Andrea Sauchelli

Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (in some of its versions) is not threatened by their examples and arguments.

I propose a new account of the limits of aesthetic testimony. One of this new account's main claims is that, among the kinds of aesthetic cognitive achievements, it is useful to distinguish aesthetic understanding. In particular, I suggest that the aesthetic understanding of X involves an understanding of why X is aesthetically valuable. In turn, aesthetic understanding is essentially connected to the deployment of aesthetic concepts. Given the fine-grained structure of some of these concepts, certain forms of testimony are not adequate to acquire them.

The notion of architectural experience has been explored by Roger Scruton in an essay in which he provides an account of both its structure and content, along with clarifications of certain key concepts in architectural criticism, such as architectural success and architectural beauty. In this article, I introduce Scruton’s theory and argue that, despite its intuitive appeal, some crucial elements for the appreciation of buildings as works of architecture are not adequately addressed there. I then propose various ways of addressing these criticisms

The Centred View offers an account of the connection between imagination and possibility that combines the centred world framework with some allegedly appealing intuitions regarding our persistence over time. In particular, Dilip Ninan suggests that the Centred View has the theoretical advantage of respecting our intuitions about cases of personal identity in certain imaginative scenarios while also being compatible with physicalism. Unfortunately, the Centred View faces a series of serious objections and should ultimately be rejected.

Metaphysical egoism pursues what Gregory Kavka called ‘the reconciliation project’ (roughly, the project of reconciling the demands of morality with our rational self-interest) by appealing to one version of the psychological approach to personal identity. I argue that, for reasons related to its commitment to an implausible understanding of the notion of a psychological connection, this form of egoism is not plausible. I also explore one way in which metaphysical egoism may be amended, but I ultimately reject it.

Your replica is created on Mars and you, on Earth, are destroyed. Parfit claims that your replica may still have what prudentially matters for you – provided that you are psychologically connected and continuous with your replica. If someone accidentally destroys the tapes containing your psychological profile used in the production of your replica and this same action fortuitously produces a functionally equivalent tape, Ehring claims that Parfit should maintain that the resulting new individual may still have what matters. Nihilism about what matters follows, or so Ehring claims. I argue that Ehring is wrong and that the difference between the two ways of creating a replica is not trivial – there is no trivial survival.

I provide a simple solution to the problem of determining the characterising feature(s) of the simple approach to personal identity, sometimes also called the simple view: instead of focusing on claims regarding the analysability, reducibility, or triviality of the concepts used in simple theories of personal identity, I propose instead a metaphysical criterion to define this approach. In particular, I claim that the simple approach is (best seen as) that family of theories according to which personal identity is a relation that essentially depends on a mereologically simple (or impartite) entity the existence and features of which may be known directly (e.g., by introspection) or indirectly (e.g., by deduction from a series of other premises).

I argue that the current methodology employed to study imaginative resistance should not be used to draw general conclusions about the influence of genre on episodes of imaginative resistance caused by complex works of art. One of the main problems is that the mini stories upon which the current methodology relies are inadequate—mostly because they are artless and ‘flat’. Mini stories cannot generate imaginative experiences structurally similar to the experiences elicited by complex and interesting works of fictional art.

Derek Parfit (1942–2017) is widely considered to be one of the most important moral philosophers of the twentieth century. Reasons and Persons is arguably the most influential of the two books published in his lifetime and hailed as a classic work of ethics and personal identity. Derek Parfit’s Reasons and Persons: An Introduction and Critical Inquiry is an outstanding introduction to and assessment of Parfit’s book, with chapters by leading scholars of ethics, metaphysics and of Parfit’s work. Part I provides a much-needed introduction to key topics and themes in Reasons and Persons that will be useful for those new to Parfit’s complex work. These include Parfit’s idea of self-defeating theories, rationality and time, personal identity, future generations and well-being. Part II explores various debates generated by Reasons and Persons, including its connections with Buddhism, metaethics, theory of rationality, transformative choices and further developments in personal identity and metaphysics such as conativism. Combining clear exposition of the major topics and arguments in Reasons and Persons with scholarly perspectives on more advanced themes, this book is ideal for students of ethics, metaethics, metaphysics and anyone interested in Derek Parfit’s philosophy.

Which metaphysical theories are involved—whether presupposed or implied—in Marquis’ future-like-ours argument against abortion? Vogelstein has recently argued that the supporter of the FLO argument faces a problematic dilemma; in particular, Marquis, the main supporter of the argument, seems to have to either abandon diachronic universalism or acquiesce and declare that contraception is morally wrong. I argue that the premises of Marquis’ argument can be reasonably combined with a form of unrestricted composition and that the FLO argument is better viewed as including animalism, i.e., the thesis that we are animals.

I explore some of the reasons why, under specific circumstances, it may be rational to make-believe or imagine certain religious beliefs. Adopting a jargon familiar to certain contemporary philosophers, my main concern here is to assess what reasons can be given for adopting a fictionalist stance towards some religious beliefs. My understanding of fictionalism does not involve solely a propositional attitude but a broader stance, which may include certain acts of pretence. I also argue that a plausible reason to be fictionalist about a specific set of religious beliefs and practices has to do with the value of some artistic creations; namely, those that require the adoption of a religious point of view for their understanding.

The reduplication argument advanced by Bernard Williams in 1956 has greatly stimulated the contemporary debate on personal identity. The argument relies on a famous thought experiment that, although not new in the history of philosophy, has engaged some of the most influential contemporary philosophers on the topic. I propose here an interpretation of the argument and a reconstruction of the early reception that Williams’ paper had in the 6 years immediately after its publication. The works discussed include papers by C. B. Martin, G. C. Nerlich, R. Coburn, and J. M. Shorter.

The merited response argument is an argument in favor of artistic ethicism. According to this view, the interaction between art and morality is such that a moral defect in a work of art negatively influences the work's artistic value (and a moral merit, when relevant, is always an artistic merit). I contend that the argument relies on a criterion of aesthetic and artistic relevance that, when properly understood, fails to constitute a premise that either the artistic contextualist or the autonomist would accept. I then offer a version of the merited response argument that supports artistic contextualism and argue that, given certain controversial assumptions, immoral art in the Western tradition is more common than typically acknowledged in the recent literature on the topic

This paper takes up a series of basic philosophical questions about the nature and existence of fictional characters. We begin with realist approaches that hinge on the thesis that at least some claims about fictional characters can be right or wrong because they refer to something that exists, such as abstract objects. Irrealist approaches deny such realist postulations and hold instead that fictional characters are a figment of the human imagination. A third family of approaches, based on work by Alexius Meinong, seeks an alternative to the realist/irrealist dilemma. Neo-Meinongian theories rely upon a distinction between being and existence, the key contention being that unlike human beings, fictional characters have only the former. Having surveyed relevant work by contemporary metaphysicians and philosophers of language, this paper discusses issues related to the distinction between characters and other aspects of the content of fictions, including the relation between personality theory and literary conceptions of character

The Acquaintance Principle is the principle according to which judgements concerning the aesthetic value of a work of art proffered by a critic must be based on the critic’s experience(s) or acquaintance with the work itself. The possible exception to this principle would be experiences obtained through other means of transmissibility, related in a particular way to the work in question, that can eventually provide the critic with an adequate basis for judging the artwork. However, recent philosophers claimed that some works of conceptual art show the principle to be false. I argue that, if properly understood, the Acquaintance Principle is a truism, that works of conceptual art do not pose any particular problem to it, and also suggest some implications of the principle.

Some bioethicists have questioned the desirability of a line of biomedical research aimed at extending the length of our lives over what some think to be its natural limit. In particular, Leon Kass has argued that living longer is not such a great advantage, and that mortality is not a burden after all. In this essay, I evaluate his arguments in favour of such a counterintuitive view by elaborating upon some critical remarks advanced by John Harris. Ultimately, I argue that nothing substantial has been said by Kass to undermine the desirability of life-extending technologies.

I argue that a form of animalism that does not include the belief that ‘human animal’ is a substance-sortal has a dialectical advantage over other versions of animalism. The main reason for this advantage is that Phase Animalism, the version of animalism described here, has the theoretical resources to provide convincing descriptions of the outcomes of scenarios problematic for other forms of animalism. Although Phase Animalism rejects the claim that ‘human animal’ is a substance-sortal, it is still appealing to those who believe that our nature is continuous or of a similar kind to that of other physical entities