C. Thi Nguyen

Standpoint epistemology is committed to a cluster of views that pays special attention to the role of social identity in knowledge‐acquisition. Of particular interest here is the situated knowledge thesis. This thesis holds that for certain propositions p, whether an epistemic agent is in a position to know that p depends on some nonepistemic facts related to the epistemic agent's social identity. In this article, I examine two possible ways to interpret this thesis. My first goal here is to clarify existing interpretations of this thesis that appear in the literature but that are undeveloped and often mistakenly conflated. In so doing, I aim to make clear the different versions of standpoint epistemology that one might accept and defend.This project is of significance, I argue, because standpoint epistemology provides helpful tools for understanding a phenomenon of recent interest: epistemic oppression. My second goal is to provide an analysis that makes clear how each of the readings I put forth can be used to illuminate forms of epistemic oppression.

According to an attractive conception of love as attention, discussed by Iris Murdoch, one strives to see one’s beloved accurately and justly. A puzzle for understanding how to love another in this way emerges in cases where more accurate and just perception of the beloved only reveals his flaws and vices, and where the beloved, in awareness of this, strives to escape the gaze of others - including, or perhaps especially, of his loved ones. Though less attentive forms of love may be able to render one’s continued love coherent and justifiable in these cases, they risk further alienating the beloved precisely because they are less attentive and because of the operations of the beloved’s shame. I argue that attentive love is well-suited to alleviate this problem of alienation, but that in order to do so, it must be supplemented with grace. I propose a conception of gracious love as an affectionate love for the qualities of human nature, distinguishing this from a love of humanity, and show how this complex emotion, in being responsive to the complexities of shame, is able to alleviate the problem of alienation.

How do artifacts get their functions? It is typically thought that an artifact’s function depends on its maker’s intentions. This chapter argues that this common understanding is fatally flawed. Nor can artifact function be understood in terms of current uses or capacities. Instead, it proposes that we understand artifact function on the etiological model that Ruth Millikan and others have proposed for the biological realm. This model offers a robustly normative conception of function, but it does so naturalistically by employing our best scientific theories, in particular natural selection. To help make this case, it proposes “living artifacts” (organisms designed for human purposes through artificial selection) as a bridge between the artifactual and the biological realms.

In his Letters on the Aesthetic Education of Man, Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, ‘it is only through beauty that man makes his way to freedom’. However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only his view of aesthetic engagement, but also his distinctive account of individual and political freedom. In Part I, we develop a reconstruction of Schiller's view that aesthetic value is the only path to individual freedom and in Part II we analyze how Schiller connects aesthetic value to political freedom. In the end, we show that Schiller defends a non-hedonic, action-oriented, communitarian theory of aesthetic value and a theory of freedom that makes the aesthetic not just supererogatory but fundamental for any fully autonomous life. Although we have lost touch with this way of thinking about aesthetic value and freedom, we submit that it is illuminating for contemporary thinking about both.

This article develops a model-based account of the standardization of physical measurement, taking the contemporary standardization of time as its central case study. To standardize the measurement of a quantity, I argue, is to legislate the mode of application of a quantity concept to a collection of exemplary artefacts. Legislation involves an iterative exchange between top-down adjustments to theoretical and statistical models regulating the application of a concept, and bottom-up adjustments to material artefacts in light of remaining gaps. The model-based account clarifies the cognitive role of ad hoc corrections, arbitrary rules, and seemingly circular inferences involved in contemporary timekeeping, and explains the stability of networks of standards better than its conventionalist and constructivist counterparts. 1 Introduction2 Making Time Universal2.1 Stability and accuracy2.2 Multiple realizability2.3 The challenges of synchronicity2.4 Divergent standards2.5 The leap second3 The Two Faces of Stability3.1 An explanatory challenge3.2 Conventionalist explanations3.3 Constructivist explanations4 Models and Standardization4.1 A third alternative4.2 Stability reconceived4.3 Legislative freedom4.4 Discovering gaps4.5 Nature and society entangled4.6 Remark on scope5 Conclusions.

Appropriation art involves the use of pre-existing works of art with little to no transformation. Works of AA fail to satisfy established criteria for originality, such as creative labour and transformative use. As such, appropriation artists are often subject to copyright lawsuits and defend their work under the fair use doctrine of US copyright law. In legal cases regarding AA and fair use, judges lack a general principle whereby they can determine whether or not the offending party has ‘transformed’ the original work. Further, it is not the case that there is some antecedent fact that could determine the outcome one way or another. I diagnose debates surrounding the transformative nature of works of AA as cases of ‘metalinguistic negotiation’ over what concepts we should attach to terms like ‘copy’, ‘transformative’, and ‘work of art’.

As a general rule, whenever a hearer is justified in forming the belief that p on the basis of a speaker’s testimony, she will also be justified in assuming that the speaker has formed her belief appropriately in light of a relevantly large and representative sample of the evidence that bears on p. In simpler terms, a justification for taking someone’s testimony entails a justification for trusting her assessment of the evidence. This introduces the possibility of what I will call “evidential preemption.” Evidential preemption occurs when a speaker, in addition to offering testimony that p, also warns the hearer of the likelihood that she will subsequently be confronted with apparently contrary evidence: this is done, however, not so as to encourage the hearer to temper her confidence in p in anticipation of that evidence, but rather to suggest that the (apparently) contrary evidence is in fact misleading evidence or evidence that has already been taken into account. Either way, the speaker is signalling to the hearer that the subsequent disclosure of this evidence will not require her to significantly revise her belief that p. Such preemption can effectively inoculate an audience against future contrary evidence, and thereby creates an opening for a form of exploitative manipulation that I will call “epistemic grooming.” Nonetheless, I argue, not all uses of evidential preemption are nefarious; it can also serve as an important tool for guiding epistemically limited agents though complex evidential scenarios.

It is a philosophical truism that we must think of others as moral agents, not merely as causal or statistical objects. But why? I argue that this follows from the best resolution of an antinomy between our experience of morality as necessarily binding on the will and our knowledge that all moral beliefs originate in contingent histories. We can address this antinomy only by understanding moral deliberation via interpersonal relationships, which simultaneously vindicate and constrains morality’s bind on the will. This means that moral agency is fundamentally social. I model an attitude toward our causal nature on sociologist Erving Goffman’s concept of ‘civil inattention’; our social practice of agency requires that we give minimal attention to the contingent origins of moral judgments in ourselves and others. Understood this way, seeing ourselves as moral agents requires avoiding appeal to causal aetiology to settle substantive moral disagreement.

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives.

According to an influential Enlightenment ideal, one shouldn't rely epistemically on other people's say-so, at least not if one is in a position to evaluate the relevant evidence for oneself. However, in much recent work in social epistemology, we are urged to dispense with this ideal, which is seen as stemming from a misguided focus on isolated individuals to the exclusion of groups and communities. In this paper, I argue that that an emphasis on the social nature of inquiry should not lead us to entirely abandon the Enlightenment ideal of epistemically autonomous agents. Specifically, I suggest that it is an appropriate ideal for those who serve as experts in a given epistemic community, and develop a notion of expert acceptance to make sense of this. I go on to show that, all other things being equal, this kind of epistemic autonomy among experts makes their joint testimony more reliable, which in turn brings epistemic benefits both to laypeople and to experts in other fields.

We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that aesthetic judgment is a sensory-affective disclosure of, and responsiveness to, merit: it is a feeling that presents an object, and is responsive to it, as worthy of being liked. Aesthetic judgment is thus shown to be, on the hand, first personal and non-transferable; and, on the other hand, a presentation of reality. We thereby capture what is right in both subjectivist and objectivist conceptions of aesthetic judgment.

There are some artworks which we appreciate for their bad artistic qualities; these artworks are said to be “good because bad”. This is puzzling. How can art be good just because it is bad? In this essay, we attempt to demystify this phenomenon. We offer a two-part analysis: the artistic flaws in these works make them bizarre, and this bizarreness is aesthetically valuable. Our analysis has the consequence that some artistic flaws make for aesthetic virtues. Such works therefore present a counterexample to aestheticism, the view that all artistically relevant features of artworks are aesthetic features.