It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

Settler colonial imaginaries are constructed through the repeated, intergenerational layering of settler ecologies onto Indigenous ecologies; they result in fortified ignorance of the land, Indigenous peoples, and the networks of relationality and responsibility that sustain co‐flourishing. Kyle Whyte (2018) terms this fortification of settler ignorance vicious sedimentation. In this paper, we argue that Outlaw Country music plays important roles in sedimenting settler imaginaries. We begin by clarifying the epistemic dimensions of vicious sedimentation. We then explore specific cases where Outlaw Country (...) songs function as epistemic scaffolding for maintaining and preserving deeply sedimented settler imaginaries. Finally, we conclude by considering ways of using country music as epistemic scaffolding for constructing resistant epistemologies, through the processes of trickster hermeneutics (Vizenor, 1999) and epistemic chronostratigraphy. (shrink)