Ageing brings together biological, personal, and social horizons. Attempts to reduce it or to privilege one of these dimensions over the others fail to fully capture the phenomenon. The temporality of ageing presents an irreducible complexity. It is the inextricable intertwinement of three temporalities, three rhythms on different scales: biological time, personal-narrative time, and historical time. In all these dimensions something is of crucial concern: time and temporality. Yet, many philosophers who have thought about time (even those who take seriously (...) the lived experience of temporality) have paid little attention to ageing. Drawing from Heidegger, Scheler, and Schutz, this paper argues that ageing is an irreducible complex of different temporalities where one encounters the historicity of the world through a process of losing touch with it. (shrink)

Thick terms and concepts, such as honesty and cruelty, are at the heart of a variety of debates in philosophy of language and metaethics. Central to these debates is the question of how the descriptive and evaluative components of thick concepts are related and whether they can be separated from each other. So far, no empirical data on how thick terms are used in ordinary language has been collected to inform these debates. In this paper, we present the first empirical (...) study, designed to investigate whether the evaluative component of thick concepts is communicated as part of the semantic meaning or by means of conversational implicatures. While neither the semantic nor the pragmatic view can fully account for the use of thick terms in ordinary language, our results do favour the semanticist interpretation: the evaluation of a thick concept is only slightly easier to cancel than semantically entailed content. We further discovered a polarity effect, demonstrating that how easily an evaluation can be cancelled depends on whether the thick term is of positive or negative polarity. (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)

Marx says of alienated labor that it does not “belong” to the worker, that it issues in a product that does not belong to her, and that it is unfulfilling, unfree, egoistically motivated, and inhuman. He seems to think, moreover, that the first of these features grounds all the others. All of these features seem quite independent, however: they can come apart; they share no obvious common cause or explanation; and if they often occur together, this seems accidental. It is (...) not clear, then, how Marx’s concept of alienated labor could possess the strong unity that he takes it to have. This article defends a reinterpretation of the concept that explains this unity. The various features of alienated labor, the article argues, all follow from a single, hitherto underappreciated feature of its formal motivational structure: the fact that such labor is motivated not by its product but by an incentive. (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)

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)

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)

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)

Is it tautological to call an action "wrongful discrimination?" Some philosophers and political theorists answer this question in the affirmative and claim that the term "discrimination" is intrinsically evaluative. Others agree that "discrimination" usually conveys the action’s moral wrongness but claim that the term can be used in a purely descriptive way. In this paper, we present two corpus studies and two experiments designed to test whether the folk concept of discrimination is evaluative. We demonstrate that the term has undergone (...) a historical development and is nowadays no longer used purely descriptively. Further, we show that this evaluation cannot be cancelled without yielding a contradiction. We conclude that the descriptive use of "discriminatory" is a thing of the past. (shrink)

This paper focuses on Aristotle’s discussion of PNC in Metaphysics Gamma and argues that the argument operates at three different levels: ontological, doxastic, and semantic through the invocation of three philosophical personae: the first one can only state what is otherwise unprovable, the second one can only confirm that we should trust PNC, the third one denies PNC and must be silenced. Aristotle cannot prove what is beyond proof. This situation results in a fundamental ambiguity in the figure of the (...) philosopher. The Metaphysics is written from the standpoint of an investigative thinker who admits her puzzlement before a question that will forever remain open and imagines another philosopher who has achieved a god-like insight into the first principles of all things. The path from the first figure to the second one, however, remains an enigmatic leap. (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)

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)

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)

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 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.

This essay is concerned with two interrelated questions. First, a broad question: in what sense is Skepticism a philosophy− or in what sense is it “philosophy” (as we will see, these are not identical questions)? Second, a narrow one: how should we understand the process whereby ataraxia (freedom from disturbance) emerges out of epochē (suspension of judgment)? The first question arises because Skepticism is often portrayed as anti-philosophy. This depiction, I contend, surreptitiously turns a Skeptical method into a so-called Skeptical (...) doctrine which is then either condemned for being self-refuting or salvaged as a plausible (albeit odd) epistemological theory. Instead, philosophy, for the Skeptics, is a matter of practice. Skepticism is not so much a philosophy that has a worldview to proclaim as it is a philosophy that invites us to perform something. (shrink)

Traduçáo do texto: Colóquio com o Senhor de Saci Sobre Epicteto e Montaigne, de Blaise Pascal, por Traduçáo: Jaimir Conte.

The current literature on environmental sustainability acknowledges that habits are often shaped in private life and that experiences with environmental activities in a non-work setting positively influence environmental behaviors in the work domain. However, the conditions that lead individuals to behave responsibly at work based on their environmental commitment outside the workplace remain poorly understood. We address this issue by pursuing two objectives. First, we outline archetypes of environmental behavior on and off the job and classify individuals into four profiles: (...) Apathetic, Conformist, Citizen and Enthusiast. Second, we examine a set of organizational and psychological variables that explain the likelihood of behaving in accordance with the principles of an archetype in terms of pro-environmental behavior at work. Our findings show that supervisory support, job self-efficacy and affective commitment increase the likelihood of being green at work but that environmental management practices do not. The results differ according to the profiles identified, allowing a better understanding of employees’ commitment to environmental sustainability. We conclude the paper by discussing the theoretical and managerial implications of our findings. (shrink)

Der Schutz vor Gewalt und Verletzungen ist ohne Zweifel eine der wichtigsten Aufgaben jeder Friedens- und Sicherheitspolitik. Denn kein Frieden kann von Dauer sein, in dem ein solcher Schutz nicht gewährleistet wird und in dem sich Menschen vor anderen Menschen fürchten müssen. Dies gilt umso mehr für eine Auffassung des gerechten Friedens, die nicht nur vor Gewalt, sondern auch vor Not zu schützen beansprucht. Wie allerdings dieser Schutz gewährt wird, hängt weitgehend von der Auffassung von Sicherheit ab, die ihn realisieren (...) soll. (shrink)

Résumé – Nous nous intéressons à l’enseignement et l’apprentissage de l’infini en classe de mathématiques en considérant les différences et les relations entre infini potentiel et infini actuel. Nous présentons les principaux éléments de notre étude philosophique, épistémologique et didactique, ainsi que trois situations visant à conduire un travail explicite avec les élèves sur ces questions en début de lycée. ---------------------------------------------------------------------------------------------------- --------------------------------- Abstract – We are interested in the teaching and learning of infinite in mathematics class, taking into account the relations (...) between potential infinite and actual infinite. We report the main elements of our current philosophical, epistemological and didactical study; we also present three mathematical situations that we consider relevant for this purpose and to be explored with 10 and 11 grade students. (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 master argument posits a metaphysical thesis: Diodorus does away with Aristotle’s dunamis understood as a power simultaneously oriented toward being and non-being and proclaims that possibilities that fail to actualize are simply nothing. My contention is that this claim is not a mere application of Diodorus’ contribution to modal logic. Rather, Diodorus creates an ontologico-temporal concept of possibility and impossibility. Diodorus envisions the future as the past that the future will become. Since what will have been can never be (...) the accomplishment of a possibility that did not obtain, and since the future is destined to become past, any futural possibility that doesn’t actualize is neither futural nor even possible. (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)

Evolutionary adaptation has been suggested as the hallmark of life that best accounts for life’s creativity. However, current evolutionary approaches still fail to give an adequate account of it, even if they are able to explain both the origin of novelties and the proliferation of certain traits in a population. Although modern-synthesis Darwinism is today usually appraised as too narrow a position to cope with all the complexities of developmental and structural biology—not to say biosemiotic phenomena—, Darwinism need not be (...) if we separate metaphor from reality in natural selection in order to show the axiological complexity of this concept. This can shed light on the relationship between biosemiotics and biological evolution. (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)

‘Modest’ and ‘full-blooded’ conceptions of meaning disagree on whether we should try to provide explanations of reference. In this paper, I defend a psychological brand of the full-blooded program. As I understand it, there are good reasons to provide a psychological explanation of referential abilities. This explanation is to be framed at an intermediary level of description between the personal level and the explanations provided by neuroscience. My defense of this program has two parts: First, I display the explanatory (...) insufficiency of truth-conditional semantics and, second, I respond to some widespread arguments against psychological explanations of referential abilities. (shrink)

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.

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)

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (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)

the article suggests understanding(including) better the professionalization of the formative activities and the professional activities by an approach which articulates three levels of analysis: macro (historic construction and social construction of the knowledges of the activity), méso (institutional devices (plans) of training (formation) and work) and microphone(microcomputing) (lived on the subjects, the individual dynamics). This reflection leans on the presentation (display) of various processes of professionalization stemming from empirical searches (researches) realized by the author. l’article propose de mieux comprendre la (...) professionnalisation des activités formatives et des activités professionnelles par une approche qui articule trois niveaux d’analyse: macro (construction historique et construction sociale des savoirs de l’activité), méso (dispositifs institutionnels de formation et de travail) et micro (vécu des sujets, dynamiques individuelles). Cette réflexion s’appuie sur la présentation de différents processus de professionnalisation issus de recherches empiriques réalisées par l’auteur. (shrink)

It is surprisingly difficult to justify private property. Two questions are at stake: (a) a metaphysical and juridical one concerning the nature of property and (b) an ethical one concerning our attitude toward wealth. This issue reached an unprecedented importance during the 12th and 13th centuries as a new moral ideal emerged. This essays analyses the controversy (with emphasis on Bonaventure’s Defense of the Mendicants) by first locating it in relation to the philosophical and theological authorities as well as the (...) Roman law. It argues that the dispute between the defenders of paupertas altissima and their opponents concerns the limit of the law. Gerard of Abbeville and John XXII saw a contradiction in a right to use that would exclude ownership. Yet, what the Franciscans were seeking was use without right. To relate to the world as something that is essentially inappropriable is to seek a form of life (a rule) prior to the law. Centuries after, such a possibility remains to be discovered. (shrink)

The diversity of interpretations of Aristotle’s treatment of chance and luck springs from an apparent contradiction between the claims that “chance events are for the sake of something” and that “chance events are not for the sake of their outcome.” Chance seems to entail the denial of an end. Yet Aristotle systematically refers it to what is for the sake of an end. This paper suggests that, in order to give an account of chance, a reference to “per accidens causes” (...) is not sufficient. Chance occurs as a parody of teleology; it is a“for-no-purpose” that looks like a purpose. The notion of “irony” is suggested as a way of accounting for a situation that keeps an ambiguity open. The fact that chance is thought of in relation to teleology does not mean that it is “reappropriated” by teleology. Rather,chance reveals a hiatus that betrays the limitation of a language concerned with substances to account for events. (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)

Ce texte a été présenté lors de la journée d'études « CHANGER DE RYTHME, CHANGER DE SENS » organisée par Maria Manca (Paris 7), Jean Lambert (Paris 10) et Sandra Bornand (CNRS/LLACAN), journée dont on trouvera le programme ici. L'augmentation du nombre des études rythmiques La première chose qui saute aux yeux quand on traverse les textes consacrés récemment aux phénomènes rythmiques ou utilisant le rythme comme concept opératoire – toutes définitions confondues –, c'est tout simplement l'augmentation (...) - 3. (...) Sur le concept de rythme – Nouvel article. (shrink)

While every health care system stakeholder would seem to be concerned with obtaining the greatest value from a given technology, there is often a disconnect in the perception of value between a technology’s promoters and those responsible for the ultimate decision as to whether or not to pay for it. Adopting an empirical ethics approach, this paper examines how five Canadian medical device manufacturers, via their websites, frame the corporate “value proposition” of their innovation and seek to respond to what (...) they consider the key expectations of their customers. Our analysis shows that the manufacturers’ framing strategies combine claims that relate to valuable socio-technical goals and features such as prevention, efficiency, sense of security, real-time feedback, ease of use and flexibility, all elements that likely resonate with a large spectrum of health care system stakeholders. The websites do not describe, however, how the innovations may impact health care delivery and tend to obfuscate the decisional trade-offs these innovations represent from a health care system perspective. Such framing strategies, we argue, tend to bolster physicians’ and patients’ expectations and provide a large set of stakeholders with powerful rhetorical tools that may influence the health policy arena. Because these strategies are difficult to counter given the paucity of evidence and its limited use in policymaking, establishing sound collective health care priorities will require solid critiques of how certain kinds of medical devices may provide a better (i.e., more valuable) response to health care needs when compared to others. (shrink)

Aristotle’s treatment of tactility is at odds with the hierarchical order of psyche’s faculties. Touching is the commonest and lowest power; it is possessed by all sentient beings; thinking is, on the contrary, the highest faculty that distinguishes human beings. Yet, while Aristotle maintains against some of his predecessors that to think is not to sense, he nevertheless posits a causal link between practical intelligence and tactility and even describes noetic activity as a certain kind of touch. This essay elucidates (...) Aristotle’s analysis of the sense of touch in De anima and argues that tactility provides a paradigm for sensitivity in general and in particular for the reflexivity of sensation whereby the senses disclose not only what they are sensing but also that they are sensing. This feature, it is argued, has epistemological and ontological consequences. The sense of touch testifies to the physical presence of material beings and provides an empirical verification of substance’s essential feature, namely, self-reference. (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)

It is commonly assumed that Aristotle denies any real existence to infinity. Nothing is actually infinite. If, in order to resolve Zeno’s paradoxes, Aristotle must talk of infinity, it is only in the sense of a potentiality that can never be actualized. Aristotle’s solution has been both praised for its subtlety and blamed for entailing a limitation of mathematic. His understanding of the infinite as simply indefinite (the “bad infinite” that fails to reach its accomplishment), his conception of the cosmos (...) and even its prime mover as finite (in the sense of autarchic/self-contained) have been contrasted with the subsequent claim of God as ens infinitum (understood as a “positive” infinity). The goal of this essay is to reexamine the major texts (notably De caelo) and to demonstrate that (1) Aristotle’s claim according to which there is no actual infinite concerns only substances, not processes. (2) That Aristotle does not deny an actual infinite as such. (3) That when considering time and God (qua eternal) Aristotle acknowledges an actual infinite. (shrink)

The present research (total N = 2,057) tested whether people’s folk conception of consciousness aligns with the notion of a “Cartesian Theater” (Dennett, 1991). More precisely, we tested the hypotheses that people believe that consciousness happens in a single, confined area (vs. multiple dispersed areas) in the human brain, and that it (partly) happens after the brain finished analyzing all available information. Further, we investigated how these beliefs arerelated to participants’ neuroscientific knowledge as well as their reliance on intuition, and (...) which rationale they use to explain their responses. Using a computer-administered drawing task, we found that participants located consciousness, but not unrelated neurological processes (Studies 1a & 1b) or unconscious thinking (Study 2) in a single, confined area in the prefrontal cortex, and that they considered most of the brain not involved in consciousness. Participants mostly relied on their intuitions when responding, and they were not affected by prior knowledge about the brain. Additionally, they considered the conscious experience of sensory stimuli to happen in a spatially more confined area than the corresponding computational analysis of these stimuli (Study 3). Furthermore, participants’ explicit beliefs about spatial and temporal localization of consciousness (i.e., consciousness happening after the computational analysis of sensory information is completed) are independent, yet positively correlated beliefs (Study 4). Using a more elaborate measure for temporal localization of conscious experience, our final study confirmed that people believe consciousness to partly happen even after information processing is done (Study 5). (shrink)

Pseudo-profound language is a stylistic means in many different contexts, like advertising, politics, economics, or even science. Contemporary visual art is notoriously known for its variant: artspeak. We develop a syntactical analysis and show how artspeak is constructed. We point out that it is “evocative” bullshit in that it aims at contextualizing art with traditional art myths (i.e., artists are, among other adjectives, autonomous, critical, or free). Furthermore, we argue that artspeak should be regarded as a particular type of bullshit (...) as it features a unique relation to truth. (shrink)

How to account for metaphor has long been a contentious issue within pragmatics. Revisiting this debate, Wilson & Carston (2019) analyse Grice’s oft-discussed exclusion of metaphor as an empirically unjustified use of cut-off points on the empirical continuum of language and link it a tension between his underlying focus on formalisation contrary to their aim of maximising pragmatics’ empirical scope. In spite of the latter, Relevance Theory’s various own models fail to account for essential characteristics of metaphor caused by certain (...) non-propositional effects eluding its grasp and subsequently excluded. Rather than solving this with new tools, as Wilson & Carston propose, this paper seeks to examine the aforementioned tension and its link to the use of cut-off points they criticised. I will argue that Relevance Theory, too, uses cut-off points, highlighting their nature as the effect of a shared approach vis-à-vis formalisation rather than an individual flaw of Grice’s: Both exclude certain empirical effects of language in pursuance of a unified theory of communication organised around the notion of intention and grounded in teleological assumptions external to language. Drawing on Derrida’s analogous critique of Austin’s pragmatics, I will illustrate the paradoxical nature of such cut-off points and possible ways forward. (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)