Experimental research has shown that pairs of stimuli which are congruent and assumed to 'go together' are recalled more effectively than an item presented in isolation. Will this multisensory memory benefit occur when stimuli are richer and longer, in an ecological setting? In the present study, we focused on an everyday situation of audio-visual learning and manipulated the relationship between audio guide tracks and viewed portraits in the galleries of the Tate Britain. By varying the gender and narrative style (...) of the voice-over, we examined how the perceived congruency and assumed unity of the audio guide track with painted portraits affected subsequent recall. We show that tracks perceived as best matching the viewed portraits led to greater recall of both sensory and linguistic content. We provide the first evidence that manipulating crossmodal congruence and unity assumptions can effectively impact memory in a multisensory ecological setting, even in the absence of precise temporal alignment between sensory cues. (shrink)

It was the general practice until not at all long ago to look at Turner as one of the moderns, if not as one of the founding fathers of modern art. He was a man straddling the fence between two periods, but he was looking forward. In a history of art that marches through time, forever endorsing what is about to be forgotten, wrapping up, as it were, one style to open eagerly the package of the next, such a position (...) is most enviable for, no matter where the times may be going, it is a hallmark of greatness to be ahead of one's time. There were things to be explained, of course, Turner himself, a keen pessimist, did not approved of the future and had little use for the present.1 His love of art was schooled on Reynolds' Discourses, and he remained loyal to them; his poets were Thomson and Pope and, among contemporaries, the rather frigid but delicate Samuel Rogers, a classicist par excellence. Above all, however, Turner looked back to classical antiquity for training and guidance, and for the delectation of his heart. And the poetry of the ancients, such as he could obtain it in translation, was as important to him as their art. What does one do with a declared classicist whom a historicizing hindsight feels compelled to rescue as a man of the future by making him a Romantic? It is a challenge stylistic analysis likes to meet, for it goes beneath what it declares to be the surface of a work of art to find its style, the essence that must conform to the presumed spirit of the age in question. The triumphant result of such studies in depth is a forgone conclusion as much as it is a surprise to the uninitiated. The facade of the Louvre, for example, used to suffice to make it a building in the classical style; it took the acumen of a Wölfflin to prove that it really was "baroque." The more the artist struggled not to be of his time, the more, poor man, he betrayed to the analyst that he was of his time. The Louvre facade stands convicted of being "classicizing-baroque."2 · 1. On Turner's view of the modern art of his time see John Gage, Color in Turner: Poetry and Truth , pp.97-105. On his literary education and taste see the seminal essay by Jerrold Ziff, "Turner on Poetry and Painting, " Studies in Romanticism 3 no. 4 : 193-215. Turner's poetical writings have been edited by Jack Lindsay, The Sunset Ship: The Poems of J.M.W. Turner . For the most recent and also most elegantly practical introduction to the work and life of Turner, see the catalogue of the Turner Exhibition of the Royal Academy and the Tate Gallery, Turner, 1775-1851 . · 2. This is now a commonplace of art historical teaching. See, for example, Gardner’s Art Through the Ages, 6th ed. Horst de la Croix and Richard G. Tansey , p. 632. On the theory behind the application to the particular case, see Heinrich Wölfflin, Principles of Art History, trans. M. D. Hottinger . Philipp Fehl, artist and art historian, is currently preparing a collection of essays, Art and Morality: Studies in the History of the Classical Tradition. He is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. "Farewell to Jokes: The Last Capricci of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting" was published in Summer 1979 in Critical Inquiry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Experience or Interpretation:"What You See Is Not What You Read"Klaus OttmannMuseums of modern and contemporary art are growing at an unprecedented rate. New museums are being founded and existing ones are expanding exhibition spaces and acquiring more and more works of art. Concurrently, cultural institutions compete with a growing number of art fairs, biennials, galleries, and public collection spaces.Since the 1980s the focus of museums increasingly has been on (...) education and interpretation, which among other things has created a boom for audio guides and scholarly exhibition catalogs at the expense of the unmediated experience of works of art. Perhaps what is needed are exhibitions that present art again primarily as "experience," with minimal curatorial and didactic intervention. [End Page 13]I have borrowed the title of my essay from a lecture that was given by Nicolas Serota, the director of the Tate galleries in London, in 1996. His lecture was subtitled "The Dilemma of Museums of Modern Art."But the question of the presentation of art, and specifically, that of experience vs. interpretation, by no means originated in the last decades. It is at least as old a question as modern art itself, going as far back as the nineteenth-century French intellectual dispute on the museum between the poet Paul Valéry and the novelist Marcel Proust, as recounted with a sympathetic voice by the German philosopher and cultural critic Theodor Adorno in a short essay with the minimalist title "Valéry Proust Museum."There is much to be learned from reading this small text. Paul Valéry criticized the museum of his time (the Louvre) for creating confusion in the mind of the spectator by reducing the experience to the level of information only. No one would want to listen to ten orchestras at once, he argued, yet we are forced to apprehend, at the same moment, a seascape, a portrait, and a still-life, or worse, painting styles completely incompatible with each other. He warned that excess of information would lead to impoverishment of the senses, as art was becoming a matter of education. Valéry's view could be regarded as the conservative position.Marcel Proust's view was more modernist: he regarded the museum as the best place to view art. Devoid of décor and other commonplace distractions, its galleries symbolized for him the inner spaces into which the artist withdraws to create works of art.Both Valéry and Proust emphasized that art should be enjoyed. But while for Valéry art lost its vitality in the museum and effectively "died," Proust saw an afterlife of art in the museum and in the subjective stream of consciousness of the viewer.For Adorno, both views were too one-sided and extreme. Valéry's absolute unwavering contemplation of pure art takes the risk of neutralization, unless the work can point beyond itself toward a social context. Thus, a work of art is neither an embodiment of a Platonic idea, as Valéry believed, nor is it exclusively a reflection of the soul, as Proust understood it. Rather, in Adorno's view, art is a "force field" between the art and the viewer, both passive and active.In his 1931 lectures on "Art as Experience," the American philosopher John Dewey said:The trouble with existing theories [of art] is that they start from ready-made compartmentalization, or from a conception of art that "spiritualizes" it out of connection with the objects of concrete experience. The alternative, however, to such spiritualization is not a degrading... materialization of works of fine art, but a conception that discloses the way in which these works idealize qualities found in common experience.1 [End Page 14]In my book The Genius Decision: The Extraordinary and the Postmodern Condition, I describe the creative act as an active-passive leap that the artist is impelled to make and the viewer is challenged to repeat.Wittgenstein often spoke about the inexpressible, that which is beyond the limits of language. He called it "running against the boundaries of language." It is something any poet, musician, or painter is familiar with; they all run against boundaries of language, sound, or color... (shrink)

This paper discusses one of the most famous paintings on medical themes: The Doctor by Sir Luke Fildes (Fig. 1), which exemplifies how an ideal type of doctoring is construed from reality and from the views and expectations of both the public and doctors themselves. A close reading of The Doctor elucidates three fundamental conflicts in medicine: the first is between statistical efficiency in accordance with scales of morbidity and mortality and the personal devotion that every sick child or suffering (...) individual wants to receive; the second is between the doctor-dominated market and the patient-dominated market; and the third is between influential and rich doctors (“consultants”) and practitioners of family medicine (GPs).1 Fig. 1 Sir Luke Fildes, “The Doctor”, oil on canvas, 1891. With permission from The Tate Gallery, London. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reply to My CommentatorsDavid CarrierI am immensely thankful to Rika Burnham and Elliott Kai-Kee, Enrique Martínez Celaya, Klaus Ottmann, and Sean Ulmer for their comments on my book. And to Daniel A. Siedell for organizing this mini-symposium, which really is an author's dream. By gently pressing me to think about important issues, these sympathetic commentators have advanced dialogue.When writing Museum Skepticism I became very aware that there are two (...) kinds of literature that discuss museums. There are memoirs of curators or other museum employees, and there are the commentaries by academics, which usually look at museums from the outside. My ambition was to look at this institution in a way that would both be sympathetic to the practical concerns and embody a theoretical point of view. One otherwise sympathetic reviewer complained that I was only looking at the museum from the outside.1 That certainly is correct, but for obvious reasons people who work in museums are unusually unwilling to describe their inner workings. To have a good theory of the museum, you need to be practical. Often, for example, critics complain about the proliferation of shops and restaurants, urge that admission be free, or say that blockbuster shows are destructive and overcrowded. However one judges such moralizing, the museum director who needs to balance the budget can hardly be guided by such reasoning. One can be critical, as I am, about the power of the super-rich in museum life. But in what other way could funding be found? The history of debates about the National Endowment for the Arts (NEA) points to obvious ways in which, in America at least, reliance on public funding poses problems. My goal, then, was to develop a realistic analysis.Sean Ulmer correctly notes that to understand the art in museums, we must consider its prior history. Chinese paintings, Islamic decorations, Maori sculpture, and premodern European art were not made to be displayed in public galleries. And so there are legitimate questions about how to set it alongside modernist art, whose natural home is the art museum. Allowing this much, I am not sure why he thinks it impossible to describe museums in a single book. We need to understand how artifacts with such varied origins can be coherently displayed in one building. Here, then, we get to Ulmer's second concern—museum displays. Recently museums have experimented with thematic displays. The Museum of Modern Art in New York did that before its recent reconstruction; the Tate Modern has such a system; and during summer 2006 the Whitney tried such a plan. I understand the need of museums to experiment, to find new ways to attract visitors to the permanent collection. Still, a straight chronological display has the obvious advantage of presenting that history of art in which, for example, Impressionism leads to Cubism, and then on to Abstract Expressionism. The obvious danger of thematic displays is that they bewilder the larger public. [End Page 22]When I said that museums are top-down institutions, I was thinking of the grander public museums where the function of the trustees is to raise money, either by giving themselves or by networking. These people who provide funding no doubt have their own agendas, but they, in turn, respond to larger economic and political concerns. I would be astonished if the Metropolitan Museum of Art asked Arthur Danto or Leo Steinberg to be a trustee; or, to look closer at hand, if the Carnegie Museum of Art or the Cleveland Museum of Art asked me to play that role. Since we are mere professors, what practical help could we provide? I expect that at smaller museums the situation is different. But here, again, it is important to be realistic. Cleveland's art historians have not had any influence on the rebuilding plan for the Cleveland Museum of Art. Of course I would be flattered if the new director asked for my opinion, but to be honest, I am not sure that I could tell him anything useful. When Ulmer discusses the comparative role of permanent collections and temporary exhibitions, he touches on a very important point. Like him, I... (shrink)

The recent removal of the Richard Prince’s artwork Spiritual America from the Tate Modern’s “Pop Life: Art in a Material World” exhibition is the most recent and high-profile case of a work of art being withdrawn from a gallery in the UK on the grounds that it has allegedly breached legislation concerning indecent images of children. Surprisingly, the issue has been hardly considered by academics from law departments and is almost entirely ignored by philosophers specializing in aesthetics and (...) ethics. This essay considers the ethics of images of children by drawing from continental ethics and aesthetics, and by engaging with the only significant treatment of the subject undertaken by a philosopher, namely Peter J. King’s “No Plaything.” This paper shows that a continental perspective can open up positions that King’s ‘objectivist utilitarianism’ is oblivious of. In particular, the essay draws from Derrida’s reading of Kant’s Third Critique and the former’s quasi-conception of “the frame” in The Truth in Painting and “droit de regard” in Right of Inspection. In distinction to King, this paper engages with the actual existing reality of currently enacted laws and their application in particular cases such as in Spiritual America. I will begin with art ‘in the frame’ as the colloquial expression has it, art wrongfully and unjustly accused by the police. I will proceed via an examination of the question of the frame in Kant and Derrida, to demonstrate a need to reclaim the ethical status of works of art. The core procedure of my paper will be a ‘rediscovery’ of Spiritual America as the Kantian example that allows us to find the law. My argument will be that no work of art or image can of itself be decent or indecent. (shrink)

Mahadevan (2018, AAAI Conference. https://people.cs.umass.edu/~mahadeva/papers/aaai2018-imagination.pdf) proposes that we are at the cusp of imagination science, one of whose primary concerns will be the design of imagination machines. Programs have been written that are capable of generating jokes (Kim Binsted’s JAPE), producing line-drawings that have been exhibited at such galleries as the Tate (Harold Cohen’s AARON), composing music in several styles reminiscent of such greats as Vivaldi and Mozart (David Cope’s Emmy), proving geometry theorems (Herb Gelernter’s IBM program), and inducing (...) quantitative laws from empirical data (Pat Langley, Gary Bradshaw, Jan Zytkow, and Herbert Simon’s BACON). In recent years, Dartmouth has been hosting Turing Tests in creativity in three categories: short stories, sonnets, and dance music DJ sets. In this post, I will provide a brief and non-exhaustive survey of some plausible responses to these imagination machines and the related prospects for our understanding of the imagination. (shrink)

We report on the performative score “Sharing Perspectives” from the art/science research collaboration, Experimenting, Experiencing, Reflecting. Sharing Perspectives is developed as a score, inspired by choreography and the postmodern dance form Contact Improvisation, to stage exploration and improvisation, exploring uncertainty, creativity, togetherness, and the relationship between bodies and between bodies and space and artworks. The SP score acts as an experiment in how a brief intervention may affect the way art exhibitions are experienced, exploring how deeper and more sensorial engagement (...) with art may be facilitated, for the benefit of visitors, galleries and artists. Based on questionnaires and qualitative interviews with participants during the Olafur Eliasson exhibition “In Real Life” at the Tate Modern in London in November 2019, we explore how the SP score modulates a playful mode of being, enhancing the experience of a museum art exhibition as a space of transformation and reflection. We find that the SP score encourages curiosity, which allows participants to recognize their habits for art and instead experience art slowly, recognize their comfort zones and move past them. As the score enacts a sensorial and playful approach to the exploration of the exhibition, participants experience a breaking of boundaries between each other, toward the other visitors, as well as to the artworks and the space itself, prompting an experience of being part of the exhibit as a whole. We discuss how the SP score invites a slowness and curiosity that takes on characteristics of play, which can change the participants’ appreciation of an art space. (shrink)

The essays collected in this special issue of Critical Inquiry are devoted to reflection on the shifts in photographically based art practice, exhibition, and reception in recent years and to the changes brought about by these shifts in our understanding of photographic art. Although initiated in the 1960s, photography as a mainstream artistic practice has accelerated over the last two decades. No longer confined to specialist galleries, books, journals, and other distribution networks, contemporary art photographers are now regularly the subject (...) of major retrospectives in mainstream fine-art museums on the same terms as any other artist. One could cite, for example, Thomas Struth at the Metropolitan Museum in New York , Thomas Demand at the Museum of Modern Art , or Jeff Wall at Tate Modern and MoMA . Indeed, Wall's most recent museum show, at the time of writing, The Crooked Path at Bozar, Brussels , situated his photography in relation to the work of a range of contemporary photographers, painters, sculptors, performance artists, and filmmakers with whose work Wall considers his own to be in dialogue, irrespective of differences of media. All this goes to show that photographic art is no longer regarded as a subgenre apart. The situation in the United Kingdom is perhaps emblematic of both photography's increasing prominence and its increased centrality in the contemporary art world over recent years. Tate hosted its first ever photography survey, Cruel and Tender, as recently as 2003, and since then photography surveys have become a regular biannual staple of its exhibition programming, culminating in the appointment of Tate's first dedicated curator of photography in 2010. A major shift in the perception of photography as art is clearly well under way. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesLee UfanBorn in Haman County, Korea, in 1936, Lee Ufan is a leading practitioner and theorist of the Mono-ha School, which emerged in Japan in the 1960s. With his distinct approach and individualistic artistic expression, he has established a unique style of his own that goes beyond such categorization. In his work, Lee leaves areas unmade and produces yohaku (empty spaces and margins), while cutting personal expression to a (...) minimum. This approach draws out the unique tension and stillness of a particular space, a characteristic of his work. Lee lives and works in Paris and Kamakura, Japan. Among many other places, his work is part of the collections at the Centre Pompidou in Paris, the Museum of Modern Art in New York, the Tate Collection in London, the National Museum of Contemporary Art in Seoul, the National Museum of Modern Art in Tokyo, and Queensland Art Gallery in Brisbane. Click for larger view View full resolutionRELATUM—THE MIRROR ROAD, 2021 / 2022 Stone and stainless steel Stones, height 90 cm (set of 2), stainless steel plate, 2 x 100 x 1000 cm Collection of the artist Photo: Shu Nakagawa[End Page 168] Click for larger view View full resolutionRELATUM—THE INFINITE THREAD, 2022 Stainless steel and string Dimensions variable Installation view: Lee Ufan: Requiem, Alyscamps, Arles, France, October 30, 2021–September 30, 2022 Collection of the artist © Studio Lee Ufan / Photo: Claire Dorn[End Page 11] Click for larger view View full resolutionRELATUM—SHE AND HE, 2005 / 2022 Stone and Steel Stone, height 70 cm; steel plate, 2 x 200 x 170 cm Collection of the artist Photo: Shu Nakagawa[End Page 75] Click for larger view View full resolutionRELATUM—ESCARGOT, 2018 / 2022 Stone and stainless steel Stone, height 50 cm; stainless steel, 200 x 300 x 253 cm Photo: Shu Nakagawa[End Page 97] Click for larger view View full resolutionRELATUM—DISSONANCE, 2004 / 2022 Stone and stainless steel Stones, height 35 and 45 cm (set of 2); stainless steel poles, 350 cm (set of 2) Collection of the artist Photo: Shu Nakagawa[End Page 111] Click for larger view View full resolutionRELATUM—THE ARCH, 2014 / 2022 Stone and stainless steel Stones, height 230 cm (set of 2) (actual size); stainless steel arch, 427 x 500 x 200 cm; stainless steel plate on the ground, 2 x 200 x 1000 cm Collection of the artist Photo: Shu Nakagawa[End Page 135]Copyright © 2023 Cornell University... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bill Brandt: A LifeStuart Richmond, Professor of Arts EducationBill Brandt: A Life, by Paul Delany. Stanford California: Stanford University Press, 2004, 335 pp., $47.50 hardcover.From June to September 2003, Britain's famous art gallery, the Tate Modern, housed dramatically in a gigantic, renovated power station on the south bank of the Thames, held its first major photography exhibition, entitled Cruel and Tender after comments made by a (...) critic to describe the work of Walker Evans. The twenty-three artists in the show, including August Sander, Diane Arbus, Rineke Dijkkstra, William Eggleston, Walker Evans, Philip-Lorca diCorcia, and Thomas Ruff, were mainly Americans and Germans. Bill Brandt, who had a reputation as a documentary photographer, was not included. Writing in the catalogue, Tate director Nicholas Serota notes, "Cruel and Tender examines a form of documentary photography that keeps within the limits of the medium, stressing pure description.... Surrealist and Conceptual photography would fit more naturally into the programs and displays at the Tate, but the elusive and documentary qualities in straight photography challenge the traditions of the institution, by concentrating on a form of photography which explores the intrinsic aspects of the medium." In other words, "straight photography" serves as a kind of unemotional, uncreative narrative of ordinary life, avoiding drama, romanticism, sentimentality, deep coding, and, as far as possible, the expressive contributions of the artist. The relationship of photograph to reality, though problematic, is still interesting, according to the catalogue notes, and this contemporary work aims to inform us, literally, of the true essence, banal or otherwise, of our world. This approach acts implicitly to undermine the fake optimism of consumer capitalism.It will be useful to keep in mind this exhibition in considering the work of Brandt, for in the early 1980s Brandt was being lauded as Britain's greatest photographer, and he was nothing if not expressive. It was his métier to find the unusual in the everyday and to create meaning through careful staging and composition, drawing very much on his own personal outlook, aesthetic philosophy, and psychology. He believed all was permitted in photography, whether in the novel choice of lens, use of friends as models, or darkroom processing to achieve his vision. Rather than being a documentary photographer, at least in the purist sense of the Tate collection, he was more the poet ethnographer with a strong sense of the surreal. His was a vision that would be imposed on the world. After reading Paul Delany's excellent biography, it becomes clear why Brandt, all too soon, had become unfashionable in the eyes of the Tate organizers and contemporary photography at large. He is, nevertheless, an artist who can help us question the nature of reality while producing work that is often very complex and beautiful, and someone whose methods and ideas can serve as [End Page 118] a model of individual creative practice. The global interest in photography, the many significant exhibitions and books produced in the past decade, and the prices paid for photographs have by now lain to rest the old debate about whether photography is a genuine art form. As any serious photographer can attest, producing a photograph that has form, presence, and originality is dauntingly difficult, even though photography seems so easy. Everyone, today, has a camera. Yet, constantly fed with glitzy images from commerce and entertainment that direct our minds along certain well-worn grooves—a challenge for aesthetic education—budding artists require a certain strength of character and imagination to resist the literal and obvious and move toward a more authentic way of seeing. Delany's book shows how someone can defy fashion, as Brandt did for half a century, producing "pictorial" images layered with meaning and mystery. As an aside, despite the intent to show images that simply describe the world, some of the Tate pictures still manage, to my eye at least, to have their own ephemeral expressiveness, and at times great beauty, which raises the question, At what point does a document become a work of art? The Tate approach, with its strict theories, seems to be more interested in legislating than in exploring photographic practice.Biographies can... (shrink)

Capturing the lively modernist milieu of Kenneth Burke's early career in Greenwich Village, where Burke arrived in 1915 fresh from high school in Pittsburgh, this book discovers him as an intellectual apprentice conversing with "the moderns." Burke found himself in the midst of an avant-garde peopled by Malcolm Cowley, Marianne Moore, Jean Toomer, Katherine Anne Porter, William Carlos Williams, Allen Tate, Hart Crane, Alfred Stieglitz, and a host of other fascinating figures. Burke himself, who died in 1993 at the (...) age of 96, has been hailed as America's most brilliant and suggestive critic and the most significant theorist of rhetoric since Cicero. Many schools of thought have claimed him as their own, but Burke has defied classification and indeed has often been considered a solitary, eccentric genius immune to intellectual fashions. But Burke's formative work of the 1920s, when he first defined himself and his work in the context of the modernist conversation, has gone relatively unexamined. Here we see Burke living and working with the crowd of poets, painters, and dramatists affiliated with Others magazine, Stieglitz's "291" gallery, and Eugene O'Neill's Provincetown Players; the leftists associated with the magazines The Masses and Seven Arts; the Dadaists; and the modernist writers working on literary journals like The Dial, where Burke in his capacity as an associate editor saw T. S. Eliot's "The Wasteland" into print for the first time and provided other editorial services for Thomas Mann, e.e. cummings, Ezra Pound, and many other writers of note. Burke also met the iconoclasts of the older generation represented by Theodore Dreiser and H. L. Mencken, the New Humanists, and the literary nationalists who founded Contact and The New Republic. Jack Selzer shows how Burke's own early poems, fiction, and essays emerged from and contributed to the modernist conversation in Greenwich Village. He draws on a wonderfully rich array of letters between Burke and his modernist friends and on the memoirs of his associates to create a vibrant portrait of the young Burke's transformation from aesthete to social critic. (shrink)

The human conceptual system comprises simulated information of sensorimotor experience and linguistic distributional information of how words are used in language. Moreover, the linguistic shortcut hypothesis predicts that people will use computationally cheaper linguistic distributional information where it is sufficient to inform a task response. In a pre‐registered category production study, we asked participants to verbally name members of concrete and abstract categories and tested whether performance could be predicted by a novel measure of sensorimotor similarity (based on an 11‐dimensional (...) representation of sensorimotor strength) and linguistic proximity (based on word co‐occurrence derived from a large corpus). As predicted, both measures predicted the order and frequency of category production but, critically, linguistic proximity had an effect above and beyond sensorimotor similarity. A follow‐up study using typicality ratings as an additional predictor found that typicality was often the strongest predictor of category production variables, but it did not subsume sensorimotor and linguistic effects. Finally, we created a novel, fully grounded computational model of conceptual activation during category production, which best approximated typical human performance when conceptual activation was allowed to spread indirectly between concepts, and when candidate category members came from both sensorimotor and linguistic distributional representations. Critically, model performance was indistinguishable from typical human performance. Results support the linguistic shortcut hypothesis in semantic processing and provide strong evidence that both linguistic and grounded representations are inherent to the functioning of the conceptual system. All materials, data, and code are available at https://osf.io/vaq56/. (shrink)

With agile, pathbreaking use of psychoanalytic theory, Tate explores African-American desire, alienation, and subjectivity in neglected novels by Emma Kelley, W.E.B. Du Bois, Richard Wright, Zora Neale Hurston, and Nella Larsen.

This article explores traditional views of advance care planning in the broader context of advance personal planning, which also accounts for legal and financial matters. Criticisms of existing processes are noted, while the significance of interprofessional collaboration is highlighted. Reframing the purpose of advance personal planning as planning for the rest of life, rather than the end-of-life, and adopting a more holistic perspective informed by theory may help individuals to view advance personal planning as a routine, preventative exercise that safeguards (...) their autonomy and well-being. Both lawyers and healthcare providers have an important role to play in reframing the purpose of advance personal planning. This revised approach is underpinned by the unification of two separate theoretical lenses: Preventive Law Theory and Therapeutic Jurisprudence. This combination enhances our understanding of what it means for people to truly achieve “the good result” (Holtz 2017) when planning ahead for their future legal, financial, health, and personal interests. Preventive Law Theory encourages an ongoing, collaborative relationship between lawyers and their clients, or healthcare providers and their patients, while Therapeutic Jurisprudence ensures an ethical approach to advance personal planning that accounts for all aspects of the individual’s well-being, including consideration of vulnerability, autonomy, and empowerment. (shrink)

I explain the notion of contributory injustice, a kind of epistemic injustice, and argue that it occurs within psychiatric services, affecting those who hear voices. I argue that individual effort on the part of clinicians to avoid perpetrating this injustice is an insufficient response to the problem; mitigating the injustice will require open and meaningful dialogue between clinicians and service user organisations, as well as individuals. I suggest that clinicians must become familiar with and take seriously concepts and frameworks for (...) understanding mental distress developed in service user communities, such as Hearing Voices Network, and by individual service users. This is especially necessary when these concepts and frameworks explicitly conflict with medical or technical understandings of users’ experiences. I defend this proposal against three objections. (shrink)

Austen's heroines need all their resources to overcome the suffering that their virtues occasion. Isolation threatens Emma Woodhouse, Anne Elliot, and Elinor Dashwood because of rather than in spite of their characteristic excellences. But this cannot be: virtue is supposed to contribute to flourishing, not detract from it. Fortunately, Emma, Anne, and Elinor also possess proper self-sufficiency, enabling them to endure and overcome the trials of their own virtue. Thus, Austen's heroines avoid misery, and virtue theorists learn to attend to (...) virtues that respond to the struggle that partially constitutes even excellent human lives. (shrink)

I argue that Schmidtet al, while correctly diagnosing the serious racial inequity in current ventilator rationing procedures, misidentify a corresponding racial inequity issue in alternative ‘unweighted lottery’ procedures. Unweighted lottery procedures do not ‘compound’ (in the relevant sense) prior structural injustices. However, Schmidtet aldo gesture towards a real problem with unweighted lotteries that previous advocates of lottery-based allocation procedures, myself included, have previously overlooked. On the basis that there are independent reasons to prefer lottery-based allocation of scarce lifesaving healthcare resources, (...) I develop this idea, arguing that unweighted lottery procedures fail to satisfy healthcare providers’ duty to prevent unjust population-level health outcomes, and thus that lotteries weighted in favour of Black individuals (and others who experience serious health injustice) are to be preferred. (shrink)

Murray N. Rothbard’s _Toward a Reconstruction of Utility and Welfare Economics_ is the defining contribution outlining the Austrian school’s approach to welfare theory. A recent attack on this approach is by Wysocki and Dominiak (2023), who argue, contra Rothbard, that whether an exchange is welfare-enhancing is not necessarily related to whether that exchange is just, and therefore the Rothbardian framework is wrong. This paper shows that their argument misconceives how Austrians treat the concept of welfare. They also misunderstand the crucial (...) role of the principle of demonstrated preference. Properly conceived, Rothbard’s reconstruction remains intact. (shrink)

The seventeenth century English philosopher, John Locke, is widely recognized as one of the seminal sources of the modern liberal tradition. _Liberty, Toleration and Equality_ examines the development of Locke’s ideal of toleration, from its beginnings, to the culmination of this development in Locke’s fifteen year debate with his great antagonist, the Anglican clergyman, Jonas Proast. Locke, like Proast, was a sincere Christian, but unlike Proast, Locke was able to develop, over time, a perspective on toleration which allowed him to (...) concede liberty to competing views which he, personally, perceived to be "false and absurd". In this respect, Locke sought to affirm what has since become the basic liberal principle that liberty and toleration are only meaningful when they are accorded to views to which we ourselves are profoundly at odds. John William Tate seeks to show how Locke was able to develop this position on toleration over a long intellectual career. Tate also challenges some of the most prominent contemporary perspectives on Locke, within the academic literature, showing how these fall short of perceiving what is essential to Locke’s position. (shrink)

In this paper, I address two widespread misconceptions about Descartes’s theory of love. Descartes defines love as a passion that ‘incites [the soul] to join in volition to the objects that appear to be suitable to it’. Several commentators assume joining in volition is an act of judgment, since forming judgments is the primary function of the will in the Meditations. However, I argue joining in volition is an act of imagining a whole one forms with an object of love. (...) I draw on Descartes’s account of volition in The Passions of the Soul to show forming images in one’s mind qualifies as a volition, on his view. Second, commentators often assume joining in volition is an essential part of love. However, I argue joining in volition is not an essential part of love because love is not identical to joining in volition, and love does not necessitate the soul to join in volition. (shrink)

The standard microeconomic analysis of taxation suggests that excise taxes on goods with a price-inelastic demand are more efficient in that they lead to a lower deadweight loss than taxes on goods with price-elastic demand. This argument ignores secondary effects on the rest of the economy. By narrowly focusing on the primary effects on the market where the tax is raised, the overall deadweight loss is underestimated when demand is price-inelastic. Moreover, it is overestimated when demand is price-elastic. This puts (...) into question the validity of the standard textbook argument. In this paper we address this issue by considering how taxes affect consumer behavior in other markets. From this we can clearly see how the impact of an excise tax is not limited to one market in isolation, but is spread over all markets and affects the demand for cash balances. We suggest a simple way to incorporate this important insight into a standard textbook exposition. (shrink)

This book begins by considering responses by French artists to the First World War, showing how Purism, Dada, and early Surrealism are related to the ethos of post-war reconstruction. The authors then discuss the language of construction in places as dissimilar as France, Germany, and the Soviet Union; the contrasting demands of the utility and decoration of objects and paintings; and the relationship of surrealism to questions of sexuality and gender and to Freudian theory. The book concludes by addressing the (...) widespread debate over realism in art: whether it represents an alternative to the elitism of the avant-garde or whether avant-garde art should play a role in the development of a modern realism. (shrink)

BackgroundDefensive practice occurs when physicians provide services, such as tests, treatments and referrals, mainly to reduce their perceived legal or reputational risks, rather than to advance patient care. This behaviour is counter to physicians’ ethical responsibilities, yet is widely reported in surveys of doctors in various countries. There is a lack of qualitative research on the drivers of defensive practice, which is needed to inform strategies to prevent this ethically problematic behaviour.MethodsA qualitative interview study investigated the views and experiences of (...) physicians in Australia on defensive practice and its contribution to low value care. Interviewees were recruited based on interest in medico-legal issues or experience in a health service involved in ‘Choosing Wisely’ initiatives. Semi-structured interviews averaged 60 min in length. Data were coded using the Theoretical Domains Framework, which encapsulates theories of behaviour and behaviour change.ResultsAll participants (n = 17) perceived defensive practice as a problem and a contributor to low value care. Behavioural drivers of defensive practice spanned seven domains in the TDF: knowledge, focused on inadequate knowledge of the law and the risks of low value care; skills, emphasising patient communication and clinical decision-making skills; professional role and identity, particularly clinicians’ perception of patient expectations and concern for their professional reputation; beliefs about consequences, especially perceptions of the beneficial and harmful consequences of defensive practice; environmental context and resources, including processes for handling patient complaints; social influences, focused on group norms that encourage or discourage defensive behaviour; and emotions, especially fear of missing a diagnosis. Overall, defensive practice is motivated by physicians’ desire to avoid criticism or scrutiny from a range of sources, and censure from their professional peers can be a more potent driver than perceived legal consequences.ConclusionsThe findings call for strengthening knowledge and skills, for example, to improve clinicians’ understanding of the law and their awareness of the risks of low value care and using effective communication strategies with patients. Importantly, supportive cultures of practice and organisational environments are needed to create conditions in which clinicians feel confident in avoiding defensive practice and other forms of low value care. (shrink)

How accurate is Kevin Carson’s characterization of “freed” markets? Carson, a left-libertarian “free market anti-capitalist,” portrays free markets as so radically different from actually-existing markets that they are almost unrecognizable. In The Homebrew Industrial Revolution: A Low Overhead Manifesto, he provides an alternative history of industrialization that argues that large-scale industrial organization and production are largely creatures of state intervention and that truly free markets would be characterized mainly by small-scale production for local markets. This paper evaluates Carson’s narrative in (...) order to determine whether his vision of the freed market is credible. I find that Carson fails to provide sufficient evidence to demonstrate that, but for government intervention, national markets would only exist for a few goods. Furthermore, many of the features he believes freed markets would possess are based on fallacious views of competition, knowledge, capital, and entrepreneurship. (shrink)

Shane Glackin's 2019 Philosophical Quarterly article aims to offer a framework for understanding the philosophical debate about the nature of disease and utilise this framework to reply to several standard objections to normativist theories of disease. Specifically, Glackin claims his model avoids three central challenges to normativism, which we term the ‘Flippancy Problem’, ‘Repugnancy Problem’, and the ‘Explanatory Problem’. Although we find Glackin's framework helpful in clarifying the terrain of the debate, we argue these three challenges continue to afflict his (...) preferred construal of the normativist/social constructivist position. (shrink)

Eric C. Ip has recently argued that seriously anorexic service users ought to be assumed to be legally incapacitous to refuse life‐saving artificial nutrition unless they can demonstrate otherwise, reversing the ordinary legal presumption in place to protect patients’ liberty and values. In this response, I argue against this proposal on two grounds. Firstly, the proposal is wrongfully discriminatory; it would expose service users to serious harm, and wrong them in numerous ways, on the basis of their diagnosis alone, without (...) significantly benefitting them in any way relative to the status quo. Secondly, he is unable to show that a large majority of such service users actually are incapacitous to refuse life‐saving artificial nutrition. This means that his proposal would likely involve declaring a large number of actually capacitous patients to be incapacitous, without even the requirement of a formal assessment, and burdening them with the responsibility of proving their clinical team wrong if they wish to avoid deprivation of liberty and/or compelled treatment. Given this, his proposal is indefensible. (shrink)

John Locke is widely perceived as a foundational figure within the liberal tradition. This book investigates the competing purposes that informed Locke's political philosophy, not all of which resulted in outcomes consistent with what we today understand as "liberal" ideals. Locke himself was unaware that he belonged to a "liberal" tradition. Traditions only acquire meaning in retrospect. But many have perceived the development of Locke's political philosophy as involving a smooth evolution from "authoritarian" origins to "liberal" conclusions, beginning with Locke's (...) Two Tracts on Government (1660-62) and culminating in his later political works, the Two Treatises of Government (1689) and A Letter Concerning Toleration (1689). This book advances an interpretation of this development which reveals how, by the time of his mature political writings, Locke sought to advance three competing imperatives within his political philosophy, only two of which were consistent with ideals of individual liberty. The other imperative sustained purposes much more aligned with the "authoritarianism" with which Locke's political philosophy began. The result is a much more complex and variegated understanding of Locke's political philosophy, focusing on its competing purposes. Liberty, Governance and Resistance will be of interest to researchers studying Locke, liberalism, and the history of ideas. (shrink)

The prefix “post” in the terms “postmodern,” “postmodernism,” and “postmodernity” implies that in some way modernity has been relegated either to a historical past or a moral obsolescence. This supposed transition from modernity to postmodernity, however, is inherently ambiguous, because modernity's limits are by no means self-evident. Its finality, therefore, is by no means clear. This is due, not least, to the fact that the very meaning of modernity as either a historical epoch or a normative project is open to (...) question. Thus, the boundaries of modernity, which would have to be transcended by a distinctive postmodern period, are contested.…. (shrink)

The author responds to a letter by D. Brendan Johnson in the July‐August 2023 issue of the Hastings Center Report concerning his and Joseph Clair's article “Love Your Patient as Yourself: On Reviving the Broken Heart of American Medical Ethics.”.

There is a long-standing debate in philosophy about whether it is morally permissible to harm one person in order to prevent a greater harm to others and, if not, what is the moral principle underlying the prohibition. Hypothetical moral dilemmas are used in order to probe moral intuitions. Philosophers use them to achieve a reflective equilibrium between intuitions and principles, psychologists to investigate moral decision-making processes. In the dilemmas, the harms that are traded off are almost always deaths. However, the (...) moral principles and psychological processes are supposed to be broader than this, encompassing harms other than death. Further, if the standard pattern of intuitions is preserved in the domain of economic harm, then that would open up the possibility of studying behavior in trolley problems using the tools of experimental economics. We report the results of two studies designed to test whether the standard patterns of intuitions are preserved when the domain and severity of harm are varied. Our findings show that the difference in moral intuitions between bystander and footbridge scenarios is replicated across different domains and levels of physical and non-physical harm, including economic harms. (shrink)

This nonfiction book for teens examines the complex issue of medical assistance in dying from multiple perspectives.

Marie was 15 when her abdominal pain began. After two years of negative work-ups, countless visits to gastroenterologists, and over 70 days of high school missed, she found herself readmitted to the hospital. “Refractory abdominal pain” was her ostensible diagnosis; “troubled teen” who was “going to be difficult” was embedded in the emergency department’s sign-out. When the medical team arrived to meet Marie, she was huddled in the corner of her hospital bed, silent and withdrawn. Her intern noted the numerous (...) scars cutting across her forearms as she felt for her radial pulses. Marie squirmed in pain when the intern palpated her abdomen.The ED’s work-up had been negative for abdominal pathology. When the... (shrink)

Abstract In Gadamer's later writings on art, his investigation into the being of the work exploits the temporal resonance of the concept of performative enactment ( Vollzug ), which displaces the priority of play ( Spiel ) in his earlier account. Drawing upon Heidegger, Gadamer deploys the concepts of tarrying ( Verweilen ) and the while ( die Weile ) to elucidate the temporality of the work of art as an event of being. On the one hand, tarrying describes the (...) temporal structure of the performance that enables the work to come forth. On the other hand, the while characterizes the unique presence of the work that takes place in and through its enactment. Here Gadamer's understanding of art engages his thought about “empty“ and “fulfilled“ time. For, the temporal event of the artwork is such that it interrupts the ordinary experience of passing time and thereby opens up another, more authentic experience of the fullness of time. (shrink)

In this paper I aim to show why pediatric suffering must be understood as a judgment or evaluation, rather than a mental state. To accomplish this task, first I analyze the various ways that the label of suffering is used in pediatric practice. Out of this analysis emerge what I call the twin poles of pediatric suffering. At one pole sits the belief that infants and children with severe cognitive impairment cannot suffer because they are nonverbal or lack subjective life (...) experience. At the other pole exists the idea that once child suffering reaches some threshold it is ethical to eliminate the sufferer. Concerningly, at both poles, any particular child vanishes from view. Second, in an attempt to identify a theory of suffering inclusive of children, I examine two prominent so-called experiential accounts of suffering. I find them both wanting on account of their absurd entailments and their flawed assumptions regarding the subjective experiences of people who cannot communicate expressively. Finally, I extend arguments found in Alastair MacIntyre’s Dependent Rational Animals to argue that child suffering can be understood only as a set of absences—absences of conditions such as love, warmth, and freedom from pain. An evaluation of these absences reveals the exquisite dependency of children. It also discloses why pediatric suffering is necessarily a social and political event. Unlike adults, children will never be either the authors or the mitigators of their own suffering. Rather, children must rely wholly on others in order to resist suffering, grow, and flourish. (shrink)