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)

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)

This paper addresses the ontological status of the ontological categories as defended within E.J. Lowe’s four-category ontology (kinds, objects, properties/relations, and modes). I consider the arguments in Griffith (2015. “Do Ontological Categories Exist?” Metaphysica 16 (1):25–35) against Lowe’s claim that ontological categories do not exist, and argue that Griffith’s objections to Lowe do not work once we fully take advantage of ontological resources available within Lowe’s four-category ontology. I then argue that the claim that ontological categories do not exist has (...) no undesirable consequences for Lowe’s brand of realism. (shrink)

Every year, the Vietnamese people reportedly burned about 50,000 tons of joss papers, which took the form of not only bank notes, but iPhones, cars, clothes, even housekeepers, in hope of pleasing the dead. The practice was mistakenly attributed to traditional Buddhist teachings but originated in fact from China, which most Vietnamese were not aware of. In other aspects of life, there were many similar examples of Vietnamese so ready and comfortable with adding new norms, values, and beliefs, even contradictory (...) ones, to their culture. This phenomenon, dubbed “cultural additivity”, prompted us to study the co-existence, interaction, and influences among core values and norms of the Three Teachings –Confucianism, Buddhism, and Taoism–as shown through Vietnamese folktales. By applying Bayesian logistic regression, we evaluated the possibility of whether the key message of a story was dominated by a religion (dependent variables), as affected by the appearance of values and anti-values pertaining to the Three Teachings in the story (independent variables). Our main findings included the existence of the cultural additivity of Confucian and Taoist values. More specifically, empirical results showed that the interaction or addition of the values of Taoism and Confucianism in folktales together helped predict whether the key message of a story was about Confucianism, β{VT ⋅ VC} = 0.86. Meanwhile, there was no such statistical tendency for Buddhism. The results lead to a number of important implications. First, this showed the dominance of Confucianism because the fact that Confucian and Taoist values appeared together in a story led to the story’s key message dominated by Confucianism. Thus, it presented the evidence of Confucian dominance and against liberal interpretations of the concept of the Common Roots of Three Religions (“tam giáo đồng nguyên”) as religious unification or unicity. Second, the concept of “cultural additivity” could help explain many interesting socio-cultural phenomena, namely the absence of religious intolerance and extremism in the Vietnamese society, outrageous cases of sophistry in education, the low productivity in creative endeavors like science and technology, the misleading branding strategy in business. We are aware that our results are only preliminary and more studies, both theoretical and empirical, must be carried out to give a full account of the explanatory reach of “cultural additivity”. (shrink)

In order to maintain the existence of the business, it always creates and implements various marketingstrategies to maintain and maintain business operations in the midst of fierce business competition. Allbusinesses have competition so this makes the company must have a strategy to be able to excel incompetition. Companies must be able to know how to retain their customers so as not to turn to competitors.Especially in the field of coffee drinks business which is currently being rife in Surabaya. This research (...) usesa Quantitative Approach is a research approach that uses data in the form of figures from survey answersdistributed to research samples and analyzed using statistical analysis techniques. The partial regressionresults (t-test) showed the results of the brand image proved to have a significant effect on the decision topurchase coffee drinks at Janji Jiwa Royal Plaza Surabaya. Value is proven to have a significant effect oncoffee beverage purchase decisions at Janji Jiwa Royal Surabaya. Simultaneous regression analysis (F-test)proved to have a significant effect on brand image and value on coffee beverage purchase decisions at JanjiJiwa Royal Surabaya. (shrink)

What words we use, and what meanings they have, is important. We shouldn't use slurs; we should use 'rape' to include spousal rape (for centuries we didn’t); we should have a word which picks out the sexual harassment suffered by people in the workplace and elsewhere (for centuries we didn’t). Sometimes we need to change the word-meaning pairs in circulation, either by getting rid of the pair completely (slurs), changing the meaning (as we did with 'rape'), or adding brand (...) new word-meaning pairs (as with 'sexual harassment'). A problem, though, is how to do this. One might worry that any attempt to change language in this way will lead to widespread miscommunication and confusion. I argue that this is indeed so, but that's a feature, not a bug of attempting to change word-meaning pairs. The miscommunications and confusion such changes cause can lead us, via a process I call transformative communicative disruption, to reflect on our language and its use, and this can be further, rather than hinder, our goal of improving language. (shrink)

I begin by criticizing reductionist knowledge-first epistemology according to which knowledge can be used to reductively analyze other epistemic phenomena. My central concern is that proponents of such an approach commit a similar mistake to the one that they charge their opponents with. This is the mistake of seeking to reductively analyze basic epistemic phenomena in terms of other allegedly more fundamental phenomena. I then turn to non-reductionist brands of knowledge-first epistemology. Specifically, I consider the knowledge norms of assertion and (...) contrast them with an alternative that I have developed elsewhere (Gerken 2011, 2012a, 2013b, 2014, 2015a, 2015c, MS). On the basis of the critical discussion, I question whether a knowledge-first program that is both plausible and distinctive has been identified. On a more positive note, I sketch the contours of an alternative that I label ‘equilibristic epistemology.’ According to this approach, there isn’t a single epistemic phenomenon or concept that is “first.” Rather, there are a number of basic epistemic phenomena that are not reductively analyzable although they may be co-elucidated in a non-reductive manner. This approach preserves some grains of truth in knowledge-first epistemology. For example, it preserves the idea that knowledge can be taken to be explanatorily basic and unanalyzable. However, since no single epistemic phenomenon is first, knowledge is not first. (shrink)

The Neo-Moorean response to the radical skeptical challenge boldly maintains that we can know we’re not the victims of radical skeptical hypotheses; accordingly, our everyday knowledge that would otherwise be threatened by our inability to rule out such hypotheses stands unthreatened. Given the leverage such an approach has against the skeptic from the very start, the Neo-Moorean line is an especially popular one; as we shall see, though, it faces several commonly overlooked problems. An initial problem is that this particular (...) brand of anti-skeptical strategy is available only to a theory of knowledge that will compromise itself to especially weak epistemic standards—indeed, standards as weak as our epistemic grounds are for accepting the denials of skeptical hypotheses. With this said, the aim here is to investigate whether the Neo-Moorean line could be advanced against the skeptic in a way that wouldn’t require wholesale lowering of epistemic standards. Unfortunately, as we’ll see, Sosa’s (2007; 2009) view as well as what I argue to be the other two most plausible contender-views for maintaining a Neo-Moorean line—Greco’s and Pritchard’s—run (for similar reasons) into dead ends. The way forward, I’ll argue, is to take on board a unique variety of robust virtue epistemology accord­ing to which knowledge is thought to be situated a certain way within a gradient balance between ability and luck. (shrink)

Normal 0 false false false EN-CA X-NONE X-NONE The purpose of this paper is to reconstruct Hilary Kornblith’s argument for excluding conceptual analysis from epistemological inquiry, and then provide three objections to it. More specifically, Kornblith argues that epistemological properties such as ‘knowledge’ reduce to natural kinds which can only be discovered and investigated using the a posteriori methods of the natural sciences. Thus, he continues, conceptual analysis can’t properly illuminate the target domain. The three objections to Kornblith’s argument which (...) I present are as follows: Multiple Realizeability, Psychological Explanation, Starting Points. On strength of these objections, I conclude that Kornblith’s brand of a posteriori epistemology both eliminates our ability to make epistemic evaluations in general, and also implies a strong form of scepticism. /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}. (shrink)

There are many important dimensions of epistemic evaluation, one of which is justification. We don’t just evaluate beliefs for truth, reliability, accuracy, and knowledge, but also for justification. However, in the epistemological literature, there is much disagreement about the nature of justification and how it should be understood. One of the controversies that has separated the contemporary epistemological discourse into two opposing camps has to do with the internalism-externalism distinction. Whereas internalists defend certain core assumptions about justification from the pre-Gettier (...) tradition, externalists generally think that the traditional conception is untenable and should be replaced. In this compilation thesis, I argue for, defend, and develop a particular brand of internalism, both in general and with respect to specific sources of justification. In papers 1 and 2, I defend a couple of well-known arguments for mentalism and accessibilism. Moreover, I also point out how prominent versions of these theses are vulnerable to serious problems (e.g., about over-intellectualization and vicious regresses). Part of my goal in the first couple of papers is to figure out what commitments the internalist should take on in order to avoid the externalist's objections, while at the same time receiving support from considerations that have motivated internalism in the past. In papers 3 and 4, I start from the assumption that mentalism is true and attempt to answer the following questions: 1) which non-factive mental states can play a justification-conferring role with respect to empirical belief? And 2) why does this set of states play the epistemic role it does? In response to question 1, I argue that all and only one's beliefs and perceptual experiences have justificatory relevance. In response to question 2, I argue that one's beliefs and perceptual experiences are one's strongly representational states, and that strongly representational states necessarily provide support to certain empirical propositions. Having done so, I then defend mentalism about scientific evidence from a couple of prominent objections in the recent literature. Lastly, in papers 5 and 6, I argue for a particular brand of internalism about testimonial and memorial justification and show how that position has a dialectical advantage over its main competitors. (shrink)

Cartea prezintă modele de afaceri, management, analize și strategii care ajută la dezvoltarea și punerea în valoare a unei organizații, în contexte specifice economice, sociale, culturale sau de altă natură, prin elaborarea și implementarea unor planuri personalizate. Capacitatea unei organizații de a procesa informații este în centrul competențelor organizatorice și manageriale, iar strategiile unei organizații trebuie să fie proiectate pentru a îmbunătăți funcționalitatea și eficiența corporativă și, întrucât sistemele de management care furnizează această capabilitate au devenit formalizate și automatizate, competențele (...) sunt testate dur la mai multe niveluri. Organizațiile trebuie să fie capabile să învețe și să se adapteze în moduri care nu au fost niciodată atât de evidente înainte. Managementul strategic implică formularea și punerea în aplicare a obiectivelor și inițiativelor majore luate de conducerea de vârf a unei companii în numele proprietarilor, luând în considerare resursele și o evaluare a mediilor interne și externe în care organizația evoluează. El implică conceptele conexe de planificare strategică și gândire strategică. Prin analiza afacerii se identifică nevoile de afaceri și se stabilesc soluțiilor la problemele de afaceri. Soluțiile includ adesea o componentă de dezvoltare sisteme-software, dar pot consta și în îmbunătăţirea procesului, schimbarea organizațională sau planificarea strategică și elaborarea politicilor. CUPRINS: Afaceri - Formele de bază de proprietate - Clasificări - Management - - Restructurarea întreprinderilor de stat - Reglementări organizaţionale şi legislative - Evidenţa contabilă - - Procesul - Marketing - - Orientarea spre client - - Orientarea organizaţională - - - Comportamentul de turmă - - - Alte orientări - - Cercetarea în marketing - - - Mediul de marketing - - - Segmentarea pieţei - - - Tipuri de cercetare de piață - Publicitate - - Teoria publicităţii - - - Modele ierarhia-efectelor - - - Marketing mix - - Medii pentru publicitate - - Semiotica - - Efecte de gen în procesarea publicității - Inteligența în afaceri (Business intelligence) - - Componente - - Istorie - - Depozitarea datelor - - Comparație cu inteligența competitivă - - Comparație cu cercetarea analitică de afaceri - - Aplicații într-o întreprindere - - Prioritizarea proiectelor - - Factori de succes în implementare - - - Suportul afacerii - - - Nevoile afacerii - - - Cantitatea și calitatea datelor disponibile - - Aspect utilizator - - Date semistructurate sau nestructurate - - - Date nestructurate vs. date semistructurate - - - Probleme cu date semistructurate sau nestructurate - - - Utilizarea de metadate - Antreprenoriat - - Definiţie - - Decizii antreprenoriale - - - Antreprenoriatul ca o proiectare a relațiilor individuale/oportunități - - - Percepţia antreprenorială - - - Stiluri antreprenoriale - - Aspecte psihologice - Franciza - - Cele mai mari lanțuri de franciză - - Taxe și termeni contractuali - - Justificare și comutarea riscului - - Obligațiile părților - - Francize sociale - - Franciza logistică de la terți - - Franciza de evenimente - - Francize la domiciliu Managementul afacerii - Managementul informațiilor - - Aspecte teoretice - - - Teorii comportamentale și organizaționale - - - Teoria economică - - Managementul informațiilor strategice - - - Alinierea tehnologiilor și strategiilor de afacere cu managementul informațiilor - - - Un model de portofoliu contemporan pentru informații - - - Competențe pentru gestionarea calității informațiilor - - - Rezumat - - Operaționalizarea managementului informațiilor - - - Gestionarea schimbării necesare - - - Opera timpurie a lui Galbraith - - - Organizații matriceale - - Informații în sursă deschisă - - - Surse deschise pentru informații - - - Definiții pentru OSINT - - - Informații competitive - - - OSINT în afaceri - Managementul strategic - - Definiţie - - - Formularea - - - Implementarea - - - Diverse definiții ale strategiei - - Concepte și cadre - - - Analiza SWOT - - - Curba de experiență - - - Strategia corporativă și teoria portofoliului - - - Avantaj competitiv - - - Structura industriei și a rentabilitatea - - - Strategii competitive generice - - - Lanțul valoric - - - Competențe de bază - - - Teoria afacerii - - Gândirea strategică - - Planificarea strategica - - - Analiza mediului - - - Planificarea scenariului - - - Măsurarea și controlul implementării - - - Evaluarea - - Limitări - - Abordări pentru managementul strategic - - - Ierarhia de strategie - Managementul relațiilor de afaceri - - Tendințe în dezvoltarea MRA - - Prezentare generală și obiective - - - Ca disciplină - - - Ca rol organizațional - - - Ca model - - Ciclurile de viață ale MRA - - Principiile MRA - - - Măsurare și analiză - - - Scop - - - Reputație și încredere - - - Guvernare - - - Limite - - - Schimb și reciprocitate - Managementul relațiilor de intreprindere - - Instrumente și metodologii - Software de afaceri - - Tipuri de instrumente de afaceri Analiza afacerii - Tehnici de analiză de afaceri - - PESTLE - - Heptaliza - - MOST - - SWOT - - CATWOE - - Cele şase pălării în gândire ale lui de Bono - - Cinci "De ce" - - MoSCoW - - VPEC-T - - SCRS - Cercetarea analitică - - Cercetarea analitică vs. analiză - - Exemple - - - Optimizarea de marketing - - - Cercetarea analitică de portofoliu - - - Cercetarea analitică de risc - - - Cercetarea analitică digitală - - - Cercetarea analitică de securitate - - - Cercetarea analitică în software - - Provocări - - Riscuri - Evaluarea afacerii - - Standardul și premisa valorii - - Standardele de valoare - - Premise de valoare - - Elemente ale evaluării afacerii - - - Condițiile economice - - - Analize financiare - - - Normalizarea situațiilor financiare - - - Venituri, active și abordări de piață Strategia de afaceri - Cele trei procese ale strategiei în afaceri - - Formularea strategiei - - Implementarea strategiei - - Evaluarea strategiei - - - Adecvarea - - - Fezabilitatea - - - Acceptabilitatea - Planificarea strategică - - Procesul - - - Prezentare generală - - - Intrări - - - Activităţi - - - Ieşiri - - - Rezultate - - Instrumente și abordări - - Planificarea strategică vs planificarea financiară - - Critici - - - Planificarea strategică vs gândirea strategică - Gândirea strategică - - Gândirea strategică vs planificarea strategică - - Competențe de gândire strategică - Modele de afaceri - - Perspective teoretice și empirice ale modelelor de afaceri - - - Logica proiectării și coerență narativă - - - Complementarități ale modelelor de afaceri între firme partenere - - Clasificarea modelelor de afaceri - - - Cadrul V4 BM - - - Trecerea de la conducte la platforme - - - Modele de afaceri platformă - - Aplicații - - Proiectarea modelului de afaceri - - - Definiții ale modelului de afaceri - - Definiții ale proiectării sau dezvoltării modelului de afaceri - - - Evidențierea temelor de proiectare a modelului de afaceri - - - Evidențierea conținutului de proiectare pentru proiectarea modelului de afaceri - - Exemple de modele de afaceri - - - Model de afaceri clasic - - - Modele de afaceri colective - - - Modelul renunțării la intermediari - - - Modelul de vânzări directe - - - Modele de afaceri de distribuție - - - Modelul revânzării cu valoare adăugată - - - Primul plătește, apoi gratuit - - - Franciza - - - Modelul de afaceri în aprovizionare - - - Modelul de afaceri cu gratuități - - - Plătești ce poți - - - Plătești ce dorești - - Cadrele pentru model de afaceri - - Concepte înrudite Documente în afaceri - Planul de afaceri - - Audiența - - Conținut - - Prezentare - - Revizuirea planului de afaceri - - - Depășiri de costuri și scăderi ale veniturilor - - Probleme juridice și de responsabilitate - - - Cerințe de publicare - - - Limitări privind conținutul și audiența - - Planuri de afaceri deschise - - Utilizări - - Planul de afaceri pentru organizațiile non-profit - Elaborarea unui plan de afaceri - - Rezumatul - - Context organizațional - - - Declarația de misiune și modelul de afaceri - - - Statusul curent - - - Istorie - - - Echipa de management - - Planul de marketing - - - Stabilirea prețului - - - Managementul cererii - - - Distribuirea - - - Promovare și dezvoltare de brand - - Planul operațional - - - Planul de cercetare și dezvoltare - - - Planul de fabricație/de implementare - - - Planul de tehnologia informației și comunicațiilor - - - Planul de personal - - - Modelul alocării costurilor - - Planul financiar - - - Finanțarea actuală - - - Nevoile de finanțare - - - Planul de finanțare - - - Istoria financiară - - - Previziuni financiare - - - Evaluarea - - Analiza de risc - - - Evaluarea riscurilor - - - Planul de management al riscului - - Criterii de decizie - Planuri și strategii de marketing - - Procesul de planificare a marketingului - - Scopurile și obiectivele planificării marketingului - - - Planuri și programe detaliate - - Conținutul planului de marketing - - - Firmele mijlocii și mari - - Măsurarea progresului - - Analiza performanței - - - Analiza vânzărilor - - - Analiza cotei de piață - - - Analiza cheltuielilor - - - Analiza financiară - - - Folosirea planurilor de marketing - - Bugetele ca instrumente manageriale - - Strategia de marketing - - - O parte esențială a strategiei corporative generale - - - Tactici și acțiuni sectoriale - - - Tipuri de strategii - - - Modele strategice - Propuneri de afaceri - - Tipuri de propuneri - - - Propunerea solicitată informal - - - Propunerea nesolicitată - - Componente - - - Propunerea formal solicitată - - - Propunere de afaceri solicitată informal - - Gestionarea propunerilor de afaceri - - - Procesul de management al propunerilor - - Scrierea propunerilor - - - Propunerile interne - - - Contract de sursă unică - - - Format - - - Titlu - - - Rezumat - - - Declarația și Metoda - - - Buget - - - Informații biografice - - - Valori ale sponsorilor - - - Credibilitatea solicitantului - - - Logica propunerii - - - Psihologia propunerii - - Strategia de marketing - - - O parte esențială a strategiei corporative generale - - - Tactici și acțiuni sectoriale - - - Tipuri de strategii - - - Modele strategice Referinţe Despre autor - Nicolae Sfetcu - - De același autor - - Contact Editura - MultiMedia Publishing . (shrink)

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

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

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)

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)

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.

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)

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)

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)

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)

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)

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)

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)

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.

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)

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)

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)

Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers and artists (...) from more than 80 countries. After 40 issues, the journal has come to an end. What a success story! (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)

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)

A number of philosophers think that grounding is, in some sense, well-founded. This thesis, however, is not always articulated precisely, nor is there a consensus in the literature as to how it should be characterized. In what follows, I consider several principles that one might have in mind when asserting that grounding is well-founded, and I argue that one of these principles, which I call ‘full foundations’, best captures the relevant claim. My argument is by the process of elimination. For (...) each of the inadequate principles, I illustrate its inadequacy by showing either that it excludes cases that should not be ruled out by a well-foundedness axiom for grounding, or that it admits cases that should be ruled out. (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)

Sheryl Clark's 2021 book, "Sporty Girls: Gender, Health and Achievement in a Postfeminist Era," explores how girls navigate complex identities shaped by sports participation and societal expectations. Clark examines the complex pressures faced by girls in London and beyond, and how these experiences inform broader discussions on gender, health, and identity through sports participation in contemporary culture. This volume is one of nine titles comprising an ongoing Palgrave Macmillan series under the umbrella concept of New Femininities in Digital, Physical and (...) Sporting Cultures (NFDPSC), co-edited by four international scholars in sociology, health, sport, and public policy. (shrink)

This essay is about the relationship between the notions of practical reason, the will, and choice in Kant’s practical philosophy. Although Kant explicitly identifies practical reason and the will, many interpreters argue that he cannot really mean it on the grounds that unless they are distinct, irrational and, especially, immoral action is impossible. Other readers affirm his identification but distinguish the will from choice on the same basis. We argue that proper attention to Kant’s conception of practical reason as a (...) capacity reveals that these distinctions are neither textually grounded nor philosophically necessary. His moral psychology concerns a single capacity, practical reason, which is the will, and whose actualities in this or that individual fall under the title of choice. Practical reason is the will and choice because it is the rational faculty of desire: a rational being’s capacity to be, by means of her representations, the cause of the actuality of their objects. This, we argue, is entailed by his conception of rational action: action not just in accordance with, but in and through the representation of, principles. The possibility of irrational action is explained not by a distinction between capacities but by the finitude, and thereby the fallibility, of human reason. (shrink)

Can an ugly experiment be a good experiment? Philosophers have identified many beautiful experiments and explored ways in which their beauty might be connected to their epistemic value. In contrast, the present chapter seeks out (and celebrates) ugly experiments. Among the ugliest are those being designed by AI algorithms. Interestingly, in the contexts where such experiments tend to be deployed, low aesthetic value correlates with high epistemic value. In other words, ugly experiments can be good. Given this, we should conclude (...) that beauty is not generally necessary or sufficient for epistemic value, and increasing beauty will not generally tend to increase epistemic value. (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)

This paper offers a defense of veritic epistemic consequentialism, addressing its principal critiques. I argue that the core of epistemological value lies in its conduciveness to truth, rendering true beliefs intrinsically valuable. In response to the criticism that this approach may sacrifice individual truths for a greater aggregate and undervalues autonomous inquiry, I emphasize the well-connectedness of beliefs. Each belief's content is a proposition. Propositions are classified as first-order, second-order, third-order, etc., depending on what they are about. Higher-order propositions are (...) about lower-order ones. I assume that if an epistemic agent believes in p, then she tends to believe in higher-order propositions that are about p. These higher-order propositions are more structural beliefs of the agent. If p is false, then falsity may spread over the whole network through higher-order propositions about p. Thus, sacrificing a single belief may bring more damage to the network, which is not acceptable for veritic epistemic consequentialism. Regarding the issue of autonomy, epistemic acts like reflection, inference, etc. can be represented as higher-order propositions. Therefore, veritic epistemic consequentialism values them. (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).

I consider statistical criteria of algorithmic fairness from the perspective of the _ideals_ of fairness to which these criteria are committed. I distinguish and describe three theoretical roles such ideals might play. The usefulness of this program is illustrated by taking Base Rate Tracking and its ratio variant as a case study. I identify and compare the ideals of these two criteria, then consider them in each of the aforementioned three roles for ideals. This ideals program may present a way (...) forward in the normative evaluation of candidate statistical criteria of algorithmic fairness. (shrink)

Once one accepts that certain things metaphysically depend upon, or are metaphysically explained by, other things, it is natural to begin to wonder whether these chains of dependence or explanation must come to an end. This essay surveys the work that has been done on this issue—the issue of grounding and infinite descent. I frame the discussion around two questions: (1) What is infinite descent of ground? and (2) Is infinite descent of ground possible? In addressing the second question, I (...) will consider a number of arguments that have been made for and against the possibility of infinite descent of ground. When relevant, I connect the discussion to two important views about the way reality can be structured by grounding: metaphysical foundationalism and metaphysical infinitism. (shrink)

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

Kit Fine (2000) breaks with tradition, arguing that, pace Russell (e.g., 1903: 228), relations have neither directions nor converses. He considers two ways to conceive of these new "neutral" relations, positionalism and anti-positionalism, and argues that the latter should be preferred to the former. Cody Gilmore (2013) argues for a generalization of positionalism, slot theory, the view that a property or relation is n-adic if and only if there are exactly n slots in it, and (very roughly) that each slot (...) may be occupied by at most one entity. Slot theory (and with it, positionalism) bears the full brunt of Fine's (2000) symmetric completions and conflicting adicities problems. I fully develop an alternative, plural slot theory (or pocket theory), which avoids these problems, key elements of which are first considered by Yi (1999: 168 ff.). Like the slot theorist, the pocket theorist posits entities (pockets) in properties and relations that can be occupied. But unlike the slot theorist, the pocket theorist denies that at most one entity can occupy any one of them. As a result, she must also deny that the adicity of a property or relation is equal to the number of occupiable entities in it. By abandoning these theses, however, the pocket theorist is able to avoid Fine's problems, resulting in a stronger theory about the internal structure of properties and relations. Pocket theory also avoids a serious drawback of anti-positionalism. (shrink)

Replacing the value-free ideal (VFI) for science requires attention to the broader understanding of how science in society should function. In public spaces, science needed to project the VFI in norms for science advising, science education, and science communication. This resulted in the independent science advisor model and a focus on science literacy for science education and communication. Attending to these broader implications of the VFI which structure science and society relationships is crucial if we are to properly replace the (...) VFI with a better ideal. (shrink)

The COVID-19 crisis has highlighted the considerable challenge of sourcing expertise and determining which experts to trust. Dissonant information fostered controversy in public discourse and encouraged an appeal to a wide range of social indicators of trustworthiness in order to decide whom to trust. We analyze public discourse on expertise by examining how social indicators inform the reputation of Dr. Didier Raoult, the French microbiologist who rose to international prominence as an early advocate for using hydroxychloroquine to treat COVID-19. To (...) comprehend how these indicators came to inform his reputation, we outline Dr. Raoult's rise to fame based on discourse about hydroxychloroquine. We then discuss why we trust in experts like scientist-practitioners. This is followed by an examination of how social indicators of trust like status, epistemic authority, influence and values have informed Dr. Raoult's reputation. We conclude with recommendations for how to improve the selection and evaluation social indicators of trust and reputations. Our aim here, instead of making a claim about the efficacy of hydroxychloroquine or Dr. Raoult's reputation per se, is to outline through this case study how social indicators of trust inform reputation and the challenge they present to evaluating expertise. (shrink)

According to classical theism, impassibility is said to be systematically connected to divine attributes like timelessness, immutability, simplicity, aseity, and self-sufficiency. In some interesting way, these attributes are meant to explain why the impassible God cannot suffer. I shall argue that these attributes do not explain why the impassible God cannot suffer. In order to understand why the impassible God cannot suffer, one must examine the emotional life of the impassible God. I shall argue that the necessarily happy emotional life (...) of the classical God explains why the impassible God cannot suffer. (shrink)

Can the issue of how important it is whether or not there is a God be decided prior to deciding whether or not there is a God? In this paper, I explore some difficulties that stand in the way of answering this question in the affirmative and some of the implications of these difficulties for that part of the Philosophy of Religion which concerns itself with assessing arguments for and against the existence of God, the implications for how its importance (...) may best be defended within secular academe. (shrink)

What is sexual orientation? The contemporary consensus among philosophers is that it is a disposition. Unsurprisingly, recent debates about the metaphysics of sexual orientation are almost entirely intramural. Behavioral dispositionalists argue that sexual orientation is a disposition to behave sexually. Desire dispositionalists argue that it is a disposition to desire sexually. We argue that sexual orientation is not best understood in terms of dispositions to behave or dispositions to desire before arguing that dispositions tout court fail to illuminate sexual orientation. (...) We then introduce and defend the idea that sexual orientation is best understood in terms of categorical phenomenal properties of sexual arousal. (shrink)