The first set of case studies on animal use, this volume offers a thorough, up-to-date exploration of the moral issues related to animal welfare. Its main purpose is to examine how far it is ethically justifiable to harm animals in order to benefit mankind. An excellent introduction provides a framework for the cases and sets the background of philosophical and moral concepts underlying the subject. Sixteen original, previously unpublished essays cover controversies associated with the human use of animals in a (...) broad range of contexts, including biomedical, behavioral, and wildlife research, cosmetic safety testing, education, the food industry, commerce, and animal use as pets and in religious practices. Scientific research is accorded the closest scrutiny. The authors represent a wide range of expertise within their specialized areas of research--physiology, public policy, ethics, philosophy, law, veterinary science, and psychology. The careful analysis of each case makes it possible to elevate the discourse beyond over-simplified positions, and to demonstrate the complexity of the issues. The Human Use of Animals will be welcomed by students and faculty in law, philosophy, ethics, public policy, religion, medicine, and veterinary medicine. It will also interest activists in the animal protection movement, and members of animal protection organizations and Institutional Animal Care and Use Committees. (shrink)

The institutional guarantees of modern labour law, that provide the keystone of progressive liberalism, are often only reactionary to the entrenched concepts of socialist law. Adoption of institutions of “workers rights”, and employment protection based upon contract, inevitably nullify the ideological promise of the inalienable “right to work”. China, among the last bastions of theoretical Marxist socialism, and among the first socialist countries ready to accept that it has been in desperate need of reforming uneconomical state enterprises, seems willing to (...) sacrifice ideological purity for economic development. Yet, if economic turnaround requires enterprise rationalisation in a market economy, it is understandable that Chinese labour requires the same kinds of protection against unbridled capitalism as progressive labour movements elsewhere. Doubtless, for those who have enjoyed no such institutional guarantees in the past, official commitment to improvement of labour conditions is better than no acknowledgment of need for reform of social policy whatever. Yet, the real question for students of social change is “Are these legislated reforms effective policy guides for local administration and the courts?”“|Or are they merely regulations for licensing compliance – primarily for foreign invested enterprises?”. In brief, “... to what extent are the new ‘workers’ rights’ realistically attainable sources of judicial remedies for individual workers?”. (shrink)

Book reviewed in this article: Ethics in Social and Behavioral Research. By Edward Diener and Rick Crandall The Ethics of Social Intervention. Gordon Bermant, Herbert C. Kelman, Donald P. Warwick.

: A major shortcoming of the Animal Welfare Act is its exclusion of the species most-used in experimentation-rats, mice, and birds. Considerations of justice dictate that extension of the law to these three species is the morally right thing to do. A brief history of how these species came to be excluded from the laws protecting laboratory animals is also provided, as well as discussion of the implications and significance of expanding the law.

Laboratory animals, being vulnerable subjects, need the protection provided by adequate ethical review. This review falls primarily to Institutional Animal Care and Use Committees. A review committee's first duty is to identify which procedures ethically are unacceptable irrespective of any knowledge that might be derived. Examples are provided. These projects should be disapproved. Then, "on balance" judgments are assessed that weigh the animal harms against the potential benefits to humans. Several countries (but not the United States) use a classification system (...) for ranking the degree of animal pain and distress. This type of assessment is essential for careful ethical analysis. Another way to enhance ethical discussion is to strive for a more balanced perspective of different viewpoints among members of decision making committees. Inclusion of representatives of animal welfare organizations and a greater proportion on nonanimal researchers would likely achieve this objective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 11.1 (2001) 113 [Access article in PDF] Letters Rats, Mice, and Birds and the Animal Welfare Act Madam:In the September 2000 issue of the Kennedy Institute of Ethics Journal, I argued for the inclusion of laboratory rats, mice, and birds under provisions of the Animal Welfare Act (AWA). This act sets humane standards for animals used in biomedical experimentation, but these three species are (...) excluded despite the fact that they comprise 90 percent of all animals used. Recent actions have been taken on this issue that temporarily maintain the status quo of exclusion.On 25 September 2000, a legal suit brought by the Alternatives Research Development Fund was settled out of court when the U.S. Department of Agriculture agreed that the AWA enforcement regulations should be extended to rats, mice, and birds. This was a significant victory heralded by the animal protection movement and some sections of the scientific community. Federal Court Judge Ellen S. Huvelle dismissed motions by pro-animal research groups to block this agreement.But the tide soon turned. On 11 October, a last-minute amendment to the USDA appropriations bill submitted by the Senate Appropriations Committee chair Thad Cochran (R-Miss.) precluded the department from spending any funds in the coming fiscal year to effect this change. This amendment had been drafted by the National Association for Biomedical Research and passed to the University of Mississippi to be forwarded to Cochran. This now congressionally approved amendment postponed for a year any action to implement the legal agreement. USDA plans to initiate the formal rule-making process for rats, mice, and birds by 1 October 2001. F. Barbara Orlans Senior Research Fellow Kennedy Institute of Ethics Georgetown University Washington, DC... (shrink)

In his challenging article, Steneck (1997) criticized the creation of the Institutional Animal Care and Use Committee (IACUC) system established by the 1985 amendments to the Animal Welfare Act. He saw the IACUC review and approval of biomedical and behavioral research with animals as an unnecessary "reassignment" of duties from existing animal care programs to IACUC committees. He argued that the committees are unable to do the work expected of them for basically three reasons: (a) the membership lacks the expertise (...) in matters relevant to animal research and care, (b) there exists an inherent and disabling conflict of interest, and (c) the committee's operational base of authority is alien to academic culture and violates essential aspects of academic freedom. In addition, he found that the system is burdensome, requiring enormous expenditures of time and money that inappropriately diverts resources away from the business of scientific discovery. We dispute several aspects of Steneck's historical account and the coherence of his proposals. We believe his proposals, if followed, would be a step back into a failed past. (shrink)

The articles collected in this special issue were originally presented at two workshops entitled "Ethical Issues of Animal Research" sponsored by Georgetown University's Kennedy Institute of Ethics and Indiana University's Poynter Center for the Study of Ethics and American Institution. Some of the most prominent and influential thinkers in the field present their diverse views.

This article proposes that the French performance artist Orlan, has, by undertaking a series of surgical interventions on her face and body, radically challenged current standards of beauty. By engaging with Judeo-Christian iconography, Greek mythology and French literature in her operations/performances, she has established an oeuvre that aligns her not only with corporeality and the abject body through images of the sacrificial, but also with aberrant body forms associated with the carnival. Although seduced by the rhetoric that surrounds the (...) body in technology, she has turned to excess as a strategy against the benign and controlled nature of the screen, and the media's homogenization of body images. Her new identity, although not extreme, is a site of resistance in a society bent on eliminating forms that threaten the status quo. (shrink)

Orlan and Stelarc both work with the body as the primary medium for their art and both, in their very different ways, are interested in redesigning the body. Their experiments depart radically from popular and traditional ways of imagining enhanced forms of human embodiment and, in a climate of intense speculation about the future of the body, their ideas offer some important provocations. As performance artists, Orlan and Stelarc explore embodiment through enactment in ways that evade the stock (...) formulations of cultural anxiety and open up fundamental questions about the nature and meanings of the human body, questions that are too easily foreclosed by over-heated imaginings about the `posthuman' condition. (shrink)

This article falls into two parts. The first, which serves as an introduction to the second, is a first-hand consideration of the significance of Orlan's Conférences to the reception and comprehension of both her earlier and best known works, the surgical Interventions, and to the most recent manifestation of her artistic project, the digitally-manipulated photo-works in the series that she has dubbed Self-Hybridation. It contrasts these latter works with intervening static works which took the Interventions as their subject matter (...) and concludes that they somewhat ironically release Orlan from her self-imposed obligation to maintain a performative element in her work through the Conférences. The second part of the article is an edited transcript between the author and Orlan in which the Self-Hybridations are subjected to technical, methodological and technical analysis. Orlan refers them to her previous work, particularly the Interventions, discusses their cultural and art historical roots, and speculates on her future art projects. (shrink)

Creations of many contemporary artists indicate the emergence of technoculture. Although artistic manifestations of technoculture may appear to be a provocation, they encourage fundamental ontological questions, such as whether a person has unchanging nature; what was and is our relationship to the Other, and what it should be; to what extent can body and mind be altered before they stop being “human”; what is the future of our species. To properly understand the works of technoculture artists, it appears necessary to (...) have a thorough grasp post- and transhumanism as their key sources of inspiration. As a result, the developed tools will be employed to indicate which aspects of technoculture are a manifestation of post- and transhumanist ideas. This analysis is based primarily on the works of Stelarc and Orlan – two widely commented artists of technoculture. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. By doing (...) so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment. (shrink)

This article reads some familiar examples of contemporary visual arts, such as Cindy Sherman, Mona Hatoum, Robert Gober, John Miller, Eva Hesse, Orlan and Robert Mapplethorpe, by engaging with diff...

Desde que se completó la secuenciación del genoma humano, el hombre pierde su “esencia”, pasando a ser un texto interpretable y modificable: una subversión de la carne. D. Haraway (1995) ha sido una de las pioneras en el tema defendiendo al cyborg como una entidad polémica, un ciberorganismo que cuestiona, desde una cierta perspectiva de la filosofía de la técnica, –e incluso los feminismos– en la que se inscriben también Sloterdijk, Sandel. T. Aguilar, entre otros, la pretendida esencia humanista, misma (...) que queda cuestionada en torno a “lo humano” y su identidad unívoca. Se analizan derivas estéticas de Orlan, Sterlac y Kac. (shrink)

Peirce shows how he presupposes that a ‘most general science of semeiotic’ is entirely a matter of culture. Semiotics unfolds even beyond the debate on specific differences between nature and culture. The expression ‘semiotics of culture’ entails all components of a true pleonasm. Pierce finds his parallel in the philosophy of Hegel and both philosophers consider the close ties between expressiveness and consciousness as a specifically human, cultural and spiritual activity. That viewpoint leads not only to linguistic but also to (...) other expressive phenomena, among which the body. Faces are perhaps the most outstanding bodily carriers of expression, so that Peirce’s analyses of Thirdness relate to the human face, not as a natural but as a cultural datum, in particular an artifice. A face-to-face relationship is embedded in a regulative discourse rather than an ethical appeal or other metaphysical dimensions. Three cases show various degrees of artificiality with different semiotic implications: Tilda Swinton’s appearance at the recent 2008 Oscar ceremony, the body art of Orlan and the first 2005 facial transplant of Isabelle Dinoire. The three do not only show how the human face is an artifice, but also how realities can appear to be fictitious within patterns of semiotic nature. Any sign can be a correlative to a fictitious world! (shrink)

En este artículo se analizan las relaciones entre arte, tecnología y cuerpo, teniendo como marco de análisis el pensamiento del filósofo español Félix Duque. En primer lugar, consideramos la concepción del cuerpo como máquina y su derivación actual en la noción de cyborg. En segundo lugar, mostramos cómo la concepción del cuerpo-máquina se hace parte del body art de Stelarc y del arte carnal de Orlan, quienes plantean el diseño del cuerpo dada su obsolescencia. En tercer lugar, presentamos las (...) críticas de Duque a estos ciberartistas y en general a los planteamientos transhumanistas y posthumanistas. Finalmente, comparamos la metáfora del «cyborg» en Broncano con la «filosofía de la técnica de la naturaleza» de Duque, poniendo de relieve la necesidad de plantear y explicitar la cuestión política implícita en el diseño del cuerpo y la «libre creación». (shrink)

In het kunstwerk ‘The reincarnation of St. Orlan’ verbeeldt de Franse kunstenares Orlan de consequenties van de gedachte dat het menselijk lichaam construeerbaar zou zijn. Maar haar werk maakt tevens duidelijk waar de grenzen van die maakbaarheid liggen, namelijk in de beleving van het lichaam. In dit artikel licht ik aan de hand van het werk van Descartes en Merleau-Ponty de visie op het lichaam toe die in dit kunstwerk tot uitdrukking komt.

Media art can be conceived as laboratory, at the edges of art. These technological experiments give priority to innovation and exploration by means of new media. In metaphorical terms, we could say that the emphasis is on creating new languages that allow us, in a later phase, to write prose or poetry with it.In my paper, I discuss why the common view on media art falls short. Media art is not just about mixing media but rather about mixing art. Several (...) different challenges are at stake that beget a hybrid post-medium condition. (1) The artistic practice of media art often concerns exercises in remediation (i.e. resonating visual narratives of old media in new media). Here, we encounter a repetition of historical themes and re-makes or re-enactments of classical art pieces. These experiments thus mix the history of art. (2) Media art is often also about immersion (i.e. interactively enclosing the spectactor in a audiovisual or virtual realm). In experiments with CAVE-installations or 3D-cinema using digital goggles, for instance, we notice a combination of an artistic interest with a phenomenologicaland a scientific one (cf. so-called postfenomenology, robotics, experimental psychology). Hence, these experiments mix art with science. (3) Media art is not just a friction between art an technoscience. It takes place at a junction between art, creative industry, design, sociology and politics. Concerning the latter, I willdiscuss the culture-critical potential of i.e. hacktivism, marx 2.0 and bio-performances like Stelarc and Orlan. (4) Media art is not simply a genre that aims for recognition as a part of or a completion of fine art. While democratizing new media technology, it actually blurs the idea of genre, altering and opening up the very canon of fine art, music art, live art, performance art, video art and cinema. (shrink)

This innovative book explores one of the most important concepts in contemporary cultural debates: the sublime. Joanna Zylinska looks at the consequences of feminism and its rethinking of sexual differences, and how it has led to the sublime tradition. She argues that what is generally considered aesthetics can now be more productive thought of in terms of ethics instead. Looking at a range of diverse discourses—Orlan's carnal art, philosophies of the everyday, the French feminism of Cixous and Irigaray, and (...) the gender theory of Judith Butler—Zylinska intertwines the boundaries of cultural theory and textual practice to produce an ethics of the feminine sublime. (shrink)

Recently, there has been a shift in attitude among some feminists towards the practice of cosmetic surgery away from that of outright rejection. Kathy Davis, for instance, offers a guarded `defence' of the practice as a strategy that enables women to exercise a degree of control over their lives in circumstances where there are very few other opportunities for self-realization. Others, such as Kathryn Morgan, Anne Balsamo and Orlan, though highly critical of the current practice of cosmetic surgery, go (...) even further than Davis in advocating its redeployment as a tool to subvert the dominant patriarchal ideals of feminine beauty. In this article I critically appraise this `rehabilitation' of cosmetic surgery, arguing, in the case of Davis, that she leaves unchallenged the social structures of inequality responsible for women's dissatisfaction with their bodies. The proposal to use cosmetic surgery as a tool of political critique is equally problematic insofar as it shares with the cosmetic industry its instrumentalization of the body as mere matter, which is almost infinitely transformable, and also effaces the economic inequalities within which such body transformations occur. (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...) body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 11.1 (2001) 91-112 [Access article in PDF] Scope Note 40 Animals in Research and Education: Ethical Issues Laura Jane Bishop and Anita Lonnes Nolen Scientific enquiry is inexorably tied to animal experimentation in the popular imagination and human history. Many, if not most, of the spectacular innovations in the medical understanding and treatment of today's human maladies have been based on research using animals. (...) However, the use of animals in research and experimentation has been debated, defended, and protested by both individuals and organizations at various levels. Responses range from personal lifestyle decisions and fervent philosophical treatises to strident arguments, violent demonstrations, and direct action. The continuum of attitudes about animals and the human relationship with animals spans the range between those who support no regulation of the human use of animals and those who advocate absolute animal liberation from all human use (see II, Orlans 1993, p. 22). History The first recorded experimentation on animals occurred in ancient Rome, but not until the Renaissance did scholars begin serious study of how the body works. Leonardo da Vinci (1452-1519) and other artists and anatomists pursued anatomical investigations of muscle and bone structure. William Harvey (1578-1657) discovered the circulation of the blood via his experiments on live deer. During this period, much live animal experimentation both in England and France was based on the view of French philosopher René Descartes (1596-1650) that animals are incapable of feeling pain. Jeremy Bentham (1748-1832), the English utilitarian philosopher, thought otherwise. In his "Introduction to the Principles of Morals and Legislation" in 1789, Bentham declared, "The question is not, can they reason? Nor, can they talk? But can they suffer? Despite Bentham and others, the belief that animals could not perceive pain persisted in many quarters into the twentieth century. Nineteenth century French physiologist Claude Bernard [End Page 91] (1813-1878)-and his teacher, François Magendie (1783-1855)-conducted wide-ranging animal experiments including surgery, use of drugs, and removal of body parts from many species. Bernard argued that while no amount of benefit could justify any harm to human research subjects, even extreme harm and pain for animal research subjects could be justified by the potential benefit to human beings. Although he did use anesthetics in his work after their discovery in 1847, even Bernard's later work was controversial because of the numbers of animals used and the repetitive nature of his research. The experiments of Magendie and Bernard both laid the foundations for animal experimentation as a practice for scientific advance and contributed in large measure to the emergence of the anti-vivisection movement. Public protests over animal experiments conducted in France and the fear that these might come to England led to the passage of the first law controlling animal experimentation, the "1876 Cruelty to Animals Act" in England. This history and the dynamic tension between scientific inquiry and public concern set the stage for the activism and scholarship of the twentieth century.Since the 1960s, the amount of attention, activism, and scholarship related to animal use has increased at a rapid pace. The modern animal protection movement, led by the Australian philosopher Peter Singer in his book, Animal Liberation (II, 1975), based its advocacy on animals' ability to experience pain and suffering (Bentham's argument). Singer's book and other investigations into animal research, such as LIFE magazine's photojournalism piece on pet theft, animal cruelty, and animal experimentation (Concentration Camps for Dogs. LIFE (4 February 1966), pp. 22-29), brought the use of animals in research, testing, and education to the attention of the general public. Activists, advocates, laypersons, scientists, lawmakers, and animals themselves, have created the interesting, complicated, and complex history of animal rights and animal welfare over the last several decades. Current Statistics Worldwide, approximately 35 million animals are used in research each year; the United States alone uses 12 million animals annually--more than any other country. In 1998, the official number of research animals recorded in the United States was 1... (shrink)