareness of herself as a creative, racial, and gendered subject situated in an often limiting and always absurd cultural and social context.

In our dealings with young children, we often get them to do or think things by arranging their environments in certain ways; by dissembling, simplifying, or ambiguating the facts in answer to their queries; by carefully selecting the states of affairs, behavior of others, and utterances to which they shall be privy. We rightly justify these practices by pointing out a child's malleability, and the necessity of paying close attention to formative influences during its years of growth. This filtering of influences is necessary, we point out, if children are ever to reach a degree of maturity and inner stability that will enable them to understand and cope adequately with the complexities, contradictions, and difficulties of the world from which we now seek to shield them. Thus a child's eventual state of competence, maturity, and autonomy adequately justifies our current practices of manipulation and selection of his environment: such practices are rightly held to be ultimately in the child's best interests as an adult. There is no future state of things with reference to which the Utilitarian night justify his policy of secrecy and manipulation, and in light of which this policy night eventually be dispensed with and commonly validated, in retrospect, as a means to the worthwhile goal of moral maturity. That is, there is no point at which the attitude of the Utilitarian to the rest of the community can develop past the analogous attitude of the parent towards the child; no point at which the Utilitarian might eventually bear to others a relationship of mutual acknowledgement and respect as mature, autonomous, moral adults. The consistent Utilitarian, then, largely regards himself as if he were the only adult in a community of children.

I want to examine the implications of a metaphysical thesis which is presupposed in various objections to Rawls' theory of justice.Although their criticisms differ in many respects, they concur in employing what I shall refer to as the continuity thesis. This consists of the following claims conjointly: (1) The parties in the original position (henceforth the OP) are, and know themselves to be, fully mature persons who will be among the members of the well-ordered society (henceforth the WOS) which is generated by their choice of principles of justice. (2) The OP is a conscious event among others, integrated (compatibly with the constraints on knowledge and motivation imposed on the parties) into the regular continuity of experience that comprises each of their ongoing constitutes lives. (3) The parties in the OP thus are, and regard themselves as, psychologically continuing persons, partially determined in personality and interests by prior experiences, capable of recollection and regret concerning the past, anticipation and apprehensiveness regarding the future, and so on. Although the continuity thesis as stated above is not at odds with any of the conditions that define the OP, its exegetical validity is a matter for discussion. I shall be concerned to argue that if it is indeed contained in or a consequence of Rawls' theory, then it casts into doubt the capacity of the OP to generate or justify any principles of justice at all. On the other hand, if the continuity thesis is viewed as dispensable and unnecessary to the Rawlsian enterprise, then Rawls is correct in maintaining the irrelevance of the question of personal identity to the construction of his moral theory. In this case, the contract-theoretic, instrumentalist justification for the two principles of justice (henceforth the 2PJ) needs to be supplanted by a modified conception of wide reflective equilibrium. The considerations that form the bulk of this discussion then may be understood as providing a rationale for Rawls' recent revisions in the model of justification on which his theory of justice rests, and for his increasing emphasis on us as moral mediators between the OP and the WOS. Now I want to consider the question of whether or not, given the textual evidence, anything like the continuity thesis is stated or implied by Rawls, and what problems for his theory, if any, turn on a positive or negative answer to this question.

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular works of art. These presuppositions are sensible rather than intellectual because on Kant’s view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant’s view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects.

My intellectual journey in philosophy proceeded along two mountainous paths that coincided at their base, but forked less than halfway up the incline. The first is that of my philosophical development, a steep but steady and continuous ascent. It began in my family, and accelerated in high school, art school, college, and graduate school. Those foundations propelled my philosophical research into the nature of rationality and its relation to the structure of the self, a long-term project focused on the Kantian and Humean metaethical traditions in Anglo-American analytic philosophy. It would have been impossible to bring this project to completion without the anchor, compass, and conceptual mapping provided by my prior, longstanding involvement in the practice and theory of Vedic philosophy. The second path is that of my professional route through the field of academic philosophy, which branched onto a rocky detour in graduate school, followed by a short but steep ascent, followed next by a much steeper, sustained descent off that road, into the ravine, down in flames, and out of the profession. In order to reach the summit of the first path, I had to reach the nadir of the second. It was the right decision. My yoga practice cushioned my landing.

The two kinds of discrimination I want to talk about are political discrimination and cognitive discrimination. By political discrimination, I mean what we ordinarily understand by the term "discrimination" in political contexts: A manifest attitude in which a particular property of a person which is irrelevant to judgments of that person's intrinsic value or competence, for example his race, gender, class, sexual orientation, or religious or ethnic affiliation, is seen as a source of disvalue or incompetence; in general, as a source of inferiority.By cognitive discrimination, I mean what we ordinarily understand by the term "discrimination" in cognitive contexts: A manifest capacity to distinguish veridically between one property and another, and to respond appropriately to each. I want to explore the relation between these two kinds of discrimination, and to argue that the first type of discrimination depends upon a failure of the second.

That human beings have the potential for rationality and the ability to cultivate it is a fact of human nature. But to value rationality and its subsidiary character dispositions - impartiality, intellectual discrimination, foresight, deliberation, prudence, self-reflection, self-control - is another matter entirely. I am going to take it as a given that if a person's freedom to act on her impulses and gratify her desires is constrained by the existence of others' equal, or more powerful, conflicting impulses and desires, then she will need the character dispositions of rationality to survive. The more circumscribed one's freedom and power, the more essential to survival and flourishing the character dispositions of rationality and the spirit may become.

The purpose of this discussion is twofold. First, I want to shed some light on Kant's concept of personhood as rational agency, by situating it in the context of the first Critique's conception of the self as defined by its rational dispositions. I hope to suggest that this concept of personhood cannot be simply grafted onto an essentially Humean conception of the self that is inherently inimical to it, as I believe Rawls, Gewirth, and others have tried to do. Instead I will try to show how deeply embedded this concept of personhood is in Kant's conception of the self as rationally unified consciousness. Second, I want to deploy this embedded concept of personhood as the basis for an analysis of the phenomenon of xenophobia.

Indian and Classical Greek philosophical traditions both recommend that we structure our lives around the performance of certain kinds of actions as daily and regular habits. Under some circumstances and for some individuals, this means merely doing what comes naturally. For others, it requires varying degrees of self-control. For yet others, adhering to these practices is impossible or unimportant, beyond the scope of their interests or abilities. I want to take issue with one familiar answer to the question of why this is, and to suggest a different one.

I want to examine critically a certain strategy of moral justification which I shall call instrumentalism. By this I mean the view that a moral theory is rationally justified if the actions, life-plan, or set of social arrangements it prescribes can be shown to be the best means to the achievement of an agent's final ends, whatever these may be. Instrumentalism presupposes a commitment to what I shall call the Humean conception of the self. By this I mean a certain way of conceiving the motivational and structural constituents of the self. Briefly, the self on this conception is motivated by its desires for states of affairs that are temporally or spatiotemporally external to the self. And it is structured by the normative requirements of instrumental rationality: The self is conceived as rationally coherent to the extent that theoretical reason calculates and schedules the satisfaction of as many of its desires as possible, with the minimum necessary costs. The motivational and structural elements of the Humean conception of the self combine to form a familiar explanatory model of human agency: We make sense of an agent's behavior by ascribing to her the desire to achieve the ends that she does in fact achieve, and the theoretically rational belief that, given the information and resources available to her, behaving as she did was the most efficient way to do so. I shall want to argue that to the extent that instrumentalism is successful in providing an objective justification of a moral theory - and I shall contend that it cannot be completely successful - it cannot provide a moral justification. But when we attempt to modify it so as to produce a specifically moral justification, we see that either it is impossible to do this, or else the Humean notion of instrumental rationality is doing no justificatory work.

Most moral theories share certain features in common with other theories. They consist of a set of propositions that are universal, general, and hence impartial. The propositions that constitute a typical moral theory are (1) universal, in that they apply to all subjects designated as within their scope. They are (2) general, in that they include no proper names or definite descriptions. They are therefore (3) impartial, in that they accord no special privilege to any particular agent's situation which cannot be justified under (2) and (3). These three features do not distinguish moral theories from other theories, nor indeed from most general categorical propositions we assert. Yet, in recent years, these features of moral theories have been the target of a certain concerted and sustained criticism, namely, that to be committed to such a moral theory, or to aspire to act in accordance with its requirements, results in what has come to be known as moral alienation. Moral alienation, according to this criticism, consists in (i) viewing one's ground projects from an impersonal, "moral point of view" engendered by one's acceptance of the theory; (ii) being prepared to sacrifice these projects to the requirements of moral principle; and (iii) making such a sacrifice specifically and self-consciously in order to conform to these requirements. Moral alienation is said to manifest itself in one (or both) of two ways, depending on the nature of the project thus susceptible to sacrifice. One may be alienated from oneself, if the project consists of tastes, convictions, or aspirations that are centrally definitive of one's self. In this case one's commitment to the project can be at best conditional on its congruence with one's moral theory. It is claimed that this must make for a rather tepid and unenthusiastic commitment indeed. Alternatively, one may be alienated from others, if the project is an interpersonal relationship such as a friendship, marriage, or collegial relationship. In this case one's responses to the other are motivated by one's awareness of what one's moral theory requires. It is claimed that this obstructs a genuine and unmediated emotional response to the other as such. My aim here will be to argue that this very compelling criticism - call it the moral-alienation criticism - is nevertheless misdirected. The real culprit is not any particular moral theory, but rather a certain familiar personality type that may or may not adopt it.

Historically, the view, prevalent in contemporary economics and decision theory as well as philosophy, that rational action consists simply in satisfying one’s desires, whatever they may be, as efficiently as possible, is to be found first in Book II of Hume’s Treatise of Human Nature. This view has counterintuitive and self-refuting implications, in that it recognizes as rational behavior that may reveal a clear degree of irresponsibility or psychological instability. Accordingly, many Hume scholars have tried to show recently that this view was not Hume’s; and that, on the contrary, Hume did supply an account of rational final ends--in his discussion of the calm passions, the “steady and general view” that corrects the biases and contingencies of an individual’s desires and perceptions, and elsewhere. But a detailed reconstruction of Hume’s views on these matters that assembles all the relevant texts does not support this thesis. Instead, it undermines it. Hence the counterintuitive and self-refuting implications of Hume’s view of rational action must be allowed to stand.

In an earlier discussion, I argued that Kant's moral theory satisfies some of the basic criteria for being a genuine theory: it includes testable hypotheses, nomological higher-and lower-level laws, theoretical constructs, internal principles, and bridge principles. I tried to show that Kant's moral theory is an ideal, descriptive deductive-nomological theory that explains the behavior of a fully rational being and generates testable hypotheses about the moral behavior of actual agents whom we initially assume to conform to its theoretical constructs. I argued that the moral "ought" is best understood as the "ought" of tentative prediction expressed in the range of uses of the German sollen; and that the degree to which such a theory is well-confirmed is a function of the degree to which we actually judge individual human agents, on a case-by-case basis, to be motivated by rationality, stupidity, or moral corruption in their actions. I assume that a similar case could be made for other major contenders, such as Utilitarianism or Aristotelianism. But there still remains unanswered the question of which of these theories is the best among the available alternatives. To answer this question, further criteria of selection must be invoked. Among these are structural elegance and explanatory simplicity, but even these do not exhaust the desiderata for an adequate moral theory. More pressing in the case of moral theory is the requirement that the theory enable us to understand all the available data of moral experience; that the theory be sufficiently inclusive that in the formulation of its descriptive laws and practical principles, it be capable of identifying as morally significant all the behavior to which moral praise, condemnation, or acquittal is a relevant and appropriate response.

This essay attempts to render intelligible (you will pardon the pun) Kant's peculiar claims about the intelligible at A 539/B 567 – A 541/B 569 in the first Critique, in which he asserts that (1) ... [t]his acting subject would now, in conformity with his intelligible character, stand under no temporal conditions, because time is only a condition of appearances, but not of things in themselves. In him no action would begin or cease. Consequently it would not be subjected to the law of all determination of everything alterable in time: everything which happens finds its causes in the appearances (of the previous state). In a word, his causality, in so far as it is intellectual, would not stand in the series of empirical conditions which the event in the world of sense makes necessary. (A 539/B 567 - A 540/B 568) ... in so far as it is noumenon, nothing happens in him, no alteration which requires dynamical determination in time .... One would quite rightly say of him, that it of itself begins his effects in the world of sense, without the action's beginning in him himself ... (A 541/B 569)2 What does Kant mean by claiming that intellectual causality is such that in one's intelligible character as noumenal agent, actions neither begin nor end, nor does anything happen in one? Do these claims have meaning merely by contrast to the familiar experience of empirical causality, in which actions have discrete durations and events occur? Is he merely inferring from this familiar sensible experience an ontologically and metaphysically independent, epistemically inaccessible "world," which can be conceptualized only through the negation of those terms and propositions that characterize this one? Or is he offering a..

I wish to defend the claim that given the content and structure of any moral theory we are likely to find palatable, there is no way of uniquely breaking down that theory into either consequentialist or deontological elements. Indeed, once we examine the actual structure of any such theory more closely, we see that it can be classified in either way arbitrarily. Hence if we ignore the metaethical pronouncements often made by adherents of the consequentialist-deontological distinction, we are quickly led to the conclusion that this distinction contributes nothing of consequence to an understanding of moral theory. I will try to show that there are basically two reasons for this. First, what we mean by the terms endemic to the consequentialist-deontological distinction have no unique references to particular states of affairs in actual cases of moral decision making. Hence we may justify any such concrete moral decision by reference to typically consequentialist or deontological reasoning indifferently. Second, scrutiny of actual and viable moral theories reveals a much finer-grained structure than the consequentialist-deontological taxonomy can capture. And it is this structure, rather than simple attention to consequences or principles, that determines practical moral decision making. We would thus do better to develop the richer vocabulary of causes and constituents, goals and effects, states and events (mental, social, or physical). So in the end, the consequentialist-deontological distinction is irrelevant at the normative level of actual moral reasoning, whereas at the metaethical level it crudely schematizes two opposing types of dummy theory, neither of which is convincing, upon reflection, to any practicing moral philosopher.

The aim of this discussion is twofold.* First, I shall scrutinize certain prevailing rationales for enlisting for military service and show that these justifications are inadequate to meet the military’s recruiting needs. Larger numbers of enlistees who are fully equipped, both in technical skills and morale, for combat readiness are in great demand, but the arguments used to recruit potential enlistees are self-defeating. I shall show how and why they attract volunteers who are rendered singularly unfit to meet these demands by those very arguments themselves.