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

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

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

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

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

Journal of Political Philosophy, EarlyView.

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

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

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

Philosophically grounded, methodologically sound, and theoretically rigorous, this paradigm-challenging collection ponders the most dynamic areas of feminist inquiry into bioethical thought and practice and sketches future directions for this rapidly growing field.

How might philosophers and art historians make the best use of one another's research? That, in nuce, is what this special issue considers with respect to questions concerning the nature of photography as an artistic medium; and that is what my essay addresses with respect to a specific case: the dialogue, or lack thereof, between the work of the philosopher Stanley Cavell and the art historian-critic Rosalind Krauss. It focuses on Krauss's late appeal to Cavell's notion of automatism to argue (...) that artists now have to invent their own medium, both to provide criteria against which to judge artistic success or failure and to insulate serious art from the vacuous generalization of the aesthetic in a media-saturated culture at large.1 Much in the spirit of ‘Avant-Garde and Kitsch’, paying attention to the medium is once again an artist's best line of defence against the encroachment of new media, the culture industry, and spectacle. That Krauss should appeal to Cavell at all, let alone in such a Greenbergian frame of mind, is surprising if one is familiar with the fraught history of debate about artistic media in art theory since Greenberg. Cavell's work in this domain has always been closely associated with that of Michael Fried, and the mutual estrangement of Fried and Krauss, who began their critical careers as two of Greenberg's leading followers, is legendary.2I have written about the close connection between Fried's and Cavell's conceptions of an artistic medium before.3 Whereas Fried's and Cavell's early conception of an artistic medium was in a sense collaborative, emerging from an ongoing exchange of ideas at Harvard in the latter half of the 1960s, Krauss's much later appeal to the ideas of automatism and the automatic underpinning Cavell's conception of the photographic substrate of film from the early 1970s is not. In what follows, I try to clarify both the grounds of this appeal and its upshot. Does Krauss's account shed new light on Cavell's, or is she trying to press his terms into service for which they are ill-served? Both could of course be true, the former as a consequence of the latter perhaps. Conversely, do the art historical and philosophical accounts pass one another by? Note that even if the latter were true, its explanation might still prove instructive in the context of an interdisciplinary volume seeking to bring art historians and philosophers into dialogue around the themes of agency and automatism, which is precisely what Krauss's appeal to Cavell turns on. (shrink)

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

This article is a critical notice of Sherri Irvin’s Immaterial: Rules in Contemporary Art (2022). After introducing Irvin’s project, notably how she understands the role of “custom rules” for the display and conservation of, and participation in, works of contemporary art, I focus on two case studies that motivate her argument: Jan Dibbets’ work, All shadows that occurred to me (1969) and Sarah Sze’s Migrateurs (1997). According to Irvin, both works require the participation of museum conservators not merely for their (...) preservation, but also realization. Granting the latter, I consider its implications. Prior to the involvement of conservators the works in question appear indeterminate in crucial respects. The conservators’ role is to seek enough clarity about various rules governing the work to afford future installations of the work without consulting the artist. But both case studies reveal considerable artistic whimsy when it comes to abiding by the rules supposedly underwriting these works’ identity, raising worries for their persistence over time. Given their constitutive role, I consider whether there is room, on Irvin’s account, for the conservators to be right and the artist wrong about the nature of the works in question. (shrink)

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

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

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

This is an English translation of one of Plato's least political dialogues of Socrates and Phaedrus discussing many themes: the art and practice of rhetoric, love, reincarnation, and the soul. It includes an introduction, notes, glossary, appendices, and an interpretive essay and introduction. Also included are rarely seen illustrations, stone carvings, and vase paintings. Focus Philosophical Library translations are close to and are non-interpretative of the original text, with the notes and a glossary intending to provide the reader with some (...) sense of the terms and the concepts as they were understood by Plato’s immediate audience. (shrink)

When I was a 7 months pregnant medical student, an attending surgeon asked me to which specialty I would be applying. When I replied that I was hoping to match in general surgery, he touched my pregnant abdomen and said, “Not with that you’re not.” I am not alone. Gender bias and discrimination have been shown to negatively impact women surgeons throughout their careers and deter women from even applying in surgical fields.1 Bias against female surgical trainees leads to less (...) operative autonomy and higher dropout rates.2 3 Once faculty, women surgeons are less likely to reach leadership roles.4 Recent studies confirm the author’s assertion that implicit biases create substantial harm. The author has undertaken an important study, conducting in-depth interviews with 46 women surgeons in Australia that identifies four distinct types of bias causing cumulative harm. In all four types of biases: (1) Workplace factors including leave policies and mentorship. (2) Epistemic injustices, or unfair assessments of women surgeons’ credibility by patients and colleagues. (3) Stereotyped expectations. (4) Objectification, implicit biases were seen. While many of the broad factors impeding women in surgery are well known, the author argues that these subtler factors, including both implicit bias and epistemic injustice, have a large impact. The …. (shrink)

Kim Q. Hall, Feminist disability studies, Bloomington: Indiana University Press, 2011, reviewed by Jackie Leach Scully.

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

abstract In this paper we question the basis on which judgements are made about the ‘quality’ of the lives of people whose embodied experience is anomalous, specifically in cases of impairments. In moral and political philosophy it is often assumed that, suitably informed, we can overcome epistemic gaps through the exercise of moral imagination: ‘putting ourselves in the place of others’, we can share their points of view. Drawing on phenomenology and theories of embodied cognition, and on empirical studies, we (...) suggest that there are barriers to imagining oneself differently situated, or imagining being another person, arising in part from the way imagination is constrained by embodied experience. We argue that the role of imagination in moral engagement with others is to expand the scope of our sympathies rather than to enable us to put ourselves in the other's place. We argue for explicit acknowledgement that our assessments of others’ QOL are likely to be shaped by the specifics of our own embodiment, and by the assumptions we make as a consequence about what is necessary for a good quality of life. (shrink)

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

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

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

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

Hilary of Poitiers is an anomaly in the standard scholarly classification of Patristic Greek and Latin soteriology, for, though he is Latin, his soteriology shows such resemblance to Greek mystical theory that he is considered one of its major proponents. Since Harnack, the Greek mystical model is said to depend upon Platonism. However, this paper argues that Hilary teaches a "Greek" mystical model of redemption based on Christ‘s assumption of all humanity without recourse to Platonism. Hilary‘s soteriology is instead a (...) development of Latin Stoicism and a literal exegetical understanding of the Pauline Adam-Christ parallel. (shrink)

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

This issue of IJFAB is based on papers from the Eighth International Congress of Feminist Approaches to Bioethics (FAB), held in Rotterdam, the Netherlands, in June 2012. The biennial congress is now solidly established as a key feature of the bioethics landscape, and is an important factor in the continuing growth of feminist bioethics. From the first gathering in San Francisco in 1996, FAB congresses have developed a reputation as lively, welcoming, challenging, and intellectually vibrant events that make a particular (...) effort to include the work of junior and emerging scholars in the field.Both the theme of the congress, Generations: Imagining the Future to Promote Health and Justice, and that open tradition of.. (shrink)

The pandemic years have taught bioethicists a lot about the experience of working on an issue at the same time as being directly affected by it. Under normal circumstances, if we can remember what those were, we are very often thinking and writing about a situation of moral difficulty that we know, and can only know, as outsiders. We...

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

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