Philosophy of Race, Misc

Race theorists have been unable to reach a consensus regarding the basic historical question, “is ‘race’ modern?” I argue that this is partly because the question itself is ambiguous. There is not really one question that race scholars are answering, but at least six. First, is the concept of race modern? Second, is there a modern concept of race that is distinct from earlier race concepts? Third, are “races” themselves modern? Fourth, are racialized groups modern? Fifth, are the means and (...) methods associated with racialization modern? And sixth, are the meanings attached to racialized traits modern? Because these questions have different answers, the debate about the historical origins of “race” cannot be resolved unless they are distinguished. I will explain the ways in which “race” is and is not modern by answering these questions, thereby offering a resolution to a seemingly intractable problem. (shrink)

In ‘Cognition as a Social Skill’, Sally Haslanger enhances her theory of oppression with new concepts: ‘mindshaping,’ ‘doxa,’ ‘heterodoxy,’ and ‘hidden transcripts.’ This essay examines these new c...

Creepiness and the emotion of the creeps have been overlooked in the moral philosophy and moral psychology literatures. We argue that the creeps is a morally significant emotion in its own right, and not simply a type of fear, disgust, or anger (though it shares features with those emotions). Reflecting on cases, we defend a novel account of the creeps as felt in response to creepy people. According to our moral insensitivity account, the creeps is fitting just when its object (...) is agential activity that is insensitive to basic moral considerations. When, only when, and insofar as someone is disposed to such insensitivity, they are a creep. Such insensitivity, especially in extreme forms, raises doubts about creeps’ moral agency. We distinguish multiple types of insensitivity, respond to concerns that feeling the creeps is itself objectionable, and conclude with a discussion of epistemic issues relating to the creeps. (shrink)

This article analyses letters to the editor written on or about Muslims printed in a British broadsheet newspaper. The pragma-dialectical theory of argumentation is applied as a model for explaining and understanding the arguments employed in the sampled letters. Our presentation of pragma-dialectical theory focuses on argumentative reasonableness. More specifically, we introduce the four dialectical stages through which any argument must pass and explain the ten rules of critical discussion that participants must follow throughout if they are to resolve the (...) argument. The article focuses in particular on the letter writers' use of argument schemes-that is, the manner in which these writers use arguments to support their standpoints. We conclude by highlighting the role that unreasonable arguments can play in perpetuating racialized inequalities and hence the importance of analyzing argumentation. (shrink)

We argue that generic generalizations about racial groups are pernicious in what they communicate (both to members of that racial group and to members of other racial groups), and may be central to the construction of social categories like racial groups. We then consider how we should change and challenge uses of generic generalizations about racial groups.

Frederick Douglass, the abolitionist, the civil rights advocate and the great rhetorician, has been the focus of much academic research. Only more recently is Douglass work on aesthetics beginning to receive its due, and even then its philosophical scope is rarely appreciated. Douglass’ aesthetic interest was notably not so much in art itself, but in understanding aesthetic presentation as an epistemological and psychological aspect of the human condition and thereby as a social and political tool. He was fascinated by the (...) power of images, and took particular interest in the emerging technologies of photography. He often returned to the themes of art, pictures and aesthetic perception in his speeches. He saw himself, also after the end of slavery, as first and foremost a human rights advocate, and he suggests that his work and thoughts as a public intellectual always in some way related to this end. In this regard, his interest in the power of photographic images to impact the human soul was a lifelong concern. His reflections accordingly center on the psychological and political potentials of images and the relationship between art, culture, and human dignity. In this chapter we discuss Douglass views and practical use of photography and other forms of imagery, and tease out his view about their transformational potential particularly in respect to combating racist attitudes. We propose that his views and actions suggest that he intuitively if not explicitly anticipated many later philosophical, pragmatist and ecological insights regarding the generative habits of mind and affordance perception : I.e. that we perceive the world through our values and habitual ways of engaging with it and thus that our perception is active and creative, not passive and objective. Our understanding of the world is simultaneously shaped by and shaping our perceptions. Douglass saw that in a racist and bigoted society this means that change through facts and rational arguments will be hard. A distorted lens distorts - and accordingly re-produces and perceives its own distortion. His interest in aesthetics is intimately connected to this conundrum of knowledge and change, perception and action. To some extent precisely due to his understanding of how stereotypical categories and dominant relations work on our minds, he sees a radical transformational potential in certain art and imagery. We see in his work a profound understanding of the value-laden and action-oriented nature of perception and what we today call the perception of affordances (that is, what our environment permits/invites us to do). Douglass is particularly interested in the social environment and the social affordances of how we perceive other humans, and he thinks that photographs can impact on the human intellect in a transformative manner. In terms of the very process of aesthetic perception his views interestingly cohere and supplement a recent theory about the conditions and consequences of being an aesthetic beholder. The main idea being that artworks typically invite an asymmetric engagement where one can behold them without being the object of reciprocal attention. This might allow for a kind of vulnerability and openness that holds transformational potentials not typically available in more strategic and goal-directed modes of perception. As mentioned, Douglass main interest is in social change and specifically in combating racist social structures and negative stereotypes of black people. He is fascinated by the potential of photography in particular as a means of correcting fallacious stereotypes, as it allows a more direct and less distorted image of the individuality and multidimensionality of black people. We end with a discussion of how, given this interpretation of aesthetic perception, we can understand the specific imagery used by Douglass himself. How he tried to use aesthetic modes to subvert and change the racist habitus in the individual and collective mind of his society. We suggest that Frederick Douglass, the human rights activist, had a sophisticated philosophy of aesthetics, mind, epistemology and particularly of the transformative and political power of images. His works in many ways anticipate and sometimes go beyond later scholars in these and other fields such as psychology & critical theory. Overall, we propose that our world could benefit from revisiting Douglass’ art and thought. (shrink)

Quayshawn Spencer (2014) misunderstands my treatment of racial naturalism. I argued that racial naturalism must entail a strong claim, such as “races are subspecies”, if it is to be a substantive position that contrasts with anti-realism about biological race. My recognition that not all race naturalists make such a strong claim is evident throughout the article Spencer reviews (Hochman, 2013a). Spencer seems to agree with me that there are no human subspecies, and he endorses a weaker form of racial naturalism. (...) However, he supports his preferred version of ‘racial naturalism’ with arguments that are not well described as ‘naturalistic’. I argue that Spencer offers us an unnaturalised racial naturalism. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...) certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)

During the 1780s, as Kant was developing his universalistic moral theory, he published texts in which he defended the superiority of whites over non-whites. Whether commentators see this as evidence of inconsistent universalism or of consistent inegalitarianism, they generally assume that Kant's position on race remained stable during the 1780s and 1790s. Against this standard view, I argue on the basis of his texts that Kant radically changed his mind. I examine his 1780s race theory and his hierarchical conception of (...) the races, and subsequently address the question of the significance of these views, especially in the light of Kant's own ethical theory. I then show that during the 1790s Kant restricts the role of the concept of race, and drops his hierarchical account of the races in favour of a more genuinely egalitarian and cosmopolitan view. (shrink)