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. (shrink)

Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.

In this essay, we aim to provide an overview of the political and philosophical issues pertaining to asexuality. The first section, “What Is Asexuality?,” offers an account of asexuality. The second section, “Asexuality as a Unique Sexual Orientation,” argues that asexuality should be understood as a unique sexual orientation. The third section, “Asexuality and Oppression,” discusses the various forms of oppression facing asexual persons today. The fourth section, “The Goods of Asexuality,” articulates some goods that asexuality brings to human lives, (...) and we do this with an eye toward conceiving of asexuality as something other than a mere deficit. (shrink)

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This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.

How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function (...) of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege. (shrink)

This chapter offers a critical overview of recent philosophical literature on erotic art and pornography as well as some suggestions about new directions for inquiry, all with an eye toward ethical issues that arise in these areas. The first section surveys philosophical discussions of the purported distinction between art and pornography. The next section considers new areas of inquiry that arise once we shift focus to the connections and similarities between erotic art and pornography. Once we put the pornography literature (...) and the aesthetics- and- ethics literature into conversation with one another, new areas of inquiry open up, including: the harms and benefits that come from engaging with libidinous representations, applications of speech act theory to libidinous representations, and philosophical and ethical issues pertaining to fiction, imagination, and fantasy. Finally, the chapter concludes with a discussion of sex positivity and social justice issues related to libidinous representations. (shrink)