We aim to interrogate when the use of images in moral persuasion is legitimate. First, we put forward a number of accounts which purport to show that we can use tools other than logical argumentation to convince others, that such tools evoke affective responses and that these responses have authority in the moral domain. Second, we turn to Sarah McGrath’s account, which focuses on the use of imagery as a means to morally persuade. McGrath discusses 4 objections to the use (...) of imagery, and outlines responses that may be used to legitimate the use of imagery in moral arguments. Assuming that we accept her account and that the invocation of affect has authority in the moral domain, we, using McGrath’s responses, examine whether the use of foetal imagery in anti-abortion campaigns is a legitimate instance of this practice. (shrink)

This article takes Catherine Malabou’s provocative insistence on an alliance between plasticity and feminism to initiate an exploration of gestation and its representation in the context of the postgenomic age. I argue that Malabou’s attention to epigenetic schemas of life and becoming can inform and, in turn, be enriched by feminist film-philosophy which locates the maternal as an alternative schema of embodied subjectivity – simultaneously displacing essentialising over-reliance on gender/sex binaries without entirely metaphorising or abstracting the material processes which subtend (...) bodies and their openness to difference. Drawing on recent feminist scholarship, including Ann Carruthers’s Fertile Visions and Sophie Lewis’s Full Surrogacy Now, I turn to Lucile Hadžihalilović’s Evolution (2015) in order to approach gestational bodies as a central site for both the violent subjugation of embodied life and a feminist ethics and aesthetics of affective relationality. Part science-fiction, fairy-tale and body horror, Hadžihalilović’s film responds to contemporary bio-genetic innovations: Malabou’s elaboration of the “phylogenetic remains” and “cellular potentials” that epigenetic plasticity reactivates guides my reading of its seething maternal waters, multiply directed gestational bodies and various forms of plastic co-becoming. As well as being exemplary of new epigenetic imaginaries, Hadžihalilović’s complex foetal/fertile visions illuminate how feminist-philosophical-artistic practices may elaborate an epigenet(h)ics of life – informed by past forms, present configurations, and open to future bio-possibilities. (shrink)

This article examines two first-hand encounters with the foetus to reflect on the familial, photographic and political dimensions of 3D and 4D foetal portraits. It examines the photographic status of foetal portraits as intimates of the family album while acknowledging their public meaning in reproductive politics. The article aims to situate 3D and 4D foetal portraits within photographic history, theory and practice by examining how these camera-less images align with photographic vision.

Feminist scholarship has demonstrated the importance of sustained critical engagement with ultrasound visualizations of pregnant women’s bodies. In response to portrayals of these images as “objective” forms of knowledge about the fetus, it has drawn attention to the social practices through which the meanings of ultrasound are produced. This article makes a novel contribution to this project by addressing an empirical context that has been neglected in the existing feminist literature concerning ultrasound, namely, its use during pregnancies that women decide (...) to terminate. Drawing on semi-structured interviews with women concerning their experiences of abortion in England, I explore how the meanings of having an ultrasound prior to terminating a pregnancy are discursively constructed. I argue that women’s accounts complicate dominant representations of ultrasound and that in so doing, they multiply the subject positions available to pregnant women. (shrink)

In recent years, a number of US states have adopted laws that require pregnant women to have an ultrasound examination, and be shown images of their foetus, prior to undergoing a pregnancy termination. In this paper, I examine one of the basic presumptions of these laws: that seeing one’s foetus changes the ways in which one might act in regard to it, particularly in terms of the decision to terminate the pregnancy or not. I argue that mandatory ultrasound laws compel (...) women into a position of moral spectatorship and require them to recognise the foetus as a being for whom they are responsible, particularly through empathic responses to ultrasound images. The approach I propose extends the project of a bioethics of the image and highlights the need for a critical analysis of the political mobilization of empathy in discussions of abortion. (shrink)