In this paper, I defend Rudolf Carnap's Principle of Tolerance from an accusation, due to Michael Friedman, that it is self-defeating by prejudicing any debate towards the logically stronger theory. In particular, Friedman attempts to show that Carnap's reconstruction of the debate between classicists and intuitionists over the foundations of mathematics in his book The Logical Syntax of Language, is biased towards the classical standpoint since the metalanguage he constructs to adjudicate between the rival positions is fully classical. (...) I argue that this criticism is mistaken on two counts: (1) it fails to fully appreciate the freedom with regard to the construction of linguistic frameworks that Carnap intended his Principle to embody, and (2) Friedman's objection underestimates the extent to which the evaluation of a framework is task-relative. I conclude that Tolerance is not self-undermining in the way that Friedman claims it is. While this is a restricted conclusion -- and is not a vindication of Carnap's views on logic and mathematics tout court -- it nonetheless suggests that his tolerant perspective has been dismissed too quickly, even by his supporters. (shrink)

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)

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from (...) his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (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)

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)

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)

Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!

We report a series of experiments examining whether people ascribe knowledge for true beliefs based on probabilistic evidence. Participants were less likely to ascribe knowledge for beliefs based on probabilistic evidence than for beliefs based on perceptual evidence or testimony providing causal information. Denial of knowledge for beliefs based on probabilistic evidence did not arise because participants viewed such beliefs as unjustified, nor because such beliefs leave open the possibility of error. These findings rule out traditional philosophical accounts for why (...) probabilistic evidence does not produce knowledge. The experiments instead suggest that people deny knowledge because they distrust drawing conclusions about an individual based on reasoning about the population to which it belongs, a tendency previously identified by “judgment and decision making” researchers. Consistent with this, participants were more willing to ascribe knowledge for beliefs based on probabilistic evidence that is specific to a particular case. 2016 APA, all rights reserved). (shrink)

This is the co-authored--with Carolyn Korsmeyer--Introduction to the first published feminist scholarship in The Journal of Aesthetics and Art Criticism (Volume 48, Number 4, Fall 1990). Contributors included Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. All essays were subsequently published in an expanded book version entitled, Feminism and Tradition in Aesthetics by Penn State Press (1995).

This essay explores the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant (...) use of "obscene." Kuspit's examples of activist art--the work of Jenny Holzer, Barbara Kruger, and Adrian Piper--are presented in light of his charges. I then explore Piper's art in depth in order to outline ways of expanding the notion of aesthetic value beyond its traditional confines. Finally, I suggest moving beyond entrenched, traditional patterns of assessment and invite underrepresented voices to contribute to the emerging discussion of the multiplicity of aesthetic values. (shrink)

This paper explores the role of 1980s to early 1990s feminist theory of art within the analytic philosophical tradition of aesthetics starting with a critique of the noncontextual criticism of aesthetics of Jerome Stolnitz and Monroe Beardsley contrasted with contextual feminist theory, informed by contextual theories of Arthur Danto, George Dickie and Marcia Eaton, and concluding that knowledge of external, contextual data is necessarily required to assess a work of art that has been deemed a work of art by means (...) of external, contextual data. Feminist theory is one type of contextual theory available. (shrink)

Scientific disagreements are an important catalyst for scientific progress. But what happens when scientists disagree amidst times of crisis, when we need quick yet reliable policy guidance? In this paper we provide a normative account for how scientists facing disagreement in the context of ‘fast science’ should respond, and how policy makers should evaluate such disagreement. Starting from an argumentative, pragma-dialectic account of scientific controversies, we argue for the importance of ‘higher-order evidence’ (HOE) and we specify desiderata for scientifically relevant (...) HOE. We use our account to analyze the controversy about the aerosol transmission of COVID-19. (shrink)

Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist aesthetics" particularly his (...) focus on defiant artworks by female artists who sought to reclaim agency and expression of the female body. He revived interest in the neglected topic of beauty while simultaneously advancing radical political goals within the artworld. His call to arms urged art viewers to experience the new--what he often called "art on the edge and over"--wherein, "The experience of art becomes a moral adventure rather than merely an aesthetic interlude" (in Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s, 1996). (shrink)

I consider what draws us to perceiving beautiful bodies in art and athletics--repeatedly and over time--that is informed by viewers' changing perceptions derived from recent publications in fashion and sport, the philosophy of sport, feminist film theory and aesthetics under the ever-expanding umbrella of somaesthetics. This paper won the American Society for Aesthetics 2023 Somaesthetics Prize.

This essay offers an update on the author's thoughts on the French feminist performance artist ORLAN, analyzing her visual representations as a new category of feminist visual art, namely, virtual hybrid beauty.

I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake beauty, causally disembodied, (...) based on the effects she intends to create from an imaginative use of combined hybrid imagery. Subverting the familiar philosophical notions of aesthetic distance and aesthetic appreciation, hers is not a monstrous beauty (as some feminist art theorists contend) but rather a fake beauty that still has aesthetic features worth assessing. I suggest the possibility of generational differences in understandings of the term 'feminist', i.e., shifts in meaning from early feminist theory of the 1970s to ever-evolving, twenty-first century notions of the term, all of which add to the confusion. As I negotiate this terrain, I hope to steer both critics and viewers more directly to the words of the artist herself, "I have tried to make my Self-Hybridations as 'human' as possible, like mutant beings, but I still did not think that the confusion could be possible.". (shrink)

This essay is about the history of challenges that women in elite sports have faced with respect to their gender identity within a society that perpetuates misleading aesthetic norms of beauty; it is a history fraught with controversy and injustice. . . . We recommend both the acknowledgment within the realm of elite sport of perceptual sexism based on misleading aesthetic norms of beauty, and a way of correcting such erroneous categorization that allows athletes the autonomy and agency to choose (...) to compete as male or female based on a declaration of their own gender identity. (shrink)

Knowledge has almost always been treated as good, better than mere true belief, but it is remarkably difficult to explain what it is about knowledge that makes it better. I call this “the value problem.” I have previously argued that most forms of reliabilism cannot handle the value problem. In this article I argue that the value problem is more general than a problem for reliabilism, infecting a host of different theories, including some that are internalist. An additional problem is (...) that not all instances of true belief seem to be good on balance, so even if a given instance of knowing p is better than merely truly believing p, not all instances of knowing will be good enough to explain why knowledge has received so much attention in the history of philosophy. The article aims to answer two questions: What makes knowingp better than merely truly believing p? The answer involves an exploration of the connection between believing and the agency of the knower. Knowing is an act in which the knower gets credit for achieving truth. What makes some instances of knowing good enough to make the investigation of knowledge worthy of so much attention? The answer involves the connection between the good of believing truths of certain kinds and a good life. In the best kinds of knowing, the knower not only gets credit for getting the truth but also gets credit for getting a desirable truth. The kind of value that makes knowledge a fitting object of extensive philosophical inquiry is not independent of moral value and the wider values of a good life. (shrink)

This paper (presented along with others at an APA session with the late Dr. Anita Silvers commenting) explores and engages a mode of defiant challenges to the traditional, able-bodied standard of female beauty evidenced throughout the history of art as portrayed by the controversial photographer, Joel-Peter Witkin. Witkin's images of Ann Millett-Gallant, author of the book, The Disabled Body in Contemporary Art, "visualize disability" as they explore issues in agency, otherness, and the medical body.

The appearance of consciousness in the universe remains one of the major mysteries unsolved by science or philosophy. Absent an agreed-upon definition of consciousness or even a convenient system to test theories of consciousness, a confusing heterogeneity of theories proliferate. In pursuit of clarifying this complicated discourse, we here interpret various frameworks for the scientific and philosophical study of consciousness through the lens of social insect evolutionary biology. To do so, we first discuss the notion of a forward test versus (...) a reverse test, analogous to the normal and revolutionary phases of the scientific process. Contemporary theories of consciousness are forward tests for consciousness, in that they strive to become a means to classify the level of consciousness of arbitrary states and systems. Yet no such theory of consciousness has earned sufficient confidence such that it might be actually used as a forward test in ambiguous settings. What is needed now is thus a legitimate reverse test for theories of consciousness, to provide internal and external calibration of different frameworks. A reverse test for consciousness would ideally look like a method for referencing theories of consciousness to a tractable model system. We introduce the Ant Colony Test as a rigorous reverse test for consciousness. We show that social insect colonies, though disaggregated collectives, fulfill many of the prerequisites for conscious awareness met by humans and honey bee workers. A long lineage of philosophically-neutral neurobehavioral, evolutionary, and ecological studies on social insect colonies can thus be redeployed for the study of consciousness in general. We suggest that the ACT can provide insight into the nature of consciousness, and highlight the ant colony as a model system for ethically performing clarifying experiments about consciousness. (shrink)

Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.

Individuals with ‘severe’ cognitive disabilities are primarily discussed in philosophy and bioethics to determine their moral status. In this paper it is argued that theories of moral status have limited relevance to the unjust ways in which people with cognitive disabilities are routinely treated in the actual world, which largely concerns their relegation to an inferior social status. I discuss three possible relationships between moral and social status, demonstrating that determinate answers about the moral status of individuals with ‘severe’ cognitive (...) disabilities are neither necessary nor sufficient for defending the imperative that they be treated as our social equals. (shrink)

Abstract: In this essay I outline a radical kind of virtue theory I call exemplarism, which is foundational in structure but which is grounded in exemplars of moral goodness, direct reference to which anchors all the moral concepts in the theory. I compare several different kinds of moral theory by the way they relate the concepts of the good, a right act, and a virtue. In the theory I propose, these concepts, along with the concepts of a duty and of (...) a good life, are defined by reference to exemplars, identified directly through the emotion of admiration, not through a description. It is an advantage of the theory that what makes a good person good is not given a priori but is determined by empirical investigation. The same point applies to what good persons do and what states of affairs they aim at. The theory gives an important place to empirical investigation and narratives about exemplars analogous to the scientific investigation of natural kinds in the theory of direct reference. (shrink)

Disaster response is a highly collaborative and critical process that requires the involvement of multiple emergency responders (ERs), ideally working together under a unified command, to enable a rapid and effective operational response. Following the 9/11 and 11/13 terrorist attacks and the devastation of hurricanes Katrina and Rita, it is apparent that inadequate communication and a lack of interoperability among the ERs engaged on-site can adversely affect disaster response efforts. Within this context, we present a scenario-based terrorism case study to (...) highlight the challenges of operational disaster command and response. In this article, which is based on the French emergency response doctrine, we outline a semantics-based common operational command system that is designed to guarantee an efficient information flow among ERs. Our focus is on offering to all ERs, a real-time operational picture of the situation in order to enable multilevel coordination among firefighters, police, healthcare units, public authorities, and other stakeholders. Our approach consolidates information to promote timely sharing of data among ERs. The proposed system is based on an ontology that has been developed to represent the different types of knowledge on the part of ERs, providing a shared vocabulary that covers a variety of interoperability concerns. (shrink)

We conducted five experiments that reveal some main contours of the folk epistemology of lotteries. The folk tend to think that you don't know that your lottery ticket lost, based on the long odds ("statistical cases"); by contrast, the folk tend to think that you do know that your lottery ticket lost, based on a news report ("testimonial cases"). We evaluate three previous explanations for why people deny knowledge in statistical cases: the justification account, the chance account, and the statistical (...) account. None of them seems to work. We then propose a new explanation of our own, the formulaic account, according to which some people deny knowledge in statistical cases due to formulaic expression. (shrink)

Discussion of new axioms for set theory has often focused on conceptions of maximality, and how these might relate to the iterative conception of set. This paper provides critical appraisal of how certain maximality axioms behave on different conceptions of ontology concerning the iterative conception. In particular, we argue that forms of multiversism (the view that any universe of a certain kind can be extended) and actualism (the view that there are universes that cannot be extended in particular ways) face (...) complementary problems. The latter view is unable to use maximality axioms that make use of extensions, where the former has to contend with the existence of extensions violating maximality axioms. An analysis of two kinds of multiversism, a Zermelian form and Skolemite form, leads to the conclusion that the kind of maximality captured by an axiom differs substantially according to background ontology. (shrink)

This paper argues that an emotion is a state of affectively perceiving its intentional object as falling under a "thick affective concept" A, a concept that combines cognitive and affective aspects in a way that cannot be pulled apart. For example, in a state of pity an object is seen as pitiful, where to see something as pitiful is to be in a state that is both cognitive and affective. One way of expressing an emotion is to assert that the (...) intentional object of the emotion falls under the thick affective concept distinctive of the emotion. I argue that the most basic kind of moral judgment is is this category. It has the form "That is A" (pitiful, contemptible, rude, etc.). Such judgments combine the features of cognitivism and motivational judgment internalism, an advantage that explains why we find moral weakness problematic in spite of its ubiquity. I then outline a process I call "thinning" the judgment, which explains how moral strength, weakness, and apathy arise. I argue that this process is necessary for moral reasoning and communication, in spite of its disadvantage in disengaging the agent's motivating emotion from the judgment. (shrink)

Wrong beliefs, known by some as ‘alternative facts’, have proliferated lately in important areas of human life, including social, political, and public health domains. This can be and has been damaging. This brief article proposes an epistemological category classification of these wrong beliefs, with the following mappings: a) ‘No-Information’ marked by willful blindness produces ‘Empty Beliefs’; b) ‘Mis-Information’ yields ‘Mis(taken) Beliefs’; and c) ‘Dis-Information’ predicated on blatant distortions produces ‘Dis(torted) Beliefs’. This simple classification system, is perhaps epistemologically satisfying, and moreover (...) could have positive policy implications. (shrink)

A discussion of L.A. Paul's 'Transformative Experience' from an Author Meets Critics session at the 2015 Pacific APA.

Set-theoretic and category-theoretic foundations represent different perspectives on mathematical subject matter. In particular, category-theoretic language focusses on properties that can be determined up to isomorphism within a category, whereas set theory admits of properties determined by the internal structure of the membership relation. Various objections have been raised against this aspect of set theory in the category-theoretic literature. In this article, we advocate a methodological pluralism concerning the two foundational languages, and provide a theory that fruitfully interrelates a ‘structural’ perspective (...) to a set-theoretic one. We present a set-theoretic system that is able to talk about structures more naturally, and argue that it provides an important perspective on plausibly structural properties such as cardinality. We conclude the language of set theory can provide useful information about the notion of mathematical structure. (shrink)

Young children show competence in reasoning about how ownership affects object use. In the present experiments, we investigate how influential ownership is for young children by examining their explanations. In three experiments, we asked 3- to 5-year-olds to explain why it was acceptable or unacceptable for a person to use an object. In Experiments 1 and 2, older preschoolers referenced ownership more than alternative considerations when explaining why it was acceptable or unacceptable for a person to use an object, even (...) though ownership was not mentioned to them. In Experiment 3, ownership was mentioned to children. Here, younger preschoolers frequently referenced ownership when explaining unacceptability of using an object, but not when explaining why using it was acceptable. These findings suggest that ownership is influential in preschoolers' explanations about the acceptability of using objects, but that the scope of its influence increases with age. (shrink)

Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".

Better understanding the psychological factors related to certainty in one’s beliefs (i.e., dogmatism) has important consequences for both individuals and social groups. Generally, beliefs can find support from at least two different routes of information processing: social/moral considerations or analytic/empirical reasoning. Here, we investigate how these two psychological constructs relate to dogmatism in two groups of individuals who preferentially draw on the former or latter sort of information when forming beliefs about the world- religious and non religious individuals. Across two (...) studies and their pooled analysis, we provide evidence that although dogmatism is negatively related to analytic reasoning in both groups of individuals, it shares a divergent relationship with measures of moral concern depending on whether one identifies as religious or not. Study 1 showed that increasing levels of dogmatism were positively related to prosocial intentions among the religious and negatively related to empathic concern among the nonreligious. Study 2 replicated and extended these results by showing that perspective taking is negatively related to dogmatism in both groups, an effect which is particularly robust among the nonreligious. Study 2 also showed that religious fundamentalism was positively related to measures of moral concern among the religious. Because the current studies used a content neutral measure to assess dogmatic certainty in one’s beliefs, they have the potential to inform practices for most effectively communicating with and persuading religious and nonreligious individuals to change maladaptive behavior, even when the mode of discourse is unrelated to religious belief. (shrink)

Noncompete agreements are among the most commonly used methods to restrict employment. Upwards of 38% of American workers, many of which are low-wage workers, have signed noncompete agreements. These agreements effectively hold those workers hostage to their current employer. This project analyzes the use of noncompete clauses in employment contracts with low-wage workers. We show that noncompetes with low-wage workers are not enforceable in the U.S.; employers nevertheless continue to include noncompete clauses in employment contracts with low-wage workers. We survey (...) states’ attempts to regulate the use of (even unenforceable) noncompetes and argue that current legislation is ineffective at preventing employers from including noncompetes in low-wage worker contracts. We argue that employers’ use of (even unenforceable) noncompete agreements with low-wage workers is wrongfully exploitative of those workers, and we provide suggestions for how states can effectively regulate the use of noncompetes, and thus protect low-wage workers from exploitation, using Virginia’s recently passed noncompete bill as a model. (shrink)

Abstract In light of the complexity of unfolding disasters, the diversity of rapidly evolving events, the enormous amount of generated information, and the huge pool of casualties, emergency responders (ERs) may be overwhelmed and in consequence poor decisions may be made. In fact, the possibility of transporting the wounded victims to one of several hospitals and the dynamic changes in healthcare resource availability make the decision process more complex. To tackle this problem, we propose a multicriteria decision support service, based (...) on the Analytic Hierarchy Process (AHP) method, that aims to avoid overcrowding and outpacing the capacity of a hospital to effectively provide the best care to victims by finding out the most appropriate hospital that meets the victims’ needs. The proposed approach searches for the most appropriate healthcare institution that can effectively deal with the victims’ needs by considering the availability of the needed resources in the hospital, the victim’s wait time to receive the healthcare, and the transfer time that represents the hospital proximity to the disaster site. The evaluation and validation results showed that the assignment of hospitals was done successfully considering the needs of each victim and without overwhelming any single hospital. (shrink)

The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.

The term "parody" derives from the ancient Greek word parodia and has come to include a variety of meanings connected with correlative terms such as "pastiche," "quotation," "satire," and "allusion." At the present time, more than a few commentators are eager to discuss contemporary parody as an art form particularly relevant to our era. Most approaches share a basic foundation that treats parody as a complex multilayered type of imitation (sometimes referred to as intertextuality). Only some theorists, however, include a (...) comic element in the defining character of parody. (shrink)

Abstract In this paper I argue that to understand the ethics of belief we need to put it in a context of what we care about. Epistemic values always arise from something we care about and they arise only from something we care about. It is caring that gives rise to the demand to be epistemically conscientious. The reason morality puts epistemic demands on us is that we care about morality. But there may be a (small) class of beliefs which (...) it is not wrong to hold unconscientiously. I also argue that epistemic values enjoy a privileged place in the panorama of what we care about because they are entailed by anything we care about. That means that when there is a conflict between caring about knowledge or true belief and caring about something else, that conflict cannot be resolved simply by following the one we care about the most because caring about knowledge in any domain is entailed by caring about that domain. Finally, I argue that whereas caring demands different degrees of conscientiousness in different contexts, contextualism about knowledge is less plausible. (shrink)

This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ (...) performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago’s The Dinner Party , Witkin’s photos can be judged as potentially offensive. But they are also objects of beauty—both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I’m not sure that everyone will agree. (shrink)

Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with Orlan (...) cites her own words and offers commentary and explanation on her complex and conceptual works of art. I offer a concept of "virtual beauty" and locate her aesthetic intentionality within the realm of traditional art history (works by the great "masters" of art) and traditional aesthetics, rejecting any possibility of a viewer's disinterested stance toward Orlan's visual representations. (shrink)

In this panel, we explore the future of value sensitive design (VSD). The stakes are high. Many in public and private sectors and in civil society are gradually realizing that taking our values seriously implies that we have to ensure that values effectively inform the design of technology which, in turn, shapes people’s lives. Value sensitive design offers a highly developed set of theory, tools, and methods to systematically do so.

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)

The history of gender challenges faced by women in elite sports is fraught with controversy and injustice. These athletes' unique physical beauty creates what appears to be a paradox yet is, in fact, scientifically predictable. Intense training for the highest levels of competition leads to unique bodily strength and rare beauty associated with specific anatomic changes, leading top athletes to be singled out as exceptions from their gender and even excluded from competing. Authorities like the IOC and IAF, as well (...) as coaches and fellow athletes, use traditional and sometimes racialized aesthetic norms as the basis for ungrounded judgments of "gender mis-identity." Misjudging the gender identity of elite athletes exemplifies a biased cognitive framework, a form of erroneous and damaging categorical perception that we call "perceptual sexism." We argue that perceptual sexism has a long history within aesthetic and competitive realms and is still perpetuated by popular culture. Correcting this will reduce injustices created by gender identity controversies. (shrink)