Beauvoir maintains a unified "compromise theory" of aesthetics throughout her ethics, feminism, and fiction that portrays the conundrum that every artist faces -- an impasse that sets action against inaction, politics against culture. Beauvoir's theory of art in The Mandarins, aided by an analysis of women's oppression in The Second Sex, advocates art that keeps past events alive in the present and in so doing, changes even the tragic into the life affirming. Beauvoir lauds artists who, even in the face (...) of self-doubt, continue to engage in artistic endeavors in order to maintain an ethical relationship to the rest of humanity. (shrink)

ABSTRACT:Many companies engage in dialogue with nongovernmental organizations about societal issues. The question is what a regulative ideal for such dialogues should be. In the literature on corporate social responsibility, the Habermasian notion of communicative action is often presented as a regulative ideal for stakeholder dialogue, implying that actors should aim at consensus and set strategic considerations aside. In this article, we argue that in many cases, communicative action is not a suitable regulative ideal for dialogue between companies and NGOs. (...) We contend that there is often an adversarial element in the relation between companies and NGOs, and that an orientation towards consensus can be in tension with this adversarial relation. We develop an alternative approach to stakeholder dialogue called ‘agonistic deliberation.’ In this approach, conflict and strategic considerations play a legitimate and, up to a certain point, desirable role. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. Annotated (...) bibliography by Joshua Shaw. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

When it comes to evaluating reductive hypotheses in metaphysics, supervenience arguments are the tools of the trade. Jaegwon Kim and Frank Jackson have argued, respectively, that strong and global supervenience are sufficient for reduction, and others have argued that supervenience theses stand in need of the kind of explanation that reductive hypotheses are particularly suited to provide. Simon Blackburn's arguments about what he claims are the specifically problematic features of the supervenience of the moral on the natural have also been (...) influential. But most discussions of these arguments have proceeded under the strong and restrictive assumptions of the S5 modal logic. In this paper we aim to remedy that defect, by illustrating in an accessible way what happens to these arguments under relaxed assumptions and why. The occasion is recent work by Ralph Wedgwood, who seeks to defend non-reductive accounts of moral and mental properties together with strong supervenience, but to evade both the arguments of Kim and Jackson and the explanatory challenge by accepting only the weaker, B, modal logic. In addition to drawing general lessons about what happens to supervenience arguments under relaxed assumptions, our goal is therefore to shed some light on both the virtues and costs of Wedgwood's proposal. (shrink)

In this essay, Johannes Giesinger comments on the current philosophical debate on educational justice. He observes that while authors like Elizabeth Anderson and Debra Satz develop a so-called adequacy view of educational justice, Harry Brighouse and Adam Swift defend an egalitarian principle. Giesinger focuses his analysis on the main objection that is formulated, from an egalitarian perspective, against the adequacy view: that it neglects the problem of securing fair opportunities in the competition for social rewards. Giesinger meets this objection (...) by expressing two basic theses: First, he argues that Brighouse and Swift themselves fail to give an adequate account of fair competition; and, second, he shows that the adequacy view provides the theoretical resources to face this problem. (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on (...) the body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

The Newman problem is a fundamental problem that threatens to undermine structural assumptions and structural theories throughout philosophy and science. Here, we consider the problem in the context of consciousness science. We introduce and discuss the problem, and explain why it is detrimental not only to structuralist assumptions, but also to theories of consciousness, if left unconsidered. However, we show that if phenomenal spaces, and mathematical structures of conscious experience more generally, are understood in the right way, the Newman problem (...) does not arise. The upshot of our paper is that consciousness science needs to be careful in which definition of structure to consider, but if it is, the Newman problem disappears. (shrink)

Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a (...) well-(in)formed FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art. (shrink)

Täglich hören wir auf den Kanälen der mittlerweile unsere Lebenswelten prägenden Medien von unfreien Staatsformen, von Menschen, die sich gegen ihre Unterdrücker erheben und dafür einen hohen Preis zahlen, von Vergewaltigungen, Menschenhandel und allerlei andern Grausamkeiten. Was in den Medien thematisiert wird erzeugt auch einen gewissen Widerhall in der Bevölkerung. Je nach Tragweite des Themas fällt der Widerhall unterschiedlich aus. Bei schrecklichen Taten folgt auf den ersten Schock das moralische Urteil über den Täter, die Tätergruppe oder die ausführende Instanz. Man (...) verlangt nach einem Ausgleich, wie auch immer dieser Begriff geartet sein sollte. Dabei geht es nicht nur um Vergeltung, sondern auch darum, dass die unmenschlich handelnden Menschen aus dem Verkehr gezogen werden sollen, sodass diese keinen weiteren Schaden anrichten können. (shrink)

This chapter explores the ideological dimension of dehumanization in the context of National Socialism, focusing on the connection between concepts of humanity and dehumanizing images. NS regarded itself as a political revolution, realizing a new concept of humanity. Nazi ideologues undergirded the self-understanding of NS by developing racist anthropologies. I examine two major strands of Nazi ideology, focusing on their diverging strategies of dehumanization, and arguing that they were dependent on different anthropological frameworks. Richard Walther Darré held a naturalistic concept (...) of humanity and advanced biologistic forms of dehumanization. Alfred Rosenberg developed a dualistic anthropology that combined metaphysical and natural features. He dehumanized certain groups of people by reducing them to being human in a natural sense only. Moreover, I aim to show that the key motifs of these racist worldviews were prevalent in the scientific and philosophical debates on anthropology in early-twentieth-century Germany. I thus explore the general orientation of both the naturalistic and the anti-naturalistic strand in anthropological thought, unfold the animalizing tendencies of these views, and emphasize their conformity with the key motifs of Nazi ideology. The case of NS should thus exemplify the dehumanizing potential of anthropological theories. (shrink)

Informally, structural properties of mathematical objects are usually characterized in one of two ways: either as properties expressible purely in terms of the primitive relations of mathematical theories, or as the properties that hold of all structurally similar mathematical objects. We present two formal explications corresponding to these two informal characterizations of structural properties. Based on this, we discuss the relation between the two explications. As will be shown, the two characterizations do not determine the same class of mathematical properties. (...) From this observation we draw some philosophical conclusions about the possibility of a ‘correct’ analysis of structural properties. (shrink)

This is part one of a two-part paper, in which we develop an axiomatic theory of the relation of partial ground. The main novelty of the paper is the of use of a binary ground predicate rather than an operator to formalize ground. This allows us to connect theories of partial ground with axiomatic theories of truth. In this part of the paper, we develop an axiomatization of the relation of partial ground over the truths of arithmetic and show that (...) the theory is a proof-theoretically conservative extension of the theory PT of positive truth. We construct models for the theory and draw some conclusions for the semantics of conceptualist ground. (shrink)

The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some guidance as (...) to why a symposium on beauty merits attention in 1999. (shrink)

This paper examines a looming reproducibility crisis in the core of the hard sciences. Namely, it concentrates on molecular modeling and simulation (MMS), a family of methods that predict properties of substances through computing interactions on a molecular level and that is widely popular in physics, chemistry, materials science, and engineering. The paper argues that in order to make quantitative predictions, sophisticated models are needed which have to be evaluated with complex simulation procedures that amalgamate theoretical, technological, and social factors (...) – leading to problems with reproducibility. Thus, for methodological reasons, the predictive success causes a reproducibility problem. (shrink)

This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

We live in times of an increasing polarization in which the margins of the political spectrum begin to dominate our social imagination again. While the neoliberal iteration of the capitalist project suggests an extreme individualism as the normative default position, the devastating impact of the globalized economy on many has reignited the pursuit of socialist alternatives. In this constellation, Simmel’s social theory of modernity can be a useful resource to undercut the return of the old battle between opposite economic systems. (...) This paper argues that two kinds of pluralism can be derived from his conceptualization of the social effects of the money economy. In contrast to one-size-fits-all concepts of freedom, Simmel embraces a social pluralism which acknowledges a plurality of cultural spheres as relevant for the self-actualization of modern individuals, attributing different combinations of independence and embeddedness to them. Moreover, he rejects the social extremes of socialism and individualism, since they fail to properly integrate individual freedom into the social whole without undermining it. Instead Simmel gives us the vision of a pluralist economy in which democratic worker’s cooperatives are combined with an overall liberal market to satisfy both the longing for community and the strive for individual distinction. (shrink)

In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...) there are counterexamples to the entire conditional. With regard to (ii), I will suggest that conventionality is necessary for creativity. [This was my first published paper, written as a graduate student, taken from my University of Illinois at Chicago dissertation written with Professor George Dickie on the topic of conventions, utilitizing David Lewis' definition of "convention."]. (shrink)

The asylum system faces problems on two fronts. States undermine it with populist politics, and migrants use it to satisfy their migration preferences. To address these problems, asylum services should be commodified. States should be able to pay other states to provide determination and protection-elsewhere. In this article, I aim to identify a way of implementing this idea that is both feasible and desirable. First, I sketch a policy proposal for a commodification of asylum services. Then, I argue that this (...) policy proposal is not only compatible with the right to asylum, but also supported by moral considerations. Despite some undesirable moral features, a market in asylum facilitates the provision of asylum to those who need it. (shrink)

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.”. (shrink)

One of the main contentions of the framework for Responsible Innovation (RI) is that social and ethical aspects have to be addressed by deliberative engagement with stakeholders and the wider public throughout the innovation process. The aim of this article is to reflect on the question to what extent is deliberative engagement suitable for conducting RI in business. We discuss several tensions that arise when this framework is applied in the business context. Further, we analyse the place of deliberative engagement (...) in several theories of business ethics. We conclude that there remains a tension between the ideal of RI and the way in which the competitive market operates. Hence, RI scholars should reflect more critically on changes that are required in the market in order to make RI possible, modify the ideal of deliberative engagement for RI in business, or attempt to strike a balance between these two responses. (shrink)

Debates on Nietzsche’s naturalism usually posit nature and culture as competing principles to understand the contingent genesis of humanity. In contrast to this polarizing tendency, I argue that Nietzsche focuses on the cultural characteristics of humanity because of his naturalistic framework. Moreover, I submit that Nietzsche’s conceptualization of the entanglement of nature and culture contains important insights for critically understanding the challenges of the Anthropocene today.

In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.

In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...) replicating a cultural bias that links an artist to particular mental processes that are unnecessarily exclusive. An experiential account of creativity like the one recently advanced by Bence Nanay not only disadvantages those artists whose lived experiences reflect fewer social opportunities than their counterparts, but also invokes a concept of luck that undermines the role of originality within an artwork's overall aesthetic value. (shrink)

A central dispute in social ontology concerns the existence of group minds and actions. I argue that some authors in this dispute rely on rival views of existence without sufficiently acknowledging this divergence. I proceed in three steps in arguing for this claim. First, I define the phenomenon as an implicit higher-order disagreement by drawing on an analysis of verbal disputes. Second, I distinguish two theories of existence—the theory-commitments view and the truthmaker view—in both their eliminativist and their constructivist variants. (...) Third, I examine individual contributions to the dispute about the existence of group minds and actions to argue that these contributions have an implicit higher-order disagreement. This paper serves two purposes. First, it is a study to apply recent advances in meta-ontology. Second, it contributes to the debate on social ontology by illustrating how meta-ontology matters for social ontology. (shrink)

The disappearing agent problem is an argument in the metaphysics of agency. Proponents of the agent-causal approach argue that the rival event-causal approach fails to account for the fact that an agent is active. This paper examines an analogy between this disappearing agent problem and the exclusion problem in the metaphysics of mind. I develop the analogy between these two problems and survey existing solutions. I suggest that some solutions that have received significant attention in response to the exclusion problem (...) have seen considerably less attention in response to the disappearing agent problem. For example, one solution to the exclusion problem is to reject the exclusion assumption. Analogously, one solution to the disappearing agent problem could be to deny the claim that the agent-causal approach and the event-causal approach are mutually exclusive. Similarly, proportionality theories of causation, a solution to the exclusion problem, can be transferred to the disappearing agent problem. After establishing the plausibility of the analogy between the two problems, I examine how this latter solution in particular can be transferred from the one problem to the other. (shrink)

Several authors have recently questioned whether dehumanization is a psychological prerequisite of mass violence. This paper argues that the significance of dehumanization in the context of National Socialism can be understood only if its ideological dimension is taken into account. The author concentrates on Alfred Rosenberg’s racist doctrine and shows that Nazi ideology can be read as a political anthropology that grounds both the belief in the German privilege and the dehumanization of the Jews. This anthropological framework combines biological, cultural (...) and metaphysical aspects. Therefore, it cannot be reduced to biologism. This new reading of Nazi ideology supports three general conclusions: First, the author reveals a complex strategy of dehumanization which is not considered in the current psychological debate. Second, the analysis of the ideological mechanism suggests a model of dehumanization that is more plausible than other psychological models. Third, the author provides evidence that this kind of dehumanization had psychological consequences and hence was an important feature of Nazi reality. (shrink)

The question of what the function of human remembering might be has entered the contemporary philosophical discourse only relatively recently. In this debate, two main views have emerged: preservatism and simulationism. According to preservatism, the function of remembering is to preserve information from/about the past. In contrast, simulationism holds that the function of remembering is to enable reliable thought about the future. Here, I employ form to function reasoning to evaluate both of these views. I argue that both perservatism and (...) simulationism fail to account for the entire representational structure of episodic remembering. As an alternative, I then propose my own account: that the function of remembering is to track when we have epistemic authority about the past. (shrink)

This is, to the best of my knowledge, the first published attempt at a rigorous logical formalization of a passage in Leibniz's Monadology. The method we followed was suggested by Johannes Czermak.

We begin by considering two common ways of conceiving critical metaphysics. According to the first (and polemical) conception, critical metaphysics analyzes nothing more than the form of thought and thereby misses the proper point of metaphysics, namely to investigate the form of reality. According to the second (and affirmative) conception, critical metaphysics starts from the supposed insight that the form of reality cannot be other than the form of thought and is thus not required to analyze anything but that form. (...) We argue that the first conception is too weak while the second is too strong. Then we sketch an alternative conception of critical metaphysics, a conception we find expressed both in Kant’s B-Deduction and in the way Barry Stroud has recently investigated the possibility of metaphysics. According to such a conception, a properly critical metaphysics needs to proceed in two steps: first, it needs to analyze the most general and necessary form of any thought that is about an objective reality at all; second, it needs to investigate how that form of thought relates to the reality it purports to represent. But unlike Kant, Stroud remains sceptical regarding the possibility of a satisfying transition from thought to reality in metaphysics. We argue that this dissatisfaction can be traced back to a notion of objectivity and reality in terms of complete mind-independence. Then we sketch an alternative notion of objectivity and reality in terms of distinctness from subjects and acts of thinking, and argue that it is that notion that allows Kant, with his Transcendental Idealism, to make the transition required for any satisfying metaphysics, namely that from the form of thought to reality. (shrink)

Images abound of women throughout the ages engaging in various activities. But why are there so few representations of childbirth in visual art? Feminist artist Judy Chicago once suggested that depictions of women giving birth do not commonly occur in Western culture but can be found in other contexts such as pre-Columbian art or societies previously considered "primitive." Chicago's own exploration of the theme resulted in the creation of The Birth Project (1980-85): an unprecedented series of eighty handcrafted works of (...) art created in a variety of needlework techniques by more than 130 artisans that celebrate the experience of birth and a woman's transformation into motherhood. But why is The Birth Project an aberration from today's norm? What are the reasons that childbirth remains a taboo subject in our visual culture? Why is the birthing experience--so pervasive for women--so infrequently celebrated, even by female artists? (shrink)

This is part two of a two-part paper in which we develop an axiomatic theory of the relation of partial ground. The main novelty of the paper is the of use of a binary ground predicate rather than an operator to formalize ground. In this part of the paper, we extend the base theory of the first part of the paper with hierarchically typed truth-predicates and principles about the interaction of partial ground and truth. We show that our theory is (...) a proof-theoretically conservative extension of the ramified theory of positive truth up to. (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

This paper examines Georg Simmel’s philosophy of culture in relation to anthropological debates, developing a historical and a systematic argument: First, I show that Simmel’s approach can be read as a response to the anthropological challenge of modernity. Second, I demonstrate that Simmel’s theory of culture can be brought to bear on current anthropological debates. Focusing on his concept of cultivation, I argue that Simmel advances a transformative concept of humanity that considers both the biological nature of humans and the (...) distinct character of human culture. (shrink)

Das Thema des vorliegenden Aufsatzes ist Georg Simmels »relativistische[s] Weltbild« , anhand dessen die Prinzipien seiner Kulturphilosophie dargelegt werden. Im ersten Teil wird die systematische Fragestellung der Philosophie des Geldes im historischen Kontext rekonstruiert. Dabei steht der philosophiegeschichtliche Zusammenhang zwischen dem Wertproblem und der Debatte um den Relativismus im Zentrum. Im zweiten Teil wird Simmels kulturphilosophische Lösung des Wertproblems, durch die das Geld zum Paradigma seines Relativismus wird, systematisch analysiert. Der dritte Teil setzt sich mit dem Prinzip der kulturellen Formung (...) auseinander. Am Beispiel der Formwelt Erkenntnis wird die Grundlage von Simmels Kulturtheorie in toto dargelegt. Der vierte Teil wendet sich der Weiterentwicklung von Simmels Kulturtheorie in seiner späten Lebensphilosophie zu. Dabei wird einerseits seine Theorie der kulturellen Formwelten analysiert, und andererseits deren Integration in eine umfassende Dialektik des Lebens nachvollzogen. Im fünften Teil wird die Frage gestellt, ob Simmel aus heutiger Sicht als ein Relativist zu bezeichnen ist. Dabei wird argumentiert, dass Simmels kulturphilosophische Position große Ähnlichkeiten mit dem konzeptuellen Relativismus hat, der gegenwärtig von Carol Rovane vertreten wird. Deshalb plädiere ich dafür Simmel in der gegenwärtigen Debatte um den Relativismus ernster zu nehmen. (shrink)

Seit wenigen Jahren erfreuen sich in den Lebenswissenschaften mehrere Theorien eines immer weitergehenden Einflusses, die unter Etikettierungen wie Systembiologie, Netzwerktheorie oder Signalomics nur scheinbar unabhängige Herangehensweisen an komplexe Zusammenhänge darstellen. Navigation ist der übergreifende Gedanke, der so unterschiedliche Gebiete wie Regelungstheorie, Entscheidungstheorie und Systemwissenschaft verbindet. Navigation als Lage- und Kursbestimmung nebst den zugehörigen Signalverarbeitungsprozessen und Steuerkommandos ist die Grundlage dessen, was lebende Organismen von der blo§en Ansammlung materieller Ingredienzien unterscheidet – von der molekularen Ebene bis zum Sozialverhalten. Denn stets stellen (...) sich Prozesse des Lebens als solche des Suchens, Kommunizierens, Disponierens und Vervollkommnens dar, ob es sich nun um die Regulation der Sauerstoffspannung im Blut oder die Organisation eines Ameisenvolkes handelt. Navigationsaufgaben sind damit schließlich auch Fragestellungen ärztlicher Entscheidungsfindung, die sich in einem komplexen Raum aus individuellen, sozialen und ethischen Anforderungen entfalten. (shrink)

This chapter argues for a structural injustice approach to the governance of AI. Structural injustice has an analytical and an evaluative component. The analytical component consists of structural explanations that are well-known in the social sciences. The evaluative component is a theory of justice. Structural injustice is a powerful conceptual tool that allows researchers and practitioners to identify, articulate, and perhaps even anticipate, AI biases. The chapter begins with an example of racial bias in AI that arises from structural injustice. (...) The chapter then presents the concept of structural injustice as introduced by the philosopher Iris Marion Young. The chapter moreover argues that structural injustice is well suited as an approach to the governance of AI and compares this approach to alternative approaches that start from analyses of harms and benefits or from value statements. The chapter suggests that structural injustice provides methodological and normative foundations for the values and concerns of Diversity, Equity, and Inclusion. The chapter closes with an outlook onto the idea of “structure” and on responsibility. The idea of a structure is central to justice. An open theoretical research question is to what extent AI is itself part of the structure of society. Finally, the practice of responsibility is central to structural injustice. Even if they cannot be held responsible for the existence of structural injustice, every individual and every organization has some responsibility to address structural injustice going forward. (shrink)

What is feminist art? Can an ordinary viewer experience it in a neutral, detached, and objective way? These two questions are the focus of this essay which attempts to bridge a gap between philosophical aesthetics and feminist theorizing about women's art. The first question is purely historical, easily answered by means of a brief overview of the past twenty-five years of feminist art in America. The second question raises philosophical issues squarely within the realm of aesthetics, contingent upon who counts (...) as "an ordinary viewer." Answering this question reveals a divergence of opinion as wide as the range of respondents. [My thanks to the American Studies Center at Warsaw University where an earlier draft of this paper was presented.]. (shrink)

This short essay is part of a 5 volume work entitled 100,000 Years of Beauty complete with more than 300 authors from over 30 countries. I was aksed to write about Simone de Beauvoir and the concept of 'emancipated beauty'; I cast Beauvoir's theory of freedom--combining liberation and equality with beauty and femininity--in defiance of the long-standing and constrictive dichotomy that says women must choose one or the other. Beauvoir's most famous phrase, "One is not born, but rather becomes a (...) woman," entails a lifelong struggle against cultural, religious and philosophical norms of inequality and the restrictive ideals of beauty those norms have imposed since the days of Aristotle and Confucius. On Beauvoir's view, one can be both free from oppression and beautiful . . . (shrink)

The aim of this chapter is to clarify the meaning and the use of the concept of relativism in the context of National Socialism (NS). This chapter analyzes three aspects of the connection between relativism and NS: The first part examines the critical reproach that NS is a form of relativism. I analyze and criticize the common core of this widespread argument, which is developed in varying contexts, was held in different times, and is still shared by several authors. The (...) second part investigates the ideological debate among Nazi philosophers themselves concerning whether NS is indeed a form of relativism. I focus on the epistemological consequences of Nazi anthropology and analyze both its relativistic tendencies and the strategies used to reject relativism. In contrast to the received view, I argue that Nazi philosophers attempted to overcome both absolutism and relativism. The third part investigates the academic debate on relativism during NS, using the example of the prize question on relativism that was announced by the Prussian Academy of Science in 1936. By examining the academic approaches to the problem of relativism, I also address the question of how broader philosophical debates were related to the core of Nazi ideology. Academic philosophers took the self-understanding of Nazi philosophers seriously. They saw the shared aim of overcoming relativism as an opportunity to collaborate with NS. The brief conclusion summarizes the findings of the chapter. I conclude that, in the context of NS, critics, ideologists, and academics understand and use the concept of relativism in the same way. (shrink)

In this paper, I argue that culture plays a pivotal role for understanding Nietzsche’s own normative commitments. My argument develops as follows: Section 2 shows that Nietzsche advances an ideal of self-cultivation (Bildung) which is derived from the existential role of culture, elevating a peculiar concept of artistic creativity to ground his perfectionist understanding of value. Section 3 traces Nietzsche’s image of Goethe as exemplar of creative excellence. I contend that Nietzsche portrays Goethe as a male genius, rendering his concept (...) of self-cultivation entrenched in the cultural imagery of his time. The fin de siècle was obsessed with the image of genius as well as the relationship of creativity and gender. Moreover, as towering figure of German culture after the founding of the German Empire in 1871, Goethe was a frequent example of creative genius. Section 4 deepens the discussion of the role of gender in Nietzsche’s concept of creativity, exploring how the essentialist gender psychology of his mature works curtails the creative potential of women and explains his dismissal of feminism. (shrink)

This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (30 the (...) use of the aesthetic attitude to improperly justify controversial works of art. It will also point out that Beauvoir's Ethics is distinct in the history of aesthetics for its atypical (proto-feminist) stand against the popular notion of the aesthetic attitude. Her promotion of political (feminist) art presages the feminist art movement of the 1970s. Ahead of her time, Beauvoir recognized the vital interplay between art and ethics. (shrink)

Living organisms are exposed to numerous influencing factors. This holds also true for their infrastructures that are processing and transducing information like endocrine networks or nerval channels. Therefore, the ability to compensate for noise is crucial for survival. An efficient mechanism to neutralise disturbances is instantiated in form of parallel complementary communication channels exerting antagonistic effects at their common receivers. Different signal processing types share the ability to suppress noise, to widen the system’s regulation capacity, and to provide for variable (...) gains while leaving the transferred signal to a large extent unchanged. (shrink)

The concept of life plays a crucial role in the debate on synthetic biology. The first part of this chapter outlines the controversial debate on the status of the concept of life in current science and philosophy. Against this background, synthetic biology and the discourse on its scientific and societal consequences is revealed as an exception. Here, the concept of life is not only used as buzzword but also discussed theoretically and links the ethical aspects with the epistemological prerequisites and (...) the ontological consequences of synthetic biology. The second part examines this point of intersection and analyses some of the issues which are discussed in terms of the concept of life. The third part turns to the history of the concept of life. It offers an examination of scientific and philosophical discourses on life at the turn of the 20th century and suggests a surprising result: In the light of this history, synthetic biology leads to well-known debates, arguments, notions and questions. But it is concluded that the concept of life is too ambiguous and controversial to be useful for capturing the actual practice of synthetic biology. In the fourth part I argue that with regard to the ethical evaluation of synthetic biology, the ambiguity of the concept of life is not as problematic as sometimes held because other challenges are more important. The question whether the activity of synthetic biological systems should be conceived as life or not is primarily theoretical. (shrink)

This essay is an introduction to a lecture course "Elements of Descriptive Psychology" delivered by Anton Marty in around 1903/04. Marty offered courses on descriptive psychology at regular intervals in the course of his career at the University of Prague. The content of these courses follows closely the ideas of Marty’s teacher Franz Brentano, though with some interesting divergences and extrapolations. The present work is a historical and systematic introduction to an extract from notes taken of Marty’s lecture, with some (...) discussion of the work of Dilthey on similar topics, and of Marty’s influence on Franz Kafka and on the Gestalt psychologist Max Wertheimer. (shrink)