Tainted political symbols ought to be confronted, removed, or at least recontextualized. Despite the best efforts to achieve this, however, official actions on tainted symbols often fail to take place. In such cases, I argue that political vandalism—the unauthorized defacement, destruction, or removal of political symbols—may be morally permissible or even obligatory. This is when, and insofar as, political vandalism serves as fitting counter-speech that undermines the authority of tainted symbols in ways that match their publicity, refuses to let them (...) speak in our name, and challenges the derogatory messages expressed through a mechanism I call derogatory pedestalling: the glorification or honoring of certain individuals or ideologies that can only make sense when members of a targeted group are taken to be inferior. (shrink)

Many have argued that certain statues or monuments are objectionable, and thus ought to be removed. Even if their arguments are compelling, a major obstacle is the apparent historical value of those commemorations. Preservation in some form seems to be the best way to respect the value of commemorations as connections to the past or opportunities to learn important historical lessons. Against this, I argue that we have exaggerated the historical value of objectionable commemorations. Sometimes commemorations connect to biased or (...) distorted versions of history, if not mere myths. We can also learn historical lessons through what I call repudiatory honouring: the honouring of certain victims or resistors that can only make sense if the oppressor(s) or target(s) of resistance are deemed unjust, where no part of the original objectionable commemorations is preserved. This type of commemorative practice can even help to overcome some of the obstacles objectionable commemorations pose against properly connecting to the past. (shrink)

What responsibilities do audiences have in engaging with artworks? Certain audience responses seem quite clear: for example, audiences should not vandalize or destroy artworks; they should not disrupt performances. This paper examines other kinds of resisting responses that audiences sometimes engage in, including petitioning the artist to change their works, altering copies of artworks, and creating new artworks in another artist’s fictional world. I argue for five claims: (1) while these actions can sometimes infringe on the rights of artists, the (...) rights of artists are not absolute; (2) the fact that such actions are based on mistaken interpretations of the artworks has no normative weight; (3) there can be reason to object to additions and alterations whose conception of the artwork is morally worse than the original (and so, there can be reason to support additions and alterations whose conception is morally better); (4) petitioning raises special moral problems; and, most important, (5) some of these actions are valuable because they involve creative and aesthetic activity. Those acts of audience resistance that are creative, morally improve on the original work, and that minimize the infringement of the artists’ rights are good, and should be encouraged. (shrink)

I develop three arguments in support of my contention that we should favor achievements over agents as objects of fitting moral admiration. The first argument impugns the epistemic standing with which characterological admiration is standardly issued. The second argument alleges that there is likely to be a difference between widely held folk concepts of character and traits, on the one hand, and an empirically supported view of the reality of those things, on the other. The final argument concerns one way (...) in which characterological admiration renders some aspects of our practices of admiring subject to undesirable revision. In each case I use an analogy to athletic admiration to show how achievement admiration avoids the problems of characterological admiration. I then suggest an alternative role for characterological considerations in fitting admiration, as a loose constraint on what is appropriate to admire rather than as an object of admiration. The upshot of the article is theoretical, inasmuch as it develops a tension between the conditions governing fitting admiration and an empirically informed view of character. But there is also practical upshot, especially in the context of public practices of admiring, as when we build statues of heroes or name buildings after them. (shrink)

We apply a familiar distinction from philosophy of language to a class of material artifacts that are sometimes said to “speak”: statues. By distinguishing how statues speak at the locutionary level versus at the illocutionary level, or what they say versus what they do, we obtain the resource for addressing two topics. First, we can explain what makes statues distinct from street art. Second, we can explain why it is mistaken to criticize—or to defend—the continuing presence of statues based only (...) on what they represent. Both explanations are driven by the same core idea: the significance of statues arises primarily from what they do, and not what they say. (shrink)

This essay questions three widespread assumptions in monument debates it terms “moralism,” “universalism,” and “interpretive dominance.” Roughly: moralism assumes that memorials should be only to good people or good causes; universalism holds that memorials should represent or be “for” the whole polity or its (real or supposed) corporate values; interpretive dominance maintains that, when faced with monuments with reasonable qualifying and disqualifying interpretations, policy should respond to the disqualifying one(s). These assumptions do not settle the debates between removalists and preservationists, (...) but they do make the removalist position easier to defend. Various counterexamples to these assumptions, real and imagined, motivate competing positions I term “sentimentalism,” “particularism,” and “interpretive independence.”. (shrink)

Is it permissible to be a fan of an artist or a sports team that has behaved immorally? While this issue has recently been the subject of widespread public debate, it has received little attention in the philosophical literature. This paper will investigate this issue by examining the nature and ethics of fandom. I will argue that the crimes and misdemeanors of the object of fandom provide three kinds of moral reasons for fans to abandon their fandom. First, being a (...) fan of the immoral may provide support for their immoral behavior. Second, fandom alters our perception in ways that will often lead us to be fail to perceive our idol’s faults and even to adopting immoral points of view in order to be able to maintain the positive view we have of them. Third, fandom, like friendship, may lead us to engage in acts of loyalty to protect the interests of our idols. This gives fans of the immoral good reason to abandon their fandom. However, these reasons will not always be conclusive and, in some cases, it may be possible to instead adopt a critical form of fandom. (shrink)

There has recently been a focus on the question of statue removalism. This concerns what to do with public history statues that honour or otherwise celebrate ethically bad historical figures. The specific wrongs of these statues have been understood in terms of derogatory speech, inapt honours, or supporting bad ideologies. In this paper I understand these bad public history statues as history, and identify a distinctive class of public history-specific wrongs. Specifically, public history plays an important identity-shaping role, and bad (...) public history can commit specifically ontic injustice. Understanding bad public history in terms of ontic injustice helps understand not just to address bad public history statues, but also understand the value of public history more broadly. (shrink)

In this essay I analyze a passage from Ludwig Wittgenstein’s On Certainty. This excerpt contains the expression “O, rubbish!” (Ach Unsinn), which I consider to be closely related to the notions of “bullshit” developed by Harry Frankfurt and Gerald A. Cohen. The relevance of this essay is illustrated with lively examples, both related to contemporary society and identified by Wittgenstein about 70 years ago. The paper is organized in six sections containing 1) an introduction to the topic, 2) an explanation (...) of “bullshit” as found in the works of Frankfurt and Cohen, 3) an explanation of Wittgenstein’s work on certainty and propositions beyond doubt, 4) an identification of reasonable and unreasonable doubt and their connection to “bullshit”, 5) an explanation of the different kinds of “bullshit” with the intention of mapping them in relation to each other, and 6) a summarizing conclusion. The main purpose of this paper is to expound on Wittgenstein’s views on “bullshit” and relate them to contemporary philosophy of nonsense. (shrink)