This chapter navigates the confluence of immersive design, critical mapping, urban heritage, and socio-environmental justice. It elucidates the potential of these intersecting domains to engender inclusivity, bolster urban resilience, and challenge prevailing power dynamics within urban spaces. Initially, the chapter illuminates the nuances of critical mapping, emphasizing its pivotal role in understanding and advocating for socio-environmental justice within the tapestry of urban heritage. By taking Amsterdam and Houston as primary case studies, the exploration accentuates the power of immersive (...) art and design in forging embodied experiences. These experiences, intrinsically holistic, seamlessly meld the cognitive and affective realms of design-centered embodiment. The showcased city narratives unravel the myriad ways immersive art interventions can stimulate critical reflections on core issues interlinking urban heritage, socio-environmental justice, and the nuances of public space occupation. -/- Situating itself within the broader discourse of the book on digital interventions in cultural heritage, this chapter carves a distinct narrative niche. It accentuates the transformative potential of immersive art and design in envisaging and actualizing vibrant, inclusive, and adaptive urban transition zones. By interlacing threads of critical mapping and socio-environmental justice, the chapter augments the discourse on urban heritage, offering a profound dive into its manifestations in both North American and European landscapes. (shrink)

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an unprecedented (...) mapping of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)

Mobilising International Law for 'Global Justice' provides new insights into the dynamics between politics and international law and the roles played by state and civic actors in pursuing human rights, development, security and justice through mobilising international law at local and international levels. This includes attempts to hold states, corporations or individuals accountable for violations of international law. Second, this book examines how enforcing international law creates particular challenges for intergovernmental regulators seeking to manage tensions between incompatible legal (...) systems and bringing an end to harmful practices, such as foreign corruption and child abduction. Finally, it explores how international law has local resonance, whereby, for example, cities have taken it upon themselves to give effect to the spirit of international treaties that national governments fail to implement, or even may have refused to ratify. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Caring for Landscapes of Justice in Perilous Settler EnvironmentsMishuana Goemanindians are the "singing remnants" or "graffiti," in the words of Leanne Betasamosake Simpson ("i am graffiti"). The forms this graffiti takes, our inscriptions on the landscape, are as numerous as our Nations, abundant as our ancestors who loved, lived, and passed down knowledge of our lands and histories. "You are the result of the love of thousands," writes (...) Linda Hogan, who beseeches us to listen to the environment surrounding us (159). Deborah Miranda (Coastal Esselen and Chumash) reminds us that we are also the result of violent histories, in her tribal memoir Bad Indians, a book that relishes the tales of her ancestors who resist and act out to survive. This harm, genocide, and settler mapping of worlds also must be attuned to in our surroundings and in "our bodies [that are] bridges over which our descendants cross, spanning unimaginable landscapes of loss" (Miranda 74). Visual cartographic mapping has been part and parcel of the erasure of California Indians, relegated to the small, contained, and past temporal space of a romanticized mission.This paper centers on the NDN Collective's work and the photography of Cara Romero's project Tongvaland and the works of Gabrielino Tongva artist Mercedes Dorame. The setting of these projects is in the sprawling landscape of Los Angeles, or the homelands of the Gabrielino Tongva people, who call it Tovaangar. I will examine the anti-colonial aesthetics and care practices mapped out in the work rather than presenting a "true" Indigenous map or alternative map. Mapping a history of the landscape by creating a "new" narrative or "true" narrative is not enough. As Maori scholar Linda Tuhwi Smith states, "[w]e believe that history is also about justice, that understanding history will enlighten our decisions about the future. Wrong. History is also about power. In fact, history is mostly about power. … [A] thousand accounts of the truth will not alter the fact that indigenous peoples are still marginal [End Page 50] and do not possess the power to transform history into justice" (34). The Gabrielino Tongva, who comprise an estimated 2,300 people, do not possess the population power and cannot access the form of voting or democracy to make the changes needed just by telling their truth. Across California, people know about the raw deal, the embezzlement, the genocide, and the so-called lost treaties. In fact, under Eisenhower, recompense was paid out in small amounts to Tongva families of the dispossessed. Instead, to continue with the words of Smith, "[i]t is also about reconciling and reprioritizing what is really important about the past with what is important about the present" (111). What Romero and the NDN Collective—made up of numerous tribal leaders, scholars, and other artists—did was relay and prioritize how they wanted to be seen in their homelands. These billboards invite us in, in a gift of sharing, or what tribal cultural leader Craig Torres related to me as a spirit of Maxxa, a sharing, gifting, or swapping of knowledge. Dorame's beautiful and critical installations in public art spaces reflect Maxxa—they invite the viewers to think through land from her curious arrangements. As artists, part of their practice is not that of a Western version of a tortured genius but instead is energized by pulling in community and creating a collective practice. They undo settler space together and with us. The cartographic practices of these California Indians' creative arts exemplify communities of care that must be considered when we think through the unmapping of settler terrains. This question requires an approach of radical care. As Hi'ilei Hobart and Tamara Kneese make clear, the notion of care is "inseparable from systemic inequalities and power systems" (Hobart and Kneese 1).The work of the NDN Collective and Dorame counters a settler-based, commercial map of Los Angeles. Indigenous people, relegated by the settler state as expendable and erasable graffiti, confront capitalist and state ordinances at various scales. Rather than understand this as a subjugated positionality, I posit that graffiti is the critique necessary and valuable to understanding interlocking structures of oppression. In the following words of Leanne... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Abortion to Abolition: Reproductive Health and Justice in Canada by Martha PaynterRebecca Simmons (bio)Abortion to Abolition: Reproductive Health and Justice in Canada by Martha Paynter Winnipeg, MB: Fernwood Publishing, 2022Martha Paynter's Abortion to Abolition: Reproductive Health and Justice in Canada is a bold, ambitious work that seeks to not only catalog Canada's meandering and often backtracking path toward reproductive justice, but to act as (...) a manifesto for Paynter's own ideas and goals for reproductive justice. The book takes the form of an anthology of stories, divided into chapters, that are grouped according to a certain right; for example, the right to bodily autonomy. This format effectively guides the reader from abortion to abolition. Paynter adroitly starts the book with white feminist favorites such as bodily autonomy and not having children. Then she logically progresses to more radical ideas such as parenting in prison and the total abolition of prisons. The stories in this book are accompanied by warm, colorful illustrations by Julia Hunt. These drawings help the reader visualize the person behind the story and the very real life that was affected by reproductive law and/or social norms. Paynter holds a PhD in nursing, and it is from this background that she writes, seeking to educate nurses and other healthcare professionals alongside a broader readership garnered through her clear, approachable writing style.Chapter 1 introduces the reader to many of the book's key themes by considering the right and need to have bodily autonomy, and the multiple ways this manifests itself in ordinary (and less-ordinary) life. Paynter considers the disparate stories of five women, all fighting in some way for bodily autonomy. The stories cover events of gender-based gun violence, sexual assault, transgender rights in prison, the legalization of sex work, police violence, and institutional racism. Each story recounted by Paynter catalogs tragedies and injustices with blunt and brutal honesty—perhaps to an unnecessary extent. Every horrific fact is laid bare for the readers as they uncover the intricacies of gender-based, imperialist, and racist violence. Paynter has chosen these stories to display the multitude of ways in which people—especially Black, Indigenous, people of color (BIPOC) and minoritized genders—can be willfully wronged by the state and [End Page 209] the criminal justice system, such that the reader must begin to confront the fact that these structures don't seem to exist to benefit or protect the most marginalized in society.Chapter 2 approaches the right not to have children through a number of stories related to contraception, abortion, and family planning. Paynter sketches some of the key points in Canada's journey toward the decriminalization of abortion, from paradoxical trailblazers, such as Dr. Emily Stowe in the 1800s, to the viral memefied content of art protestor iamkarats. While the unequivocal legality of abortion in Canada suggests incredible progressiveness and support for women's rights, Paynter paints a more complex picture through her chosen narratives. Crucially, the inequitable geographical access to abortion, in particular, throughout the huge landmass of Canada suggests that the right to not have children in Canada is not universal. Moreover, Paynter suggests that access is also bounded by financial constraints, finite public funding, and the limited availability of inclusive clinics that prioritize healthcare for LGBTQ2S+ people.Chapter 3 considers the topic of having children; in particular, the right to reproductive technologies and freedom from forced sterilization. Paynter quickly makes clear that while many white feminists might see having and not having children as diametrically opposed, they are two equally essential parts of reproductive justice. Paynter draws attention to the Sexual Sterilization Act of 1928 that was only overturned in 1972. She describes it as part of the "genocidal colonial project" (84), a collection of laws and policies aimed at fulfilling eugenicist, neoimperial ideals of increasing production of the white "race" and promoting the genocide of Indigenous peoples. Furthermore, Paynter argues that evidence of forced sterilization of Indigenous peoples, and other physical violence and neglect, persists to the present day and must be stopped and reparations made for previous harms. Paynter then considers the complex, often-debated case of commercialized surrogacy, which she defines... (shrink)

Enfolding Silence is a rare gem for exploring the aesthetic dimensions of epistemology and meaning-making through the arts in the context of historic communal injury. Author Brett Esaki invites his audience to consider how Japanese Americans have developed various art forms to cope with, resist, and transform traumatic experiences of racism, including the mass, unlawful internment of nearly 120,000 people of Japanese descent during World War II. By examining an extended ethnographic case study, educators and students can reflect on how (...) a community teaches aesthetically across generations, as one generation traumatized by racism teaches what matters culturally, aesthetically, and spiritually to the next. Esaki is... (shrink)

This paper explores spatial justice in urban environments through immersive art and design, focusing on Amsterdam and Houston. It presents a case study from the Venice Biennale 2023, showcasing art's potential in fostering inclusive urban spaces. The study delves into the socio-political complexities of urban areas, highlighting often-ignored liminal spaces and their tensions and possibilities. Immersive art emerges as a transformative medium, capable of challenging and reshaping perceptions of space, and addressing systemic socio-economic disparities. Adopting a transdisciplinary approach, the (...) research combines insights from various fields to enrich discussions on spatial justice and inspire urban transformations. (shrink)

Many open networks, distributed computing systems, and infrastructure management systems face a common problem: how to distribute a collectivised set of resources amongst a set of autonomous agents of heterogenous provenance. One approach is for the agents themselves to self-organise the allocation of resources with respect to a set of agreed conventional rules; but given an allocation scheme which maps resources to those agents and a set of rules for determining that allocation scheme, some natural questions arise—Is this allocation fair? (...) Is the allocation method effective? Is it efficient? Are the decision makers accountable? In this paper, we argue that some answers to these questions can be found in the formal characterisation of different aspects of ‘justice’ and that these different aspects need a principled operationalisation as policies for system management. We present a formal model and some experimental results, concluding that the different aspects are all inter-connected and that what is required is a comprehensive research programme in computational justice. (shrink)

This review examines Eduardo C. Bittar’s _Semiotics_, _Law & Art_, exploring how visual culture and semiotics intersect with law to reveal the symbolic layers of justice and authority. Drawing from multiple disciplines—including visual arts, theatre, and architecture—Bittar positions justice as a semiotic inquiry. He critiques modern legal positivism and advocates for a culturally embedded understanding of law, utilizing semiotic approaches like Greimasian analysis. The book is divided into two parts: foundational theory and its application in visual media. Each (...) chapter contributes to understanding how cultural symbols influence the perception and practice of justice. While Bittar’s interdisciplinary approach enriches the field of visual jurisprudence, the lack of empirical engagement is noted as a limitation. Future research integrating empirical studies could validate his claims and emphasize the importance of cultural narratives in shaping legal consciousness. Overall, the book is a significant contribution, encouraging scholars to look beyond text and embrace the cultural and visual dimensions of law for a holistic understanding of justice. (shrink)

Philosophers have developed various systems of individuation for handling questions of identity regarding works of art. But even a casual survey of different arts reveals that questions of individuation in one art form are markedly different from questions of individuation in another. Though distinctively philosophical concepts can go a short way in clarifying these issues, it is hardly likely that any single philosophical system can do justice to them all.

Should there be a female age limit on public funding for assisted reproductive technology (ART)? The question bears significant economic and sociopolitical implications and has been contentious in many countries. We conceptualise the question as one of justice in resource allocation, using three much-debated substantive principles of justice—the capacity to benefit, personal responsibility, and need—to structure and then explore a complex of arguments. Capacity-to-benefit arguments are not decisive: There are no clear cost-effectiveness grounds to restrict funding to those (...) older women who still bear some capacity to benefit from ART. Personal responsibility arguments are challenged by structural determinants of delayed motherhood. Nor are need arguments decisive: They can speak either for or against a female age limit, depending on the conception of need used. We demonstrate how these principles can differ not only in content but also in the relative importance they are accorded by governments. Wide variation in ART public funding policy might be better understood in this light. We conclude with some inter-country comparison. New Zealand and Swedish policies are uncommonly transparent and thus demonstrate particularly well how the arguments we explore have been put into practice. (shrink)

_In this lively and groundbreaking book, arts educator Marit Dewhurst examines why art is an effective way to engage students in thinking about the role they might play in addressing social injustice._ Based on interviews and observations of sixteen high schoolers participating in an activist arts class at a New York City museum, Dewhurst identifies three learning processes common to the act of creating art that have an impact on social justice: connecting, questioning, and translating. Noting that “one of (...) the challenges of social justice art education has been the difficulty of naming effective strategies that can be used across multiple contexts,” Dewhurst outlines core strategies for an “activist arts pedagogy” and offers concrete suggestions for educators seeking to incorporate activist art projects inside or outside formal school settings. _Social Justice Art _seeks to give common language to educators and others who are looking to expand and refine their practices in an emerging field, whether they work in art education, social justice programming, or youth development. (shrink)

Climate change has been called both a ‘slow emergency’ and an ‘urgent crisis’, it creates tensions between human and non-human temporalities, it asks some communities to ‘speed up’ and demands others slow down, and requires choices between present needs, historical responsibilities and future consequences. If students are to understand and confront climate (in)justice, then a ‘temporal imagination’ (Adam, 1998) is required that is alert to the ways that time is central to the politics of a warming world. This paper (...) therefore explores how ‘teaching time’ can support the awareness of and attention to (in)justice. The paper discusses the limits of current approaches to teaching time in education and explores a range of practices for developing ‘temporal attunement’ (Jensen, 2023) that can be found in public arts, Indigenous education, educational philosophy, futures studies and decolonial praxis. It maps out five temporal educational practices of: relational time; rhythm; anticipation and reparation; temporal suspension; and critical time keeping. It argues that these practices can be put into dialogue as a basis for a ‘temporal pedagogy’ that comprises three moves: interruption (of habitual and dominant temporal frames and their production of injustice), attention (to the latent, situated, plural timings and rhythms of the situation), and encounter (through invitations to judgement about the temporal practices that should govern more just collective action in response to climate change). It concludes by working through an example of how such a pedagogy might be deployed to negotiate the conflicting temporalities of socio-ecological change. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Graffiti and Colonial Unknowing:A Comment on Mishuana Goeman's "Caring for Landscapes of Justice in Perilous Settler Environments"Anna Cookin "caring for landscapes of justice in Perilous Settler Environments," Dr. Goeman shows how the NDN Collective's initiatives, Chemehuevi photographer Cara Romero's Tongvaland project, and the works of Gabrieliño Tongva artist Mercedes Dorame "exemplify communities of care" that work toward "the unmapping of settler terrains" ("Caring for Landscapes" 51). Her (...) address highlights how these cartographic art productions are processes of (re)mapping that challenge colonial spatialities. Drawing on Michi Saagig Nishnaabeg scholar Leanne Betasamosake Simpson's poem "i am graffiti," Goeman frames these art works as Indigenous graffiti, insofar as they are everyday acts of resurgence1 that resist erasure and enact rematriation.My comments aim to articulate how Romero's and Dorame's works both reveal and disrupt a colonial unknowing by showing the cracks of settler colonial spatiality. I take Goeman's address to illustrate that the changing of minds and unsettling of settler identity will not occur through argumentation, facts, and figures alone, but rather through aesthetic and cartographic practices that "provide a way of seeing Indigenous futurities and relationalities" ("Caring for Landscapes" 52).Maps as Tools of Settler ColonialismIn order to highlight how these art practices enact a kind of (re)mapping that breaks through the veneer of colonial permanence, we first need to consider the way mapping transforms land into property in the service of Indigenous erasure and land dispossession. In her address, Goeman offers a short history of what is now called Los Angeles through the lens of dispossession that occurs through "international claiming of property and burgeoning US property law" ("Caring for Landscapes" 53). Tovaangar was divided into Spanish (and [End Page 64] then Mexican) land grants that, after 1846, were "registered under the US as property" (Goeman, "Caring for Landscapes" 53; emphasis added). The Land Act of 1851 "established the domestication of the California landscape under US governance" by legitimating existing Mexican land rights and mapping out territory yet "unclaimed" ("Caring for Landscapes" 54). The mapping of this so-called "unclaimed" territory propelled a violent erasure of California Indians by "establishing new and ongoing commerce centers" ("Caring for Landscapes" 53). Land was transferred into property—as a thing owned—without "the consent of those who … lived on the land since time immemorial, following the settler structure of passing land between Christian nations" ("Caring for Landscapes" 53). By showing how property rights legitimate conquest and violence, Goeman illustrates how mapping has been (and continues to be) an "essential settler-colonial tool to domesticate land in Southern California and propel development" ("Caring for Landscapes" 54). While she demonstrates how the mapping of Tovaangar using 493 hand-drawn Diseños maps served to sever Indigenous communities (and their relationships with land, such as the Gabrieliño Tongva with the San Gabriel Mountains), she emphasizes that this is an ongoing process that has not been left in a distant past. Newer maps that may seem more objective and scientific with "better models of scale or a more realist representation" remain, at their core, maps of dispossession ("Caring for Landscapes" 54).The very desire to objectively determine location by assigning latitude and longitude reveals a colonial spatiality, which "territorialize[s] the physical landscape by manufacturing categories and separating land from people" and conceives of space in terms of property logics (Goeman, "[Re]Mapping Indigenous Presence" 296). In addition to Indigenous land dispossession, this colonial spatiality rejects relationality by creating dualist boundaries between human and non-human, in which land is the raw material for human development and the creation of culture. Cherokee philosopher Brian Burkhart speaks of relationality in terms of locality, which he defines as "being-fromthe-land, knowing-from-the-land, and meaning-from-the-land" (Indigenizing Philosophy xvii). The severing of locality can be understood in terms of the transformation of land as relative to inert matter to be acted upon. Mapping serves as a tool of settler colonial erasure insofar as it delocalizes "land as the relational ground of kinship" into "land as a mere object that only has meaning or value in relation to people" ("Indigenizing Philosophy... (shrink)

This article explores whether artificial intelligence (AI) can engage in the practice of law as an art of good and justice. It examines the historical and philosophical foundations of law as the art of promoting societal harmony and resolving moral dilemmas. The research employs critical and philosophical analysis methods integrating insights from legal scholars, ethicists, technologists, and policymakers. The study identifies AI’s potential to streamline legal processes, enhance access to justice, and reduce bias in decision-making. However, it also (...) highlights ethical challenges such as transparency, accountability, and the impact on the legal workforce. The article emphasises the importance of striking a balance between technological innovation and human values, advocating for proactive regulation and interdisciplinary cooperation to ensure the ethical development and implementation of AI in law. The results of the study highlight the transformative potential of AI in revolutionising legal practice, emphasising its capacity to streamline processes, improve access to justice, and mitigate bias. However, ethical considerations such as transparency, accountability, and the preservation of human judgment are crucial to ensuring that AI integration in law upholds fundamental principles of justice and fairness. (shrink)

This chapter investigates medieval Sweden and its iconography of justice. The Swedish lay judges were without university education, and especially the commoners had few opportunities of seeing images of justice on artefacts or in secular buildings. Yet, the ecclesiastical imagery in churches was seen and understood by all, thanks to the Church’s teaching. Based on surveys of justice-related iconography in medieval Swedish and Finnish churches, the chapter argues that the scope of these motifs was very limited. Images (...) of the Last Judgment and Saint Michael weighing souls predominate, while some churches had murals with Moses receiving the Tables of the Law, Solomon’s justice, or truth- or justice-related Biblical verses in Latin. No images of Lady Justice or other justice-related representations came up. Even only a fraction of the Finnish churches had a Last Judgment or Saint Michael to adorn them. However, these two images together, with images of devils tempting people to sin and perdition, were visualisations that had practical meaning in the Swedish legal culture. The practices of justice and judging were popular and daily reiterated, making each sworn oath a step towards either heaven or hell. (shrink)

Social justice needs a home, a place where it can be found, especially for young people growing up in fragmented and increasingly inequitable societies. Community youth arts organizations have secured a certain prominence in this context over the past three decades and are now part of the urban infrastructures that shape connected learning networks in highly industrialized nations. In this capacity, youth arts organizations regularly engage a language and aesthetics of authenticity and trust as part of how they call (...) out, represent and make a home for children and youth. This paper examines how authenticity in youth culture and youth cultural expression is negotiated by arts organizations and how organizations locate their own trustworthiness as allies of young people through the curation of online media archives. The analysis draws on the internet media archives of two youth arts organizations in Canada’s largest English-speaking cities. The Oasis Skateboard Factory in Toronto, ON is an extension program of the Toronto District School Board that enables participants to create their own brands and learn to run a skateboard or professional design business. ReelYouth started in Vancouver in 2005 as a community media empowerment project, and now delivers programs across Canada and internationally.The claims to youth authenticity articulated in each media archive reveal how authenticity and trust are negotiated ideologically by each organization and how organizations mark their ontological status, as a home from which young people can think and respond to an unjust world. I examine how youth authenticity is produced by analyzing how discourses of youth identity, connection and trust are deployed across each archive. Whilst showcasing how authenticity is negotiated by each group, I show how the production of authenticity discourses by OSF and ReelYouth simultaneously convey a deeper reality: the way youth arts groups operate as care structures that offer ontological security, and places of increasing “awareness of previously unnoticed interconnections” for youth. In this way, they operate as sites of border work, places of routing from which the work of social justice can be borne. (shrink)

Starting from 2009, national courts of the EU Member States for the first time gained a “real” right to request the EU Court of Justice for preliminary rulings in asylum matters. First judgments of this Court demonstrate equivocal tendencies: some are blaming the Court for incompetence in asylum matters, others believe that the adoption of authoritative decisions at the European level will assist in developing consistent practice of applying asylum law in the European Union, something that failed at international (...) level due to absence of a single authoritative body to provide guidance on interpretation and application of the 1951 Refugee Convention. Considering that the judgments of the EU Court are part of the EU law, the Member States should develop their national asylum law with due regard being taken to those judgments. By the beginning of 2012, the Court has issued eight judgments on the interpretation of various problematic issues of EU asylum law. This Article analyses the jurisprudence of the EU Court in asylum cases, related to the granting of refugee status and subsidiary protection. It also provides a critical evaluation of those judgments. The main objective of the Article is to familiarise the relevant Lithuanian institutions and lawyers with the first judgments of the EU Court in asylum cases and encourage discussions concerning the application of rules established by the Court in the Lithuanian context. Due to limited size, this Article presents the analysis of two EU Court judgments adopted on interpretation of the 2004 Qualification Directive: Elgafaji v. The Netherlands (2009) dealing with granting of subsidiary protection, and Abdulla and others v. Bundesrepublik Deutschland (2010), dealing with cessation of refugee status. The value of those judgments first of all lies in the guidance they provided to the Member States on such concepts as: protection in a situation of an armed conflict, agents of protection, effectiveness of protection; as well as determination of a relationship between refugee status and subsidiary protection, relationship of the Qualification Directive with the European Convention on Human Rights and Fundamental Freedoms (ECHR), also cessation of protection. Elgafaji decision, while quite liberal with regard to persons seeking international protection, is not so liberally applied in the Member States’ practice and does not in itself guarantee positive outcome of the application of a concrete individual fleeing from an armed conflict, or a liberal approach to granting subsidiary protection in the Member States. Based on Elgafaji judgment it is clear that: Art. 15(b) of the Qualification Directive correspond to Art. 3 ECHR, while Art. 15(c) provides additional protection and in that it expands the Member States’ obligations beyond the ECHR to provide protection to persons fleeing in situations of armed conflict. While not every person arriving from an armed conflict situation would automatically fall under the granting of subsidiary protection, in certain exceptional situations indiscriminate violence may amount to individual threat without invoking personal circumstances. The EU Court departed from the individualisation requirement applied by the European Court of Human Rights in Art. 3 cases and did not also rely on international humanitarian law, by introducing a “sliding scale” formula for establishing an individual threat in armed conflict situation instead. This formula addressed the alleged internal discrepancy between “individual threat” and “indiscriminate violence”. The Abdulla decision brought in the human rights and law enforcement perspectives to the interpretation of cessation clauses, however it represents a rather superficial approach in the context of the analysed concepts (e.g. towards effectiveness of protection provided by the multinational armed forces) and is likely to be incompatible with the latest legislative trends in the EU asylum instruments (e.g. determination of refugee status and subsidiary protection by means of a single procedure) and the recent jurisprudence under the ECHR (e.g. failure to ensure a minimum standard of living may violate the ECHR). (shrink)

This book demonstrates that art is implicit in the process of administration of international justice. The diverse nature of recent global threats as well as an overwhelming pull towards isolationism and nationalism challenge the dominant deterrence paradigm of international governance created in the aftermath of World War II. An alternative model is to focus on cooperation, and not deterrence, as a guiding operational principle. This study focuses on the theoretical component linking justice with aesthetics as well as on (...) the practical manifestation of this connection evident, inter alia, in the rhetoric of international courts, their architectural design, and their commemorative practices expressed by the practice of symbolic reparations adopted by some of the courts. The underlying premise of the book is that international justice requires new vocabulary and new approaches, which can be derived from the study of aesthetics. It is held that exploring the aesthetical dimension of international justice contributes to the discussion on the foundations of its authority and the grounds for compliance with it. The work engages deeply with the theory of aesthetics developed by Immanuel Kant and Abinavagupta, a Kashmiri critic, philosopher and scholar writing in the early 11th century. The book will be of interest to academics and researchers working in the areas of Legal Philosophy, International Criminal Justice, International Law and International Relations. (shrink)

Should Justice be blind or should she instead be capable of seeing everything, even the human heart? José M. González García examines how the iconography of Justice evolved over the course of history. Providing an overview of depictions of Justice in various ages and places, the book mainly focuses on "The Blindfold Dispute" that began to develop during Renaissance. While at first the blindfold was perceived as unjust, precisely because it denied Justice the ability to see (...) everything, it transformed just a few years later into a positive symbol of the equality of all individuals before the law. And other depictions were added: supplementary eyes, transparent blindfolds, the double face of Janus, the returns of Astraea and the "Eye of the Law". The book also analyses important historic moments in which the crisis of the Law went along with a search for new forms of representing the gaze of Justice, as reflections on the art of Dürer, Klimt and Kafka show as well as recent developments in political philosophy"--Back cover. (shrink)

This article examines the construction of parenthood, drawing on Brazilian cisgender, heterosexual, and homosexual couples' experiences in using assisted reproduction technologies (ART), particularly the surrogacy. For that purpose, we interviewed: 1) a lesbian woman who had her daughter through her partner's pregnancy, using ART with anonymous donor semen; 2) a gay man who, together with his partner, used a surrogacy service under contract via a specialised offshore agency; 3) a woman who was a surrogate, in Brazil, for her sister-in-law and (...) brother who lived abroad and, from abroad, sent an embryo fertilised for surrogacy; 4) a woman who resorted to her sister-in-law in order to be a mother by surrogacy, with ovules from the woman herself fertilised with semen from her husband; and 5) the sister-in-law mentioned in 4), who acted as surrogate for her brother and his wife. These interviews made it possible to think about the discursive construction of the legitimacy of such parenthoods, as it is produced by access to, and manipulation and circulation of, reproductive technologies and persons. This biomedical management of bodies sets up a material and discursive circuit that, in turn, produces a complex web of personal, normative, legal, professional and market relationships, particularly with a view to construction of a parenthood anchored in a notion of biologically-constituted origin. In this respect, biological, affective and social bonds merge to produce a precise placement of who is the father and/or who is the mother, as well as who are the important others and how they are linked to the child in a broader web of parenthood. (shrink)

The persistence of some central instances of social injustice in European democracies governed by the rule of law; despite abundant resources for durably reducing them, is poorly understood. Understanding better the nature of law as constructive interpretation may strongly motivate future applications of the rule of law to alleviating substantially the social injustice of unnecessary yet continuing destitution among many persons, particularly in affluent and resourceful Paris. However, recent critical examinations of the nature of law as constructive interpretation have uncovered (...) a crucial problem with this otherwise cogent account. Here, I show how some eco-ethical reflection on the nature of aesthetic interpretation may suggest a way for resolving this problem with the nature of jurisprudential interpretation. If correct, a further developed version of this analysis may re-open constructively interpretive ways towards more socially effective means for applying the rule of law to help in the elimination of the persistent social injustice of widespread impoverishment in Paris and in other similarly governed major world cities. (shrink)

Background The American Association of Medical Colleges has called for incorporation of the health humanities into medical education, and many medical schools now offer formal programs or content in this field. However, there is growing recognition among educators that we must expand beyond empathy and wellness and apply the health humanities to questions of social justice – that is, critical health humanities. In this paper we demonstrate how this burgeoning field offers us tools for integrating social justice into (...) medical education, utilizing the frameworks of critical consciousness and structural competency. Practice of health humanities Critical health humanities can be applied at multiple levels of learners, and in a variety of contexts. We are two physician-writers who have developed several educational programs that demonstrate this. We taught a seminar that introduced first-year and second-year undergraduates to concepts such as social determinants of health, intergenerational trauma, intersectionality, resilience, and cross-cultural care through works of fiction, poetry, film, podcasts, stand-up comedy, and more. Through creative projects and empathic reflection, students engaged with the complexities of structural forces that create and maintain health disparities. Medical students in their clinical years can engage in critical health humanities learning experiences as well. We teach several multidisciplinary electives that address social (in)justice in medicine, as well as mentor fourth-year students engaged in independent electives that foster critical awareness around health equity and ethics. Beyond the classroom, we have actively engaged in critical health humanities practices through story slams, literary journal clubs, conference presentations, and Grand Rounds. Through these activities we have included learners at GME and CME levels. These examples also demonstrate how community engagement and multidisciplinary partnerships can contribute to the practice of critical health humanities. Conclusion In this paper, we explore the growing field of critical health humanities and its potential for teaching health equity through narrative practices. We provide concrete examples of educational activities that incorporate critical consciousness and structural competency – frameworks we have found useful for conceptualizing critical health humanities as a pedagogical practice. We also discuss the strengths and challenges of this work and suggest future directions. (shrink)

This essay brings psychoanalytic theory on trauma together with film and television criticism on rape narrative in an analysis of Michael Coel’s 2020 series I May Destroy You. Beyond the limited carceral framework of the police procedural, which dislocates the act of violence from the survivor’s history and context, Coel’s polyvalent, looping narrative metabolizes rape television’s forms and genres in order to stage and restage both trauma and genre again and anew. Contesting common conceptions of vulnerability and susceptibility that prefigure (...) a violent breach of autonomy, Coel’s series and her interviews about it invite an ethics of looking that embraces a curiosity in the unknowable and untreatable kernel of subjective experience and defies and resists a policing of the survivor’s thoughts and emotions. By emphasizing and exploring what psychoanalysis calls the “afterwardness” of trauma, Coel foregrounds her main character’s subjectivity prior to her victimization, widens the sphere of consequence beyond the victim and criminal justice system to the survivor’s larger community, and entreats that community to preserve a space for her to look and look again at everything, without judgment. (shrink)

This book, formed as a series of essays in honour of Professor Carl Baudenbacher, addresses the very art of judicial reasoning, and features contributions from many of the foremost current or former national, supranational, or international judges. This unique volume is intended first and foremost for legal scholars, but its approachable style makes it readily accessible for students and for those with a general interest in the application of the law and justice in today's multi-layered world. The collection of (...) essays is rather more philosophical and reflective as opposed to doctrinal. Each contribution focuses on the nature and operation of justice, the independence of the judiciary, and on judicial style primarily from the perspective of the judges themselves. The book provides perspectives on what it means to be accountable and independent as a judge, the role of language and languages in the quest for justice, while other contributions acquaint readers with the some of the structures of courts themselves, or indeed question for whom judgments are written. Each chapter has been written by a presiding judge, or head of an institution and the book is divided into three parts: - Part I Art and Method - Part II Justice and the Judiciary - Part III Reasoning and Language(s). (shrink)

A central point of contention between Critical Theory and Heideggerian thinking concerns the question of truth. Whereas Martin Heidegger orients his conception of truth towards the ongoing disclosure of Being, Jürgen Habermas regards truth as one dimension of validity in 'communicative action'. Unlike Habermas, who usually emphasizes validity at the expense of disclosure, Heidegger tends to emphasize disclosure at the expense of validity. The essay uses Heidegger's 'The Origin of the Work of Art' as its point of departure. While reclaiming (...) elements from his account of artistic truth, I criticize his reactionary conception of art's vocation, and I propose a notion of aesthetic validity that does justice to modern and contemporary art. Key Words: aesthetics • art • Critical Theory • disclosure • Jürgen Habermas • Martin Heidegger • imagination • responsibility • truth • validity. (shrink)

One of the biggest contemporary challenges in education is the appropriate application of advanced digital solutions. If properly implemented, AI could benefit students, opening the door for personalized study programs. However, we need to ensure that AI in classrooms is used responsibly and that it does not pose a threat to students in any way. More specifically, we need to preserve the moral and epistemic values we wish to pass on to future generations and ensure the inclusion of underprivileged students. (...) Moreover, there is a huge problem of different accessibility to technology and representation in the educational material between the Global South and the Global North. This can cause both global epistemic and moral injustice. On the other hand, AI has the potential to increase global justice in education. Therefore, it is of the utmost importance to use it in accordance with the values of equity, fairness, and inclusion that secure global justice for underprivileged groups. (shrink)

This paper revisits the dynamic discussion about journalism’s role in representing and amplifying disability arts at the 2019 Cripping the Arts Symposium. Chronicling the dialogue of the “Representation” panel which included artists, arts and culture critics, journalists, and scholars, it reveals how arts and culture coverage contributes to the cultivation of disability, D/deaf, and mad art. Given that the relationship between journalism and disability communities continues to be fractured in Canada, speakers were invited to reflect on journalism and disability arts (...) in relation to their own engagement with media as subjects, authors, and critics of disability arts reviews. The methods for presentation were cripped in multiple ways to provide the fullest access possible. The panel concluded with examples of ableist fault lines in representation practices where the disabled figure is an absent “ghost” in journalistic representation, warnings against journalistic reliance on traditional and objective narratives, and a call for artists to claim and write their own stories. Ultimately, disabled, D/deaf, and mad artists need both control over artistic endeavours and output and influence over representation. This article reconnects journalism and disability communities, ultimately demonstrating that representation is a critical, co-constitutive process that can become more aesthetically and politically oriented toward social justice in its focus on disability, D/deaf, and mad arts. (shrink)

Trotz aller Rationalisierungsbemühungen werden sich Leistungseinschränkungen im deutschen Gesundheitswesen nicht vermeiden lassen. Zwar sollten diese so weit möglich oberhalb der individuellen Arzt-Patient-Beziehung erfolgen, aus pragmatischen Gründen wird es sich aber nicht vermeiden lassen, dass Ärzte auch im Einzelfall Verantwortung für die Kosten ihrer Entscheidungen übernehmen, wie es bereits heute häufig der Fall ist. Der vorliegende Beitrag widmet sich deshalb der Frage, wie Ärzte in einer medizinisch rationalen und ethisch vertretbaren Art und Weise Kostenerwägungen in ihren Entscheidungen berücksichtigen können. Vorgeschlagen wird (...) ein vierstufiges Modell eines „ethischen Kostenbewusstseins“: 1) Unterlassung ineffektiver Maßnahmen im Sinne einer evidenzbasierten Medizin; 2) konsequente Berücksichtigung individueller Patientenpräferenzen; 3) Minimierung des diagnostischen und therapeutischen Aufwands für die Erreichung eines bestimmten Therapieziels; und 4) Verzicht auf teure Maßnahmen mit einem geringen/fraglichen Nutzengewinn für den Patienten. Stufen (1–3) sind durch die Prinzipien Wohltun, Nichtschaden und Respekt der Autonomie ethisch begründet, Stufe (4) durch das Prinzip der Gerechtigkeit. Für Entscheidungen auf der vierten Stufe sollten nach Möglichkeit lokale explizite Vorgaben wie z. B. kostensensible Leitlinien erarbeitet werden. Prozedurale Mindeststandards sind zu berücksichtigen, regelmäßige Kosten-Fallbesprechungen oder klinische Ethikberatung sollten zur Entscheidungsunterstützung verfügbar sein. Abschließend wird ein ethischer Algorithmus zur Abklärung des Einsatzes einer kostspieligen medizinischen Maßnahme vorgestellt. (shrink)

This article presents a conceptual investigation into the value impacts and relations of algorithms in the domain of justice and security. As a conceptual investigation, it represents one step in a value sensitive design based methodology. Here, we explicate and analyse the expression of values of accuracy, privacy, fairness and equality, property and ownership, and accountability and transparency in this context. We find that values are sensitive to disvalue if algorithms are designed, implemented or deployed inappropriately or without sufficient (...) consideration for their value impacts, potentially resulting in problems including discrimination and constrained autonomy. Furthermore, we outline a framework of conceptual relations of values indicated by our analysis, and potential value tensions in their implementation and deployment with a view towards supporting future research, and supporting the value sensitive design of algorithms in justice and security. (shrink)

One issue of contention amongst scholars of the Republic is whether Thrasymachus initially espouses a conventionalist account of justice, according to which just actions are merely those which are lawful; required, or at least allowed, by the laws passed by the ruler of the state. A further question is then whether his initial conceptions of rulers and laws are positivist ones, such that to be a ruler or law of a state is simply determined by the state’s constitution. At (...) 340c Thrasymachus effectively rejects such positivism by placing a condition on being a ruler that one should be exercising the art of ruling and on being a law that it should work to the ruler’s interest. Some have maintained that this works to clarify his initial account and so shows that he was never a positivist about rulers and laws. In this paper I argue against such an understanding of Thrasymachus’ argument and explore the problems which beset the position he is, on my reading, forced into by Socrates’ objection to his opening claim that justice is what is in the interest of the stronger and the argument he first gives to support it. (shrink)

Bell argues that the dialogue that emanate from the aesthetic realm cannot be understood through a solely art-historical approach; instead, they must be understood as part of a collective endeavour. In this sense, the 'art' of post-dictatorship is not something that belongs to art or the artists themselves, but is about how the subjectivities and imaginations of new generations engage with questions of response, ethics and justice; and, in so doing, re-align themselves in relation to the past and to (...) the future. This book provides a valuable resource for those interested in the law, politics, art and sociology of contemporary Argentina. It will be of immense use to those studying in these areas and to those concerned more widely with transitional justice and memory politics. (shrink)

This chapter contains sections titled: Introduction The Art of Life and Morality Morality: Act‐ and Rule‐Utilitarianism Further Reading.

In lieu of an abstract, here is a brief excerpt of the content:510 Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. Shelley Streeby Speculative Writing, Art, and World-Making in the Wake of Octavia E. Butler as Feminist Theory The late great speculative fiction writer Octavia E. Butler often referred to herself as a feminist. In an autobiographical note she revised frequently over the course of her lifetime, now held in the massive archive of more than 8,000 individually (...) cataloged items that comprise The Octavia E. Butler Papers (OEB) at the Huntington Library in San Marino, California, Butler called herself a “hermit in the middle of Los Angeles,” a pessimist when she wasn’t “careful,” and “a feminist” as well as “a Black” and “a former Baptist.”1 Throughout her published work, Butler explores intersections of gender, sexuality, race, and class in ways shaped by her life growing up “black, female, and working class” across town in Pasadena, California.2 The keywords “feminism” and “feminist” pop up often in her archive. In 1988, in one of dozens of notebooks Butler filled with writing, she proudly claimed to be writing “true cross-over science fiction ” that reached both science fiction and general audiences, “encompassing feminists and blacks as well,” a claim she often repeated.3 The thousands of clippings Butler kept and annotated on subjects of interest to her included many on feminism, which she organized to emphasize 1. OEB, Folder 95. The OEB collection organized by Curator Natalie Russell, who authored the finding aid. 2. OEB, Folder 3093. 3. OEB, Folder 3239, November 9, 1988. 511 Shelley Streeby Books Discussed in This Essay Migrant Futures: Decolonizing Speculation in Financial Times. Aimee Bahng. Durham, NC: Duke University Press, 2018. Queer Feminist Science Studies: A Reader. Edited by Cyd Cipolla, Kristina Gupta, David A. Rubin, and Angela Willey. Seattle: University of Washington Press, 2017. Emergent Strategy: Shaping Change, Shaping Worlds. adrienne maree brown. Oakland, CA: AK Press, 2017. Octavia’s Brood: Science Fiction Stories from Social Justice Movements. Edited by adrienne maree brown and Walidah Imarisha. Oakland, CA: AK Press, 2015. Radio Imagination: Artists and Writers in the Archive of Octavia E. Butler. Edited by Janet Duckworth and Savanah Wood. Los Angeles: Clockshop, 2018. M Archive: After the End of the World. Alexis Pauline Gumbs. Durham, NC: Duke University Press, 2017. Angels with Dirty Faces: Three Stories of Crime, Prison, and Redemption. Walidah Imarisha. Oakland, CA: AK Press, 2016. Old Futures: Speculative Fiction and Queer Possibility. Alexis Lothian. New York: New York University Press, 2018. Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction. Sami Schalk. Durham, NC: Duke University Press, 2018. intersections among feminist and other struggles. A 1991 piece by Black syndicated columnist Clarence Page, for instance, called “The F. Word to Watch For: Feminists,” which was written in the wake of the HillThomas hearings and speculated that the Bush administration would demonize “feminists” as a “smoke screen” for “real economic problems,” 512 Shelley Streeby was filed under “Economy.”4 Much of the archival material and fiction that Butler produced relevant to the keyword “feminism” addresses intersections of gender, sexuality, race, and class in right-wing projects of the neoliberal era, from the 1970s through the early 2000s. As both a pejorative epithet used by the right to demonize women who deviated from patriarchally defined gender and sex roles as well as a term she counter-valued by claiming it for herself, intersectional “feminism” was central to Butler’s speculative collecting, research, and fiction-writing. Since her untimely death in 2006, Butler’s fame continues to grow as new generations embrace her work, since it speaks to our present in powerful ways. Butler rejected narrow genre categories and was ambivalent about the term “science fiction” as a descriptor for her writing, often expressing frustration with marketing categories and wondering if they stood in the way of reaching a wider audience. The umbrella term “speculative ” is useful both for recognizing the boundary-crossing dimensions of Butler’s writing, in its defiance of narrow definitions of genre, and for describing Butler’s contributions to feminist theories of knowledge production, political leadership, and imagining the future. Since Butler’s archive at the Huntington opened to researchers in 2013... (shrink)

Marcuse suggested the alienation of art from society intrinsic to the aesthetic form represents and recollects an unreal world capable of indicting existing social arrangements while simultaneously providing a sensuous experience of another possible, liberated reality denied by established institutions. Drawing on and recasting part of Marcuse’s theory of art and the aesthetic dimension, the author puts forward several theses regarding art, alienation and abolition of the prison-industrial complex. First, art implies alienation; yet, because of that condition, art offers an (...) antidote to estrangement conducive to PIC abolition. Second, Marx explained why key components of capitalism engender alienation, but expounding upon his analysis reveals how incarceration and the concomitant punitive paradigm also reinforce and reproduce estrangement; art, understood as recollection, can aid in abolition of those institutions. Third, authentic justice implies unimpeded use of creative capacities denied and distorted by the PIC, but art can act as recuperation of those capacities in ways that transform our understanding and practice of justice. Fourth, art can offer a foretaste of liberation while anticipating, expressing and heightening our understanding of the possibilities for fuller freedom and PIC abolition, going against and beyond reformist reforms that have historically functioned to strengthen and expand the PIC. Finally, art augments the spirit of abolition and intimates a mode of being antithetical to imprisonment, the PIC and the alienated way of life associated with criminalization and State coercion. (shrink)

Rights, justice, and power raise many interesting questions. Why do such basic concepts as rights and justice have such differentpoints of concern—equality, proportionality, medium rei (moderation or the middle of the thing itself without reference to the person using it)? Why are there such different perspectives in philosophy, theology, and law? Why is the notion of power in business ethics so isolated from the general discussion of applied justice in treatises on business contracts, employee relations, and in (...) other related topics? Discussions of power seemed parallel with discussions of justice. The two did not seem to intersect.In this paper I shall argue that rights, power, and justice are interrelated. While natural rights are the basis for justice, rights cannotbe realized nor justice become operative without power. I shall call this relationship and the theory underlying it “Transforming Justice.”One of the basic concerns of this article is to notice the lack of interaction between rights and power in the traditional theories ofjustice. Granted that for many philosophers it is sufficient to determine what is just. But the notion of justice as an active virtue that persons are to exercise in their dealings with others goes further. It touches the realities of life that every person experiences. Life doesnot separate rights from power. Reflection upon the current separation of rights from power both in theory and in action is analogous to the separation of the “sensory” from the “imaginative” in art and in life. The urge to devise a framework of justice that brings out thewholeness of its existential being is the underlying rationale for developing a theory of transforming justice. Another purpose fordeveloping a theory of transforming justice is to suggest a conceptual framework of business ethics and corporate social responsibility that incorporates values, rights, power, and virtue. Authors and teachers approach these issues either from a value (or rights/justice)perspective or from the view that institutions respond only to those who exercise power (apart from legitimate claims). Thus, it isnecessary for a conceptual framework to incorporate the dynamics of power and the qualifying aspects of rights or claims.A natural law approach to justice and rights argues that humans have certain basic rights that others, whether humans or institutions(regardless of source), are required to respect. Natural rights theory places the burden or duty on each individual to respect the rights ofevery other person. In addition, justice is usually defined by natural law theorists as “giving each person his or her due,” what is requiredby natural rights, what is owed, earned, or deserved. But its applications fall short of reality. It raises other questions. How does one person get another to give him what is “his due”? How are duties and claims entailed by natural rights enforced in practice? The notionof transforming justice attempts to answer these questions. (shrink)

This paper aims to reevaluate Aristotelian political theory from an egalitarian perspective and to pinpoint its legacy and relevance to contemporary political theory, demonstrating its importance for contemporary liberal democracies in a changing world, suggesting a new critique of liberal and neoliberal political theory and practice, and especially the improvement of our notion of the modern liberal-democratic state, since most contemporary representative liberal democracies fail to take into account the public interest of the many and do very little in order (...) to advance it. The paper will focus on key aspects of Aristotle’s thought, such as his notions of justice (δικαιοσύνη/dikaiosunē and ἁπλῶς δίκαιον/aplōs dikaion), concord (ὁμόμοια/homonoia), friendship (φιλία/philia) and the art of ruling (τέχνη τοῦ ἄρχειν/technē tou archein), arguing that Aristotle’s theory requires us to have concern for our fellow citizens; ‘concern for others’ as opposed to the mere ‘respect for others’ that contemporary neo-Kantian liberalism advocates . Hence, I will examine these aspects of Aristotle’s philosophy that have not so far been adequately discussed, in relation to his conception of the ‘common or public interest’ (τὸ κοινῇ συμφέρον/to koinē sympheron) which is essential in order to understand the Aristotelian vision for ‘the art of politics’ (τέχνη τοῦ ἄρχειν) which should always aim towards the interest of the many, i.e., the people (πλῆθος/plēthos). (shrink)

Regarded aesthetically the Oedipus Coloneus is unsatisfactory. The plot is episodic, consisting of a series of incidents which, except that they involve a single hero, and are derived from the previous history of that hero or his ancestors, are unrelated. That is to say, while Sophocles has in all his other plays combined the two to perfection, he has here given his content precedence over his art. The aim of this paper is to consider one or two aspects of that (...) subject-matter, which seemed to him to be so important. (shrink)

Black Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. The (...) stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new ways of reckoning with experience, identity, and resistance. Highlighting wide-ranging forms of Black aesthetics across the arts, culture, and theory, Black Art and Aesthetics: Relationalities, Interiorities, Reckonings provides an unprecedented view of a field enjoying a global resurgence. Black aesthetics materializes in communities of artists, activists, theorists, and others who critique racial inequities, create new forms of interiority and relationality, uncover affective histories, and develop strategies for social justice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Epic and Tragic Music: The Union of the Arts in the Eighteenth CenturyJoshua BillingsI. The Union of the Arts in WeimarAround 1800 in Weimar, thought on Greek tragedy crystallized around the union of speech, music, and gesture—what Wagner would later call the Gesamtkunstwerk. Friedrich Schiller and Johann Gottfried Herder both found something lacking in modern spoken theater in comparison with ancient tragedy’s synthesis of the arts. Schiller’s 1803 “Trauerspiel (...) mit Chören,” Die Braut von Messina, represents a radical experiment in recreating the ancient union of the arts.1 The Greek tragic chorus, revived in Schiller’s drama, becomes the modern locus for this union. In a preface appended to the published version of the play, Schiller writes,The tragic work of poetry first becomes a whole through its theatrical performance: the poet only gives the words; music and dance must be added as well to enliven them. As long as the chorus lacks this powerful sensory accompaniment, so long will it appear in the economy of a tragedy as an alien element, a foreign body, a retardation.2 [End Page 99]Exactly contemporary (and possibly in response), Herder’s discussion of drama in his journal Adrastea similarly views the union of the arts in ancient tragedy as a corrective for modern drama:3A Greek who attended our tragedy [Trauerspiel], used to the musical voice of his own, would have to find in it a sad play [trauriges Spiel]. “How wordy-mute,” he would say, “how dull and soundless! Have I stepped into a decorated grave? You shout and sigh and bluster! Move your arms, strain your facial features, reason, declaim; but does your voice and feeling never become song? Do you not miss the strength of this demonic expression? Do your rhythms, your iambs never urge you on to the accents of the true language of the gods?”4The focus on media distinguishes these Weimar discussions of tragedy both from the Jena aesthetics of the Schlegel brothers and from the Idealist “philosophy of the tragic” already underway in the works of Schelling, Hölderlin, and Hegel.5 Though both Schiller and Herder are relatively indifferent to dance, their writings reflect strong interests in music.6 Their considerations [End Page 100] of tragedy show a close engagement with the sensory experience of drama that is unusual for its time, and has little precedent in Germany.For Schiller’s late poetics, the union of words, music, and gesture is a means of radically dividing the experience of theater from daily life. The tragic chorus “should be for us a living wall, which tragedy sets up around itself in order to close itself off wholly from the real world.”7 It “justifies the tragic poet in this raising of tone, which fills the ear, which strains the spirit, which broadens the whole mind.”8 Musical speech, Schiller argues, allows for an expression that transcends conventional language and quotidian existence. Schiller had hoped “to let [the choral intermezzos] be recited in the way of song and to accompany them with an instrument,” though his wish went unfulfilled in the first, and subsequent performances.9 Yet even after relinquishing the real possibility of a union of the arts in performances of Braut, Schiller upheld it as an ideal in his preface.Herder is remembered today primarily for his elaboration of an organic historicism, which understands cultural phenomena according to the circumstances of their creation. Yet his concern was more than merely historical; especially in the Adrastea, he continually sought guidance for the present in the events of the past. A contemporary, writing shortly after Herder’s death, saw the two orientations, historical and critical, as equally important: investigation of the past was intended as “a didactic or warning image” for his own time.10 The guiding idea of the journal was similarly educative, based on Herder’s understanding of Adrastea as a principle of justice and moderation.11 In Herder’s thought, as in most writing on ancient literature of the eighteenth century, there is no absolute division between scholarly and critical concerns: the study of ancient works was both an end in itself and a... (shrink)

J. van den Hoven suggested to analyse privacy from the perspective of informational justice, whereby he referred to the concept of distributive justice presented by M. Walzer in “ Spheres of Justice ”. In “privacy as contextual integrity” Helen Nissenbaum did also point to Walzer’s approach of complex equality as well to van den Hoven’s concept. In this article I will analyse the challenges of applying Walzer’s concept to issues of informational privacy. I will also discuss the (...) possibilities of framing privacy from the point of the “art of separation” by looking at the intersection of information infrastructures and institutions. (shrink)

What impact are we having on the environment around us? How can we limit the effect of human life on the natural world? These questions and more are considered in 'Advances in Sustainability and Environmental Justice' volume 13, which looks at environmental philosophy, humanity's place in the world, and how we can live in harmony with our planet.

Recent events have highlighted large-scale systemic racial disparities in U.S. criminal justice based on race and other demographic characteristics. Although criminological datasets are used to study and document the extent of such disparities, they often lack key information, including arrestees’ racial identification. As AI technologies are increasingly used by criminal justice agencies to make predictions about outcomes in bail, policing, and other decision-making, a growing literature suggests that the current implementation of these systems may perpetuate racial inequalities. In (...) this paper, we argue that AI technologies should be investigated to understand how they recognize racial categories and whether they can be harnessed to fill missing race data. By bridging this gap, we can work towards better understanding racial inequalities in a wide range of contexts, most notably criminal justice. Using a multidisciplinary perspective, we rethink the design and methodology used in facial processing technology (FPT) based on supervised deep learning model (DLM) image classification. By modifying standard FPT pipelines to tackle multiple sources of DLM bias, we propose an experimental methodology based on ethical AI principles to generate binary (Black and White) racial categories using mugshots. We go beyond simply reporting DLM accuracies and address fundamental issues such as generalizability and interpretability by using a “self-auditing” approach. First, we evaluate the inference performances of 42 fine-tuned DLMs using unseen test images from the same dataset but subject to varying data augmentations. Next, to interpret and validate our methodological approach, we apply gradient-based saliency maps to assess the consistency of facial region relevance and attribution. Finally, drawing upon insights from three areas (computer science, sociology, and law), we investigate the efficacy of our DLM-based method as a tool for detecting racial inequalities in criminal justice. (shrink)

Collaboration between the arts and health sectors is gaining momentum. Artists are contributing significantly to public health efforts such as vaccine confidence campaigns. Artists and the arts are well positioned to contribute to the social conditions needed to build trust in the health sector. Health professionals, organizations, and institutions should recognize not only the power that can be derived from the insights, artefacts, and expertise of artists and the arts to create the conditions that make trust possible. The health sector (...) must also recognize that, while it can gain much from partnership with artists, artists risk much—namely, the public's trust—when they are in such partnerships. This essay unpacks these claims and considers the care and ethical considerations that must be brought to these partnerships to yield constructive pathways for ethical collaboration as well as for both establishing public trust and continuing to hold the health care profession accountable for becoming more trustworthy. (shrink)