Shen-yi Liao

The philosopher Joshua Wen-kwei Liao is known as a founding theorist of the Taiwan independence movement. My aim is to engage with his _Formosa Speaks_ (1950) as a primary text of postcolonial political philosophy, and trace its influence on the ongoing Taiwan independence movement. I start with two of its lessons that have resonated: (1) the international legal status of Taiwan remains undetermined; and (2) a distinctive Taiwan identity has been formed by a history of colonization. I then turn to three of its lessons that have not, at least not fully: (3) Taiwan independence need not be racialist; (4) Taiwan independence need not be merely a remedial response; and (5) Taiwan independence need not go by the official name of “Taiwan”.

According to 4E cognitive science, our cognitive capacities depend on, and have been transformed by, the environments we have made. Most early works of 4E cognitive science tend to focus on the upside of agent-environment interactions: they have made us smarter and allowed us to do more, despite the same, limited brain (and body) power. However, the recent critical turn focuses on the downsides of agent-environment interactions. Critical 4E cognitive science, as we call this emerging research program, adopts the 4E frameworks and concepts but with a critical lens: questioning its hidden assumptions and leveraging its theoretical resources for social criticism. In particular, we distinguish two kinds of normative critique that bring out the downsides of agent-environment interactions. Prudential critiques focus on how agent-environment interactions can shape an agent’s cognition to undermine their own interests. Political critiques focus on how agent-environment interactions can shape an agent’s cognition to contribute to the reinforcement and exacerbation of unjust social forces.

Theorists have raised worries about conceptual inflation for more than three decades. These worries have been frequently expressed about ‘racism’ and ‘racist’, as well as other politically contested terms. However, these theorists have not always been clear about what conceptual inflation is or why it is worrisome. By disentangling different threads of these conceptual inflation critiques, we construct a taxonomy of different types of conceptual inflation. We start with a brief history of conceptual inflation critiques, with a focus on the terms ‘racism’ and ‘racist’. We then separate out descriptive and normative components of conceptual inflation critiques. Focusing on the descriptive component, we emphasize that it is about meaning and not frequency of use, and we clarify different aspects about variation in the meaning of these terms that has concerned these theorists. We distinguish between two aspects of meaning, extension and intensity, and two kinds of variation, synchronic and diachronic. Our taxonomy reveals what kind of evidence would support or challenge different types of conceptual inflation critiques.

Oppressed people face microaggressions in medicine. Extant discussions of microaggressions in medicine primarily focus on verbal and behavioral microaggressions, which typically have perpetrators. For example, in clinical medicine, acts of verbal and behavioral microaggressions can arise from patient-provider interactions, with healthcare providers such as physicians and nurses as perpetrators. However, in clinical medicine, patients can also be victims to environmental microaggressions, which typically are not acts and do not have perpetrators. My goal is to call attention to the existence of environmental microaggressions in medicine in the forms of ordinary medical objects and spaces, such as forehead thermometers that are more likely to miss fevers in Black patients and medical imaging devices that do not fit the bodies of fat patients. With these examples, I argue that environmental microaggressions in medicine, in the form of oppressive medical objects and spaces, sustain oppression by shaping patterns of thought and action and exemplify a form of attributional ambiguity without any perpetrator.

In analyzing oppressive systems like racism, social theorists have articulated accounts of the dynamic interaction and mutual dependence between psychological components, such as individuals’ patterns of thought and action, and social components, such as formal institutions and informal interactions. We argue for the further inclusion of physical components, such as material artifacts and spatial environments. Drawing on socially situated and ecologically embedded approaches in the cognitive sciences, we argue that physical components of racism are not only shaped by, but also shape psychological and social components of racism. Indeed, while our initial focus is on racism and racist things, we contend that our framework is also applicable to other oppressive systems, including sexism, classism, and ableism. This is because racist things are part of a broader class of oppressive things, which are material artifacts and spatial environments that are in congruence with an oppressive system.

Is the term ‘racist’ being applied so widely that it is losing its moral force? Theorists and pundits from across the political spectrum think that it is. They call such a change of meaning “conceptual inflation” and argue that we should try to stop it by restricting the use of ‘racist’ or replacing ‘racist’ with new expressions. But what evidence do we have that ‘racist’ is inflated? Economists do not track currency inflation with mere vibes; they use measurements such as the consumer price index. For example, using CPI, it is observable that there has been considerable US dollar inflation over the last three decades or so: $1.00 in 1989 has the purchasing power of $2.54 in 2024. If ‘racist’ has undergone a similar transformation, as critics of conceptual inflation contend, how could that be measured? Before plunging into the normative debate about whether conceptual inflation is good or bad, we should gather systematic empirical evidence about whether the purported conceptual inflation of ‘racist’ is in fact happening. That is what we do in this paper: we use an apparent time study, a technique drawn from sociolinguistics, to measure whether ‘racist’ is undergoing conceptual inflation. An apparent time study looks at the linguistic behavior of people of different ages as a way of measuring linguistic variation over time. We distinguish two processes that constitute conceptual inflation: extension expansion and intensity bleaching. Across three studies, we found some equivocal evidence that ‘racist’ has undergone extension expansion—its reference class may have slightly expanded—but no evidence that it has undergone intensity bleaching—its moral force remains the same. By comparing ‘racist’ with other terms that have plausibly undergone meaning change, like ‘queer’, we argue that claims about the conceptual inflation of ‘racist’, as they are standardly understood, are overblown.

Experimental philosophy of art and aesthetics is the application of the methods of experimental philosophy to questions about art and aesthetics. By taking a scientific approach to experiences with art and aesthetic phenomena, it is continuous with the longstanding research program in psychology called empirical aesthetics. However, it is also continuous with traditional research in philosophy of art and aesthetics because it is centered on many of the same timeless questions. Like other branches of experimental philosophy, such as experimental moral philosophy, it involves gathering data using empirical methods and bringing analyses of the data to bear on theorizing on a wide range of topics in philosophy of art and aesthetics: definition of art, ontology of art, aesthetic properties, aesthetic judgments, aesthetic adjectives, morality and aesthetics, and emotion and art. In this entry, we briefly examine the history prior to the current movement’s emergence in the 2010s, extensively survey extant works in this movement on each of the topics, and consider methodological debates regarding this movement.

In “Materialized Oppression in Medical Tools and Technologies”, we show how oppression can be inscribed in medical devices. We consider oximeters and spirometers, drawing heavily on the work of anthropologist Amy Moran-Thomas and historian Lundy Braun. Both devices encode racial biases: oximeters because they do not correct for race, and spirometers because they do. We zoom out from these particular devices to examine a wide range of tools and technologies, and we build a theoretical framework that covers not only race but other axes of oppression: gender, ability, class, etc. We are inspired by the peer commentaries and the guest editorial, and we are grateful to the contributors for engaging with our work and sharing their expertise. Their responses to our target article advance our understanding in three directions. First, a set of responses contextualize our framework within the histories of medicine, bioethics, and science and technology studies. Second, a set of responses provide additional examples of oppressive medical tools and technologies: not only material artifacts like oximeters and spirometers, but also spatial environments like inpatient psychiatric units, and cognitive niches comprised of digital technologies like electronic medical records and medical data classifications. Third, a set of responses propose countermeasures: operationalizing anti-oppressive practices for device design and testing; mapping the complex causal relationships involved in real-world problems; and repairing the harms done by materialized oppression through racism-conscious praxis. We reply to these three sets of responses—respectively, the “past, present, and future” of oppressive medical objects and spaces—in what follows.

In this contribution to the symposium on Quill Kukla's _City Living_, I argue that the "objective properties" invisibly built into playgrounds can limit children's development of their agency. Playgrounds may seem insignificant because play may seem insignificant. However, playgrounds are where children develop as agents: it is through play that they learn to make decisions about their own bodies, express their own values, and negotiate with others. Yet at the playground, there is co-dependence between social practice and material object: the latent surveillance by adults enforces and reinforces the rules that have been built into equipment like slides. Social and spatial inequalities can constitute self-amplifying feedback loops that sustain oppressive systems. Playgrounds do not merely reflect the social fact that children’s autonomy is not always taken seriously, they also condition and constitute this social fact.

We apply a familiar distinction from philosophy of language to a class of material artifacts that are sometimes said to “speak”: statues. By distinguishing how statues speak at the locutionary level versus at the illocutionary level, or what they say versus what they do, we obtain the resource for addressing two topics. First, we can explain what makes statues distinct from street art. Second, we can explain why it is mistaken to criticize—or to defend—the continuing presence of statues based only on what they represent. Both explanations are driven by the same core idea: the significance of statues arises primarily from what they do, and not what they say.

It is well-known that racism is encoded into the social practices and institutions of medicine. Less well-known is that racism is encoded into the material artifacts of medicine. We argue that many medical devices are not merely biased, but materialize oppression. An oppressive device exhibits a harmful bias that reflects and perpetuates unjust power relations. Using pulse oximeters and spirometers as case studies, we show how medical devices can materialize oppression along various axes of social difference, including race, gender, class, and ability. Our account uses political philosophy and cognitive science to give a theoretical basis for understanding materialized oppression, explaining how artifacts encode and carry oppressive ideas from the past to the present and future. Oppressive medical devices present a moral aggregation problem. To remedy this problem, we suggest redundantly layered solutions that are coordinated to disrupt reciprocal causal connections between the attitudes, practices, and artifacts of oppressive systems.

Critics across the political spectrum have worried that ordinary uses of words like 'racist', 'sexist', and 'homophobic' are becoming conceptually inflated, meaning that these expressions are getting used so widely that they lose their nuance and, thereby, their moral force. However, the charge of conceptual inflation, as well as responses to it, are standardly made without any systematic investigation of how 'racist' and other expressions condemning oppression are actually used in ordinary language. Once we examine large linguistic corpora to see how these expressions are actually used, we find that English speakers have a rich linguistic repertoire for qualifying the degree to which and dimensions along which something is racist, sexist, homophobic, and so on. These facts about ordinary usage undermine the charge of conceptual inflation. Without awareness of facts about ordinary usage, theorists risk making linguistic prescriptions that are unnecessary or counterproductive.

The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always reflexively turn away from them. In turn, these responses reveal that moral value is not autonomous from aesthetic value, and neither dominates the other. The secondary aim of this chapter is to explore the ramifications of this revelation. I argue that, in addition to an ethics of media consumption, we need an aesthetics of media consumption that is fundamentally social rather than solitary.

In this chapter, we identify and present predominant debates at the intersection of ethics and imagination. We begin by examining issues on whether our imagination can be constrained by ethical considerations, such as the moral evaluation of imagination, the potential for morality’s constraining our imaginative abilities, and the possibility of moral norms’ governing our imaginings. Then, we present accounts that posit imagination’s integral role in cultivating ethical lives, both through engagements with narrative artworks and in reality. Our final topic of consideration focuses on the possibility of imagination constituting or constructing new ethical or political frameworks.

The purpose of cultural competence education for medical professionals is to ensure respectful care and reduce health disparities. Yet as Berger and Miller (2021) show, the cultural competence framework is dated, confused, and self-defeating. They argue that the framework ignores the primary driver of health disparities—systemic racism—and is apt to exacerbate rather than mitigate bias and ethnocentrism. They propose replacing cultural competence with a framework that attends to two social aspects of structural inequality: health and social policy, and institutional-system activity; and two psychological aspects of structural inequality: the clinical encounter, and the epistemic. We agree with the structural approach. To that end, we think it would be fruitful to include attention to physical contributors to structural inequality, namely the material artifacts used in medicine. Devices, tools, and technologies can materialize biases, perpetuate oppression, and contribute to health disparities. Granted, not everything that interests philosophers can be squeezed into medical education. Nevertheless, there are compelling reasons for including the study of material artifacts in education designed to reduce health disparities. First, devices and tools often carry forward biases from the past, and keep biases hidden from plain sight. Second, by studying these artifacts, future clinicians can begin to see themselves as part of a larger sociotechnical system. Finally, as medicine becomes increasingly tech-laden, it’s important for clinicians to see how material artifacts (including algorithms) connect individuals to structures. This will help to undermine oversimplified narratives according to which objective tools and technologies can correct for the bias and subjectivity of flawed human beings.

Whenever philosophers try to include a “diverse” — in the sense of not currently recognised as canon — philosophy x into their teaching and their research, they inevitably get asked: “What is x philosophy?” and “Is x philosophy really philosophy?”. These metaphilosophical questions do not only arise with attempts to include “diverse” intellectual traditions, but also with attempts to include “diverse” thinkers, works, topics, and methods. First, they are asked to prove that x exists. Second, they are asked to prove that x is really philosophy. To refer to the pattern of debates that these questions engender, call it conversational dynamics of diversity.

To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference to judgments of artistic value in both settings. These results are congruent with previous empirical research as well as recent philosophical work that defends the artistic significance of authenticity. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgments of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art.

Nostalgia and food are intertwined universals in human experience. All of us have experienced nostalgia centered on food, and all of us have experienced food infused with nostalgia. To explore the links between nostalgia and food, I start with a rough taxonomy of nostalgic foods, and illustrate it with examples. Despite their diversity, I argue that there is a psychological commonality to experiencing nostalgic foods of all kinds: imagination. On my account, imagination is the key to understanding the cognitive, conative, affective, and perceptual aspects of experiencing nostalgic foods. In turn, the recognition of imagination’s centrality in experiencing nostalgic foods reveals how food can produce aesthetic experiences comparable to those produced by literature and painting.

One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic evaluations. And despite the wealth of attention paid to aesthetic adjectives by philosophical aestheticians, they have paid little attention to contemporary linguistic theories of adjectives. We take our work to be a first step in remedying these lacunae. In this paper, we present four experiments that examine one aspect of how aesthetic adjectives ordinarily function: the context-sensitivity of their application standards. Our results present a prima facie empirical challenge to a common distinction between relative and absolute gradable adjectives because aesthetic adjectives are found to behave differently from both. Our results thus also constitute a prima facie vindication of some philosophical aestheticians’ contention that aesthetic adjectives constitute a particularly interesting segment of natural language, even if the boundaries of this segment might turn out to be different from what they had in mind.

In “Sideways Music”, Ned Markosian uses aesthetic intuitions about temporally-rotated music to argue that the metaphysics of time is different from the metaphysics of space. In response, I use aesthetic intuitions about spatially-rotated paintings to pose a dilemma for Markosian’s argument: either he accepts the intuitions about spatially-rotated paintings, in which case he must give up on some assumptions in his argument, or he rejects intuitions about spatially-rotated paintings, in which case an analogous response can be given regarding intuitions about temporally-rotated music. That is, if Markosian wants to hold on to the assumptions that underwrite his argument, then he thereby offers his opponent the resources with which to resist his conclusion. As such, Markosian’s argument cannot offer a new independent consideration for adjudicating the metaphysical debate between the Dynamic Theorist and the Spacetime Theorist. [Unpublishable 2019]

Our goal in this paper is to articulate a novel account of the ordinary concept ART. At the core of our account is the idea that a puzzle surrounding our thought and talk about art is best understood as just one instance of a far broader phenomenon. In particular, we claim that one can make progress on this puzzle by drawing on research from cognitive science on dual character concepts. Thus, we suggest that the very same sort of phenomenon that is associated with ART can also be found in a broad class of other dual character concepts, including SCIENTIST, CHRISTIAN, GANGSTER, and many others. Instead of focusing narrowly on the case of ART, we try to offer a more general account of these concepts and the puzzles to which they give rise. Then, drawing on the general theory, we introduce a series of hypotheses about art concepts, and put those hypotheses to the test in three experimental studies.

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something to be the case. // Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition.

Responding to recent concerns about the reliability of the published literature in psychology and other disciplines, we formed the X-Phi Replicability Project to estimate the reproducibility of experimental philosophy. Drawing on a representative sample of 40 x-phi studies published between 2003 and 2015, we enlisted 20 research teams across 8 countries to conduct a high-quality replication of each study in order to compare the results to the original published findings. We found that x-phi studies – as represented in our sample – successfully replicated about 70% of the time. We discuss possible reasons for this relatively high replication rate in the field of experimental philosophy and offer suggestions for best research practices going forward.

This chapter explores the interaction between the moral value and aesthetic value of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, this chapter considers food as art, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately this chapter argues against both food autonomism (the view that food's moral value is unconnected to its aesthetic value) and Carolyn Korsmeyer's food moralism (the view that moral flaws can only make food aesthetically worse). Instead, it argues for the position of food immoralism: sometimes a moral flaw can make an item of food aesthetically better. This chapter concludes by drawing out broader implications of this position for discussions on the ethics of food and discussions on the interaction between the moral and aesthetic values of art.

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.]

Children sometimes lose themselves in make-believe games. Actors sometimes lose themselves in their roles. Readers sometimes lose themselves in their books. From people's introspective self-reports and phenomenological experiences, these immersive experiences appear to differ from ordinary experiences of simply playing a game, simply acting out a role, and simply reading a book. What explains the difference? My answer: attention. [Unpublishable 2007-2017. This paper was referenced in Liao and Doggett (2014).]

Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics as public philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy.