This chapter examines the early insular history of Bede's Chronica Maiora in a universal context. It considers Bede's treatment of salvation history in the Chronica Maiora's account of the archipelago in the era of the Roman conquest and the barbarian invasions, viewed within the context of contemporary world history. The chapter explains that the Chronica Maiora is located in Bede's magisterial survey of divine and human time and traces the providential unfolding of universal history through the six ages of this (...) world. (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In On Photography: A Philosophical Inquiry Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic (...) images from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through Nineteenth Century debates about its standing as art, to Twentieth Century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, On Photography: A Philosophical Inquiry is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

Pandemics such as COVID-19 place everyone at risk, but certain kinds of risk are differentially severe for groups already made vulnerable by pre-existing forms of social injustice and discrimination. For people with disability, persisting and ubiquitous disablism is played out in a variety of ways in clinical and public health contexts. This paper examines the impact of disablism on pandemic triage guidance for allocation of critical care. It identifies three underlying disablist assumptions about disability and health status, quality of life, (...) and social utility, that unjustly and potentially catastrophically disadvantage people with disability in COVID-19 and other global health emergencies. (shrink)

This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...) Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)

"And God said, Let us make man in our image, after our likeness and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth." --Genesis 1:24-26 In this crucial passage from the Old Testament, God grants mankind power over animals. But with this privilege comes the grave responsibility to respect life, to treat animals with (...) simple dignity and compassion. Somewhere along the way, something has gone wrong. In Dominion , we witness the annual convention of Safari Club International, an organization whose wealthier members will pay up to $20,000 to hunt an elephant, a lion or another animal, either abroad or in American "safari ranches," where the animals are fenced in pens. We attend the annual International Whaling Commission conference, where the skewed politics of the whaling industry come to light, and the focus is on developing more lethal, but not more merciful, methods of harvesting "living marine resources." And we visit a gargantuan American "factory farm," where animals are treated as mere product and raised in conditions of mass confinement, bred for passivity and bulk, inseminated and fed with machines, kept in tightly confined stalls for the entirety of their lives, and slaughtered in a way that maximizes profits and minimizes decency. Throughout Dominion , Scully counters the hypocritical arguments that attempt to excuse animal abuse: from those who argue that the Bible's message permits mankind to use animals as it pleases, to the hunter's argument that through hunting animal populations are controlled, to the popular and "scientifically proven" notions that animals cannot feel pain, experience no emotions, and are not conscious of their own lives. The result is eye opening, painful and infuriating, insightful and rewarding. Dominion is a plea for human benevolence and mercy, a scathing attack on those who would dismiss animal activists as mere sentimentalists, and a demand for reform from the government down to the individual. Matthew Scully has created a groundbreaking work, a book of lasting power and importance for all of us. (shrink)

This chapter examines the ways in which disabled people are subject to epistemic injustice. It starts by introducing how social epistemology models the creation of shared knowledge and then uses feminist epistemology to highlight the role of social and political power in producing epistemic privilege, exclusion, and oppression. The well-known concepts of testimonial and hermeneutic epistemic injustice are discussed in relation to disability, showing how these forms of injustice are frequently experienced within the lives of disabled people. In particular, disabled (...) experience has features that distinguish it from the experiences of sexism and racism most commonly used as illustrations of epistemic injustice. The chapter ends by arguing that the potential for epistemic injustice poses unprecedented risks for disabled people in the current context, which could be minimized by recognizing that ignorance about disabled lives is not inevitable, but something that can and should be challenged. (shrink)

This article considers the shift currently taking place in philosophical thinking about photography. What I call “new” theory departs from philosophical orthodoxy with respect to when a photograph comes into existence, a difference with far-reaching consequences. I trace this to Dawn Wilson on the “photographic event.” To assess the new theory's newness one needs a grip on the old. I divide this between “skeptical” and “nonskeptical” orthodoxy, where this turns on the theory's implications for photography's standing as art. New theory (...) emerges as a response to skeptical orthodoxy in particular. I divide new theory in turn between “restrictive” and “permissive” responses to skeptical orthodoxy and raise challenges for both. The restrictive version arguably divides what does and does not count as strictly photographic in arbitrary ways; the permissive version rules in images that are not obviously photographs and faces two difficulties individuating photographs. I conclude by noting several questions that need to be addressed before new theory clearly has the upper hand over orthodoxy. These concern its ability to account for photography's epistemic capacities, the extent to which it constitutes an advance over “nonskeptical” orthodoxy, and whether new theorists have yet to be new enough when it comes to photographic agency. (shrink)

The work of a bioethicist carries distinctive responsibilities. Alongside those of any worker, there are responsibilities associated with giving guidance to practitioners, policy makers and the public. In addition, bioethicists are professionally exposed to and required to identify situations of moral trouble, and as a result may find themselves choosing to work as advocates or activists, with responsibilities that are distinct from those generally acknowledged within academia. The requirement for bioethics to make normative judgements entails taking a stance, which means (...) there cannot be a sharp line between ‘academic’ or ‘objective’ bioethics, and advocacy/activism, but a continuum of bioethicists’ engagement and an associated continuum of responsibilities. (shrink)

From the 1970s to the early-1990s, the discourse surrounding aesthetics largely disappeared from the study of art history, theory and cultural studies. Claims for the aesthetic value of art-works were thought of as elitist and politically regressive. The 1990s witnessed a return to aesthetics, but one that stressed the independent claims of beauty, in reaction to its perceived suppression by ethical and political imperatives. However, beauty is just one aspect of the aesthetic. In recent years, increasing attention has been given (...) to the ways in which aesthetics and ethics are intertwined. In a series of paired essays and responses, a group of the English-speaking world's most distinguished thinkers consider this 'new' aesthetics, demonstrating its cross-disciplinary relevance in terms accessible to a non-specialist readership. (shrink)

This book reconceives disability as a set of social relations and practices, as experienced embodiment, and as an emancipatory movement, as well as a biomedical phenomenon. The author brings new attention to complex ethical questions surrounding disability, looking at not only the biomedical understanding of impairment, but also its cultural representations and social organization.

cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...) as a work of philosophical confession, on the other hand, I suggest that Danto’s late turn to aesthetics may be illuminated through a comparison with Philip Guston’s late turn to figuration. To do so, I draw parallels between Guston’s development as a painter and Danto’s philosophical trajectory. Danto concludes that, though necessary to life, beauty is not necessary to art; I conclude that, on this account, only an aesthetic art makes a warranted claim on our attention. (shrink)

This paper considers whether Kant’s aesthetics withstands the challenge of conceptual art. I begin by looking at two competing views of conceptual art by recent philosophers, before settling on an ‘inclusive’ view of the form: conceptual art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is (...) meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the applicability of Kant’s aesthetics to conceptual art by considering two works by Lawrence Weiner, which I take to be a work of work of weak and strong NPA respectively. (shrink)

Solidarity between more and less vulnerable groups is fundamental to an effective public health response to a global pandemic. Yet in the case of COVID-19, a focus on deciding who can and who cannot be protected from harm has shaped the pandemic experience and continues to determine the post-pandemic trajectory of life with SARS-CoV-2. In this paper I discuss how this has affected our understanding and acceptance of solidarity.

Journal of Political Philosophy, EarlyView.

This chapter contains sections titled: Danto and Kant Recent Danto on Kant's Aesthetics Late Danto's “Aesthetic Turn”? Danto on Works of Art as “Embodied Meanings” Danto on Metaphor Metaphor in Kant Kant on Aesthetic Ideas Aesthetic Ideas, a Contemporary Example.

This article is an attempt to bridge the gap between feminist structural explanations for rape and the social psychological mechanisms that make it possible for some men in patriarchal societies to feel neutral about sexual violence toward women. The concept of role taking is used to analyze the perceptions of self and victim held by 79 convicted rapists. Men who defined their behavior during sexual encounters as rape saw themselves from the perspective of their victim through reflexive role taking, had (...) inferred their victims' experience through synesic role taking, and used this awareness to further their plan of action. Men who did not define their behavior as rape did neither reflexive nor synesic role taking and appeared incapable of understanding the meaning of sexual violence to women. The majority of both groups did not experience role-taking emotions, that is, guilt, shame, or empathy, which symbolic interactionists posit are the mediators of self-control. I argue that the gender imbalance of power and the status of women as property are the social factors that render normative emotions inoperative in sexual violence. (shrink)

Susan has been profoundly deaf since childhood. She is a hearing aid wearer, and likes to use the induction loops built into some public spaces, such as theaters and cinemas, to help cut down the background noise that can make hearing speech very difficult. But this depends on the building having an induction loop fitted and properly maintained. Like many other induction loop users, Susan frequently finds that the advertised loop system is either working poorly or not working at all. (...) Almost as often, she then has the experience of making a complaint about it only to have the problem denied. If she persists, she is often then met... (shrink)

In questo saggio pongo l’accento su un punto che penso sia sottovalutato dall’ontologia dell’arte di Danto — soprattutto nella sua rapida trattazione della teoria estetica — malgrado sia persuasiva sotto altri aspetti. Il punto che cerco di difendere è in fin dei conti modesto: cercherò di sostenere che Danto non è sufficientemente attento al modo in cui la materialità di un’opera d’arte influenza i problemi che concernono l’intenzione dell’artista e l’interpretazione dell’osservatore. E cioè...

Two events in particular occasion this volume on the philosophy of photography: the blurring of boundaries that many took to demarcate photographic technology and practices from other representational and artistic technologies and the invention of digital photography. The purpose of this volume is not to revive older questions by asking what, if anything, still distinguishes photography in the light of these developments, but to consider sundry questions about the materials and tools—or media—of photography from a variety of perspectives. critically examines (...) classic and influential arguments in philosophy of photography addresses recent trends in photographic art, such as conceptualism and appropriation highlights philosophically neglected elements of photographic art, such as performativity and self-portraiture reexamines the role of photographic media in photographic art practices offers new perspectives of the impact of digital technologies on photography explores the relationship between photographic art and photography in other arts and in science brings a range of philosophical methodologies and traditions into dialogue incorporates extended discussions of the work of important photographers and artists who use photography illustrates philosophical points with reproductions, many of them not widely known closely connects philosophical theory to the details of photographic practice offers original and novel theories of the aesthetic, artistic, and epistemic values of photographs. (shrink)

The last half of the twentieth century saw an explosion in our understanding of genetics and molecular biology; the questions now are in what form that genetic understanding will be put to use; and how and by whom it will be controlled. It's about science and spirituality, and how the two are connected.

The Donchin and Holmes Emerging Scholar Prize was established in 2016 on the occasion of the twentieth anniversary of the founding of the International Network on Feminist Approaches to Bioethics. The name of the prize honors the two cofounders of FAB, Anne Donchin and Helen Bequaert Holmes. Anne was Professor Emerita of Philosophy at Indiana University at the time of her death in 2014, and she had recruited Becky Holmes, a biologist and independent women’s studies scholar, to help set up (...) the first international network of feminists writing and researching in areas related to bioethics.Both Anne and Becky were strongly committed to what now tends to be called “building capacity”: a rather ugly description... (shrink)

Time pressure has been shown to have a negative impact on ethical decision-making. This paper uses an experimental approach to examine the impact of an antecedent of time pressure, whether it is anticipated or not, on participants’ perceptions of unethical behaviour. Utilising 60 business school students at an Australian university, we examine the differential impact of anticipated and unanticipated time deadline pressure on participants’ perceptions of the likelihood of unethical behaviour occurring. We find the perception of the likelihood of unethical (...) behaviour occurring to be significantly reduced when time pressure is anticipated rather than unanticipated. The implications of this finding for both professional service organisations and tertiary institutions are considered. (shrink)

Stephen Scully both offers a reading of Hesiod's Theogony and traces the reception and shadows of this authoritative Greek creation story in Greek and Roman texts up to Milton's own creation myth, which sought to "soar above th' Aonian Mount [i.e., the Theogony]...and justify the ways of God to men." Scully also considers the poem in light of Near Eastern creation stories, including the Enûma elish and Genesis, as well as the most striking of modern "scientific myths," Freud's (...) Civilization and its Discontents. Scully reads Hesiod's poem as a hymn to Zeus and a city-state creation myth, arguing that Olympus is portrayed as an idealized polity and--with but one exception--a place of communal harmony. This reading informs his study of the Theogony's reception in later writings about polity, discord, and justice. The rich and various story of reception pays particular attention to the long Homeric Hymns, Solon, the Presocratics, Pindar, Aeschylus, Aristophanes, and Plato in the Archaic and Classical periods; to the Alexandrian scholars, Callimachus, Euhemerus, and the Stoics in the Hellenistic period; to Ovid, Apollodorus, Lucian, a few Church fathers, and the Neoplatonists in the Roman period. Tracing the poem's reception in the Byzantine, medieval, and early Renaissance, including Petrarch and Erasmus, the book ends with a lengthy exploration of Milton's imitations of the poem in Paradise Lost. Scully also compares what he considers Hesiod's artful interplay of narrative, genealogical lists, and keen use of personified abstractions in the Theogony to Homeric narrative techniques and treatment of epic verse. (shrink)

In this paper I consider one effect that disablism has on social interactions between nondisabled and disabled people: the “hidden labor” carried out by disabled people to manage or manipulate the presentation of their impairment to others, and their own and others’ emotional responses, in order to achieve their goals. Although such management may be understood as actively enhancing the disabled person’s autonomous agency, I argue that the cost of this labor to the disabled person and the fact that it (...) must be hidden from the nondisabled partner in order to be effective, create an ethical problem. Such interactions confer a form of autonomy through a connection that is fundamentally distorted by asymmetries of power, knowledge, risk, and is therefore ethically undesirable. (shrink)

Aesthetics after Modernism argues for the ongoing relevance of aesthetics to art after modernism. In it, I show that even what are typically taken to be the hardest of hard cases engage us in recognisably aesthetic ways and, as such, remain amenable to aesthetic analysis. Why, if that is true, do so many art theorists, critics and sometimes even artists appear to think otherwise? I trace the artworld's rejection of aesthetic theory to Clement Greenberg's success in co-opting the discourse of (...) aesthetics, notably Kant's aesthetics, to underwrite his own formalism about modernist art. Not only has this led to Kant being tarred with the brush of Greenbergian formalism; it has also led critics and theorists of later art to miss the resources of the aesthetic tradition, perhaps especially Kant, for capturing what is distinctive about our cognitive relation to the kinds of art that interest them. There is a tendency simply to assume that Kant's aesthetics cannot speak to the more conceptual aspects of our interactions with art. I trace the legacy of Greenberg's modernism and formalism for later art criticism and theory, before offering an interpretation of Kant's theory of art that seeks to show otherwise. I take Conceptual Art as my test case: here is a form of art that often claims to forgo sensible properties altogether. But if Kant's aesthetics can accommodate to our cognitive relation to art with no sensible features relevant to its appreciation as art then it should in principle withstand the challenge of any form of art. (shrink)

There is confusion about what counts as abstraction in photography: art theorists class very different kinds of photographs as abstract, and common philosophical views of photography, if true, should cause us to doubt their very possibility. I address two questions here: ‘What is Abstraction?’ and ‘What is Abstraction in Photography?’ To the answer the second, I briefly consider a third: ‘What is Photography?’ so that the resulting account is not undermined by a poor theory of photography. In answer to my (...) target question, I outline a schematic typology of kinds of work generically typed as ‘abstract’ in order to bring out some differences between them. I distinguish ‘proto’, ‘faux’, ‘constructed faux’, ‘weak’, ‘strong’, ‘constructed’ and ‘concrete’ abstraction, although the differences between them are not always clear-cut and there is room for debate about borderline cases. My goal is not to resolve all such cases, but to show: that there is a range of broadly identifiable kinds of abstraction in photography; that images can be abstract in a variety of ways and for a variety of reasons; and why certain images are not abstract, despite being widely typed as such. (shrink)

Race, Crime, and the Law. Randall Kennedy. New York: Vintage Books/Random House, 1997, xiv + 539 pp.

Mitochondrial replacement techniques are intended to avoid the transmission of mitochondrial diseases from mother to child. MRT represent a potentially powerful new biomedical technology with ethical, policy, economic and social implications. Among other ethical questions raised are concerns about the possible effects on the identity of children born from MRT, their families, and the providers or donors of mitochondria. It has been suggested that MRT can influence identity directly, through altering the genetic makeup and physical characteristics of the child, or (...) indirectly through changing the child's experience of disease, and by generating novel intrafamilial relationships that shape the sense of self. In this article I consider the plausibility and ethical implications of these proposed identity effects, but I focus instead on a third way in which identity may be affected, through the mediating influence of the wider social world on MRT effects on identity. By taking a narrative approach, and examining the nature and availability of identity narratives, I conclude that while neither direct genetic nor indirect experiential effects can be excluded, social responses to MRT are more likely to have a significant and potentially damaging influence on the generation of MRT children's narratives of identity. This conclusion carries some implications for the collective moral responsibility we hold to ensure that MRT, if implemented, are practised in ethically justifiable ways. (shrink)

This paper is based on linked qualitative studies of the donation of human embryos to stem cell research carried out in the United Kingdom, Switzerland, and China. All three studies used semi-structured interview protocols to allow an in-depth examination of donors’ and non-donors’ rationales for their donation decisions, with the aim of gaining information on contextual and other factors that play a role in donor decisions and identifying how these relate to factors that are more usually included in evaluations made (...) by theoretical ethics. Our findings have implications for one factor that has previously been suggested as being of ethical concern: the role of gratitude. Our empirical work shows no evidence that interpersonal gratitude is an important factor, but it does support the existence of a solidarity-based desire to “give something back” to medical research. Thus, we use empirical data to expand and refine the conceptual basis of bioethically theorizing the IVF–stem cell interface. (shrink)