We often encounter heated disputes about what constitutes good eating or the correct ways to cook particular meals or dishes. These disagreements presuppose that some methods of preparing and appreciating food, as well as the judgments about these activities, are better or worse, or more or less appropriate. This paper offers an exploratory analysis of such culinary disputes, focusing on the underlying reasons for these disagreements and their normative implications. We argue that while these disputes are aesthetic in nature, they (...) are rarely about taste alone. Instead, we propose that they may be addressed by appealing to the internal norms at play within specific culinary aesthetic practices. However, we identify two significant challenges to this approach. First, these internal norms often conflict, and their interdependence complicates attempts to resolve disputes by assigning varying degrees of justification to different norms. Second, many collective behaviors and attitudes within culinary practices may not qualify as full-fledged social norms, thereby weakening their normative force. (shrink)

Some stories generate in us a peculiar experience of intense narrative engagement. This common experience, which we call narrative immersion, has been the object of a vast literature in psychology and other disciplines. Philosophers, however, have only recently engaged with this topic and the tendency has been to explain it by postulating specific kinds of mental states. We propose a different approach, explaining narrative immersion by means of a particular distribution of attention over the content of ordinary mental states. First, (...) we provide a characterization of narrative immersion based on studies by psychologists and other theorists. Then, we discuss alternative views and develop our own proposal. We articulate how attention works as we engage with the narrative, and how the adequate distribution of attention over the mental states involved in understanding the storyworld can offer the resources to explain the characteristic features of narrative immersion. Unlike alternative proposals, ours avoids the need to postulate controversial mental states. (shrink)

The recent proliferation of deepfakes and other digitally produced deceptive representations has revived the debate on the epistemic robustness of photography and other mechanically produced images. Authors such as Rini (2020) and Fallis (2021) claim that the proliferation of deepfakes pose a serious threat to the reliability and the epistemic value of photographs and videos. In particular, Fallis adopts a Skyrmsian account of how signals carry information (Skyrms, 2010) to argue that the existence of deepfakes significantly reduces the information that (...) images carry about the world, which undermines their reliability as a source of evidence. In this paper, we focus on Fallis’ version of the challenge, but our results can be generalized to address similar pessimistic views such as Rini’s. More generally, we offer an account of the epistemic robustness of photography and videos that allows us to understand these systems of representation as continuous with other means of information transmission we find in nature. This account will then give us the necessary tools to put Fallis’ claims into perspective: using a richer approach to animal signaling based on the signaling model of communication (Maynard-Smith and Harper, 2003), we will claim that, while it might be true that deepfake technology increases the probability of obtaining false positives, the dimension of the epistemic threat involved might still be negligible. (shrink)

Philosophers sometimes discuss cases of forgery and appropriation in art as similar but contrasting examples to understand issues relevant to the artistic value of artworks (Irvin 2005, Hick 2010). Something interesting about these cases is that both in forgeries and in ‘appropriation art’, we find works that can look very similar, and yet, deserve different value judgements or are actually evaluated differently. Moreover, despite the similarity of the cases, the philosophical analysis of what justifies different evaluations in the case of (...) forgeries and appropriation art provides different conclusions in each case. I propose a third contrasting example: a case of cultural (mis)appropriation exemplified by what I will call the Chiapas tote bag and a questionably fancier doppelgänger. (shrink)

Kendall Walton has recently claimed that the notion of fictionality is more fundamental and philosophically relevant than the distinction between (works of) fiction and (works of) non-fiction. In this chapter, I argue that one of the reasons why the latter distinction is important is precisely that it affects what turns out to be fictional or true in a representational work. This is specifically relevant for Walton’s view – many of the examples he uses to show that his (former) notion of (...) fictionality is flawed – those that are photographic in nature – depend on an implicit classification of those works as fiction or non-fiction. This being the case, even if it is true that the notion of fictionality is more fundamental than categorizing a work as fiction or non-fiction, the former depends partly on the latter. My second aim in this chapter is to clarify the consequences that Walton’s reconsidered view of fictionality has for his theory of pictorial representation. Paying attention to the examples he uses to argue for his new view on fictionality makes it clear that his account of depiction, despite being modelled on his notion of fictionality, is relevantly different from it. (shrink)

Los autores presentan los resultados de un estudio con la participación de 445 estudiantes, titulado: «La adquisición del inglés por medio de las clases en línea en estudiantes de nivel superior del Complejo Regional Nororiental durante la pandemia de COVID-19»; en él, entre otras conclusiones, proponen dinamizar la práctica digital y flexibilizar los métodos de evaluación, puesto que la 25 Introducción interacción social en el aprendizaje de una lengua extranjera es imperativa para motivar a los estudiantes.

The “local food” movement has been growing since at least the mid- twentieth century with the founding of the Rodale Institute. Since then, local food has increasingly become a goal of food systems. Today, books and articles on local food have become commonplace, with popular authors such as Barbara Kingsolver1 and Michael Pollan2 espousing the virtues of eating locally. Additionally, local food initiatives, such as the “farm- tofork,” “Buying Local,” and “Slow Food” have gained a strong international following with clearly (...) visible impacts on the food industry and policy. The numbers of local farmers’ markets, community- supported agriculture projects, and community gardens have been on the rise steadily since 1994. (shrink)

It is often said that human rights are the rights that people possess simply in virtue of being human – that is, in virtue of their intrinsic, dignity-defining common humanity. Yet, on closer inspection the human rights landscape doesn’t look so even. Once we bring perpetrators of human rights abuse and their victims into the picture, attributions of humanity to persons become unstable. In this essay, I trace the ways in which rights discourse ascribes variable humanity to certain categories of (...) people. I set the stage for my discussion of the human in relation to human rights by examining John Locke’s account of the justification for punishment. For Locke, in committing a crime one abrogates one’s humanity and forfeits one’s rights. Likewise, I argue, human rights discourse takes a scalar view of humanity. I consider victims of genocide who are dehumanized as helpless and passive, victims of state persecution who are super-humanized as righteously agentic, and perpetrators of genocide who are dehumanized as out-of-control beasts. In each case I use relevant testimony to argue that the scalar view of humanity is factually incorrect and morally deplorable. For genocide victims, I discuss testimony that Selma Leydesdorff gathered from women who survived the Srebrenica massacre. For a victim of persecution, I discuss Liao Yiwu’s memoire of his detention and imprisonment in China because of his artwork protesting the Tiananmen Square massacre. For perpetrators of genocide, I discuss testimony Jean Hatzfeld gathered from Hutu men who systematically murdered Tutsis in the Rwandan genocide. Finally, I apply my critique of dehumanized and super-humanized victims and dehumanized perpetrators to the problem of transnational trafficking in persons and argue that the view I advocate necessitates reforming immigration policy with respect to persons trafficked into forced labor. (shrink)

Unusual among Western philosophers, Schopenhauer explicitly drew on Hindu and especially Buddhist traditions inhis moral philosophy. He saw plurality, especially the plurality of human persons, as a kind of illusion; in reality all is one, and compassionate acts express an implicit recognition of this oneness. Max Scheler retains the transcendence of self aspect of compassion but emphasizes that the subject must have a clear, lived sense of herself as a distinct individual in order for that transcendence to take place properly. (...) This feature is absent in the Buddhist tradition. Feminist philosophers of the early second wave built on this insight (only occasionally drawing it from Scheler) to recognize ways women are often not socialized to develop this distinctive sense of self, therefore harming their ability to engage in compassion and other forms of care for others. Iris Murdoch adds a Freudian-inspired (though Freud influenced Scheler also) pessimism about the ability of humans to keep their identities sufficiently distinct from the other to allow a clear view of the other, and thus real care and help to the other to take place. But in her later work, Murdoch explicitly recognizes and draws on the Buddhist tradition of oneness and transcendence of the self. Group solidarities can partake of aspects of Buddhist oneness and self-transcendence, for example the sense of fellowship in a social justice movement in which Blacks draw on a shared identity to experience connection, compassion, empathy, and solidarity with one another. But social justice movements also allow for a solidarity across racial lines, grounded in the shared commitment to justice, including justice for one of the groups in the solidarity community. (All these issues are powerfully portrayed in the 2014 film, Selma.) None of these solidarities, however, express the universalistic dimension of Buddhist oneness. (shrink)

The 1970s Wages Against Housework (WAH) movement has much to offer as we form a “new normal” for life and work within the Covid-19 pandemic. WAH feminist philosophers Mariarosa Dalla Costa, Selma James, and Silvia Federici, as well as WAH critic Angela Davis outline the ways in which the housewife functions as a laborer within capitalist accumulation, as her duties to care for the home and rear the children generate the possibility of the husband to labor outside the home. (...) This role of the housewife in Dalla Costa and James’ “social factory” parallels the work of teachers and the chorus of demands to “return to the classroom” that were placed on teachers in the early stages of the Covid-19 pandemic. Highlighting these parallels, the argument of this essay is simple: Covid-19 has visibilized the underpaid and unpaid labor of teachers. We ought to engage this moment of visibilization to demand transformative change to the teaching profession. Due to the parallels between WAH's “housewife” and teachers, we have much to learn from WAH theorizing as we demand those transformative changes, especially now as we solidify our “new normal” more than two years since the Covid-19 pandemic began. (shrink)

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser concedes that there (...) exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

El objetivo de este trabajo consistió en establecer las bases metodológicas fundamentales de la concepción marxista de los valores al nivel que ellas se encontraban elaboradas por el autor a la altura de 1987. Esto se hace en contraposición crítica con diferentes teorías axiológicas no-marxistas occidentales y también con respecto a otros autores de inspiración marxista.