Results for 'V. Bruce Irvine'

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  1. Psychographic segmentation to identify higher-risk teen peer crowds for health communications: Validation of Virginia's Mindset Lens Survey.Carolyn A. Stalgaitis, Jeffrey W. Jordan, Mayo Djakaria, Daniel J. Saggese & Hannah Robbins Bruce - 2022 - Frontiers in Public Health 10:871864.
    Audience segmentation is necessary in health communications to ensure equitable resource distribution. Peer crowds, which are macro-level teen subcultures, are effective psychographic segments for health communications because each crowd has unique mindsets, values, norms, and health behavior profiles. These mindsets affect behaviors, and can be used to develop targeted health communication campaigns to reach those in greatest need. Though peer crowd research is plentiful, no existing peer crowd measurement tool has been formally validated. As such, we developed and validated Virginia's (...)
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  2. Literary Indiscernibles, Referential Forgery, and the Possibility of Allographic Art.Jake Spinella - 2023 - Journal of Aesthetics and Art Criticism 81 (3):306-316.
    Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged and will (...)
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  3. Transporte de Gametas, Fertilização e Segmentação.Emanuel Isaque Cordeiro da Silva - manuscript
    TRANSPORTE DE GAMETAS, FERTILIZAÇÃO E SEGMENTAÇÃO -/- • _____OBJETIVO -/- O entendimento do desenvolvimento embrionário nos estágios iniciais, desde a deposição dos espermatozoides na fêmea, passando pela fertilização deste no ovócito e na formação do zigoto, é de suma importância para diferenciar especialistas em reprodução e manejo reprodutivo no mercado de trabalho e, também, durante a vida acadêmica. Compreender os processos que levam à formação do zigoto na fêmea é essencial para avaliar a capacidade reprodutiva dos animais e, mediante técnicas, (...)
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  4. Gametogênese Animal: Espermatogênese e Ovogênese.Emanuel Isaque Cordeiro da Silva - manuscript
    GAMETOGÊNESE -/- Emanuel Isaque Cordeiro da Silva Instituto Agronômico de Pernambuco Departamento de Zootecnia – UFRPE Embrapa Semiárido -/- • _____OBJETIVO -/- Os estudantes bem informados, estão a buscando conhecimento a todo momento. O estudante de Veterinária e Zootecnia, sabe que a Reprodução é uma área de primordial importância para sua carreira. Logo, o conhecimento da mesma torna-se indispensável. No primeiro trabalho da série fisiologia reprodutiva dos animais domésticos, foi abordado de forma clara, didática e objetiva os mecanismos de diferenciação (...)
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  5. On the Well-being of Aesthetic Beings.Sherri Irvin - forthcoming - In Helena Fox, Kathleen Galvin, Michael Musalek, Martin Poltrum & Yuriko Saito (eds.), Oxford Handbook of Mental Health and Contemporary Western Aesthetics. Oxford University Press.
    As aesthetic beings, we are receptive to and engaged with the sensuous phenomena of life while also knowing that we are targets of others’ awareness: we are both aesthetic agents and aesthetic objects. Our psychological health, our standing within our communities, and our overall wellbeing can be profoundly affected by our aesthetic surroundings and by whether and how we receive aesthetic recognition from others. When our embodied selves and our cultural products are valued, and when we have rich opportunities for (...)
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  6. Teaching and Learning Guide for: Authors, Intentions and Literary Meaning.Sherri Irvin - 2008 - Philosophy Compass 4 (1):287-291.
    The relationship of the author’s intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author’s private diaries and life story of committing the ‘fallacy’ of equating the work’s meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are not (...)
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  7. Conceptual Art (Taylor’s Version).Sherri Irvin - 2025 - In Brandon Polite (ed.), Taylor Swift and the Philosophy of Re-recording: The Art of Taylor's Versions. Bloomsbury.
    Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...)
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  8. The Pervasiveness of the Aesthetic in Ordinary Experience.Sherri Irvin - 2008 - British Journal of Aesthetics 48 (1):29-44.
    I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...)
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  9. Museums and the Shaping of Contemporary Artworks.Sherri Irvin - 2006 - Museum Management and Curatorship 21:143-156.
    In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...)
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  10. Authenticity, Misunderstanding, and Institutional Responsibility in Contemporary Art.Sherri Irvin - 2019 - British Journal of Aesthetics 59 (3):273-288.
    This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...)
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  11. The Ontological Diversity of Visual Artworks.Sherri Irvin - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New waves in aesthetics. New York: Palgrave-Macmillan. pp. 1-19.
    Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...)
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  12. Is Aesthetic Experience Possible?Sherri Irvin - 2014 - In Greg Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. New York, NY: Oxford University Press. pp. 37-56.
    On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...)
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  13. Scratching an Itch.Sherri Irvin - 2008 - Journal of Aesthetics and Art Criticism 66 (1):25-35.
    I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...)
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  14. Authors, Intentions and Literary Meaning.Sherri Irvin - 2006 - Philosophy Compass 1 (2):114–128.
    This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.
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  15. The Artist's Sanction in Contemporary Art.Sherri Irvin - 2005 - Journal of Aesthetics and Art Criticism 63 (4):315-326.
    I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...)
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  16. Sculpture.Sherri Irvin - 2013 - In Berys Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics Third Edition. Routledge. pp. 606-615.
    This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.
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  17. Appropriation and Authorship in Contemporary Art.Sherri Irvin - 2005 - British Journal of Aesthetics 45 (2):123-137.
    Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their (...)
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  18. Materials and Meaning in Contemporary Sculpture.Sherri Irvin - 2020 - In Fred Rush, Ingvild Torsen & Kristin Gjesdal (eds.), Philosophy of Sculpture: Historical Problems, Contemporary Approaches. Routledge. pp. 165-186.
    An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...)
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  19. Does Contemporary Art Have Cognitive Value?Sherri Irvin - 2003 - AE: Canadian Aesthetics Journal 8.
    In his book Art and Knowledge, James O. Young suggests that avant-garde and contemporary art, because it tends to eschew the resources of illustrative representation, lacks cognitive value. Because he regards cognitive value as a necessary condition for a high degree of aesthetic value, he concludes that contemporary works tend to have little aesthetic value and thus do not deserve to be regarded as valuable artworks (or, in many cases, as artworks at all). In this paper, I mount a defense (...)
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  20. Wedge: A Cross-Disciplinary Collaboration by Janine Antoni and Jill Sigman.Sherri Irvin - 2016 - In Sondra Bacharach, Siv B. Fjærestad & Jeremy Neil Booth (eds.), Collaborative Art in the Twenty-First Century. Routledge. pp. 166-178.
    In 2012, choreographer and dancer Jill Sigman of jill sigman/thinkdance and visual artist Janine Antoni collaborated to produce Wedge, a live performance at the Albright-Knox Gallery. In this essay, I describe the collaboration and the resulting work and examine the benefits and challenges of the collaboration. The discussion touches on broader issues pertaining to collaboration, co-authorship, artists' intentions, and interpretation.
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  21. Artificial Consciousness Is Morally Irrelevant.Bruce P. Blackshaw - 2023 - American Journal of Bioethics Neuroscience 14 (2):72-74.
    It is widely agreed that possession of consciousness contributes to an entity’s moral status, even if it is not necessary for moral status (Levy and Savulescu 2009). An entity is considered to have...
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  22. Unreadable Poems and How They Mean.Sherri Irvin - 2015 - In John Gibson (ed.), The Philosophy of Poetry. Oxford, GB: Oxford University Press. pp. 88-110.
    Several years ago, the poet & critic Joan Houlihan offered a scathing and hilarious indictment of a lot of postmodern poetry for using words in a way that treats them as meaningless (or, perhaps, renders them meaningless). She suggested that word choice in such poems doesn’t really matter, and that the poet could just as well have substituted in other words without any change in meaning or aesthetic qualities. I argue that she’s wrong about this. I offer an account of (...)
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  23. Strengthening the impairment argument against abortion.Bruce Blackshaw & Perry Hendricks - 2020 - Journal of Medical Ethics 47 (7):515-518.
    Perry Hendricks’ impairment argument for the immorality of abortion is based on two premises: first, impairing a fetus with fetal alcohol syndrome is immoral, and second, if impairing an organism to some degree is immoral, then ceteris paribus, impairing it to a higher degree is also immoral. He calls this the impairment principle. Since abortion impairs a fetus to a higher degree than FAS, it follows from these two premises that abortion is immoral. Critics have focussed on the ceteris paribus (...)
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  24. Videos, Police Violence, and Scrutiny of the Black Body.Sherri Irvin - 2022 - Social Research: An International Quarterly 89 (4):997-1023.
    The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.
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  25. Forgery and the Corruption of Aesthetic Understanding.Sherri Irvin - 2007 - Canadian Journal of Philosophy 37 (2):283-304.
    Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...)
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  26. In Advance of the Broken Theory: Philosophy and Contemporary Art.Sherri Irvin & Julian Dodd - 2017 - Journal of Aesthetics and Art Criticism 75 (4):375-386.
    We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...)
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  27. Aesthetics of the Everyday.Sherri Irvin - 2009 - In Stephen Davies, Kathleen Marie Higgins, Robert Hopkins, Robert Stecker & David Cooper (eds.), Blackwell Companion to Aesthetics. Malden, MA: Wiley. pp. 136-139.
    This reference essay surveys recent work in the emerging sub-discipline of everyday aesthetics, which builds on the work of John Dewey to resist sharp distinctions between art and non-art domains and argue that aesthetic concepts are properly applied to ordinary domains of experience.
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  28. Introduction to the Symposium on Christy Mag Uidhir's Art and Art-Attempts.Sherri Irvin - 2018 - Journal of Aesthetic Education 52 (2):1.
    Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...)
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  29. Motherhood and the Workings of Disgust.Sherri Irvin - 2011 - In Sheila Lintott & Maureen Sander-Staudt (eds.), Philosophical Inquiries into Pregnancy, Childbirth, and Mothering: Maternal Subjects. Routledge. pp. 79-90.
    I discuss two interrelated ways in which disgust functions in motherhood. First, relaxation of the mother’s sense of disgust allows her to nurture her child more effectively. Second, others’ responses of disgust are used to enforce social norms regarding the “good” mother. If the mother acquiesces, she must continually monitor and tidy her child, which may interfere with the child’s exploration of the world. If she does not, she is subject to ongoing signs that she is flawed or failing as (...)
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  30. The Problem of Spontaneous Abortion: Is the Pro-Life Position Morally Monstrous?Bruce P. Blackshaw & Daniel Rodger - 2019 - The New Bioethics 25 (2):103-120.
    A substantial proportion of human embryos spontaneously abort soon after conception, and ethicists have argued this is problematic for the pro-life view that a human embryo has the same moral status as an adult from conception. Firstly, if human embryos are our moral equals, this entails spontaneous abortion is one of humanity’s most important problems, and it is claimed this is absurd, and a reductio of the moral status claim. Secondly, it is claimed that pro-life advocates do not act as (...)
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  31. Questionable benefits and unavoidable personal beliefs: defending conscientious objection for abortion.Bruce Philip Blackshaw & Daniel Rodger - 2020 - Journal of Medical Ethics 3 (46):178-182.
    Conscientious objection in healthcare has come under heavy criticism on two grounds recently, particularly regarding abortion provision. First, critics claim conscientious objection involves a refusal to provide a legal and beneficial procedure requested by a patient, denying them access to healthcare. Second, they argue the exercise of conscientious objection is based on unverifiable personal beliefs. These characteristics, it is claimed, disqualify conscientious objection in healthcare. Here, we defend conscientious objection in the context of abortion provision. We show that abortion has (...)
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  32. The Expressive Import of Degradation and Decay in Contemporary Art.Sherri Irvin - 2022 - In Peter Miller & Soon Kai Poh (eds.), Conserving Active Matter. Bard Graduate Center - Cultura. pp. 65-79.
    Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...)
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  33. Bodies, Functions, and Imperfections.Sherri Irvin - 2022 - In Peter Cheyne (ed.), Imperfectionist Aesthetics in Art and Everyday Life. London: Routledge. pp. 271-283.
    The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...)
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  34. Repeatable Artworks and the Relevant Similarity Relation.Sherri Irvin - 2018 - Journal of Aesthetic Education 52 (2):30.
    Repeatable artworks, such as novels and musical works, have often been construed as universals whose instances are particular printings or performances. In Art and Art-Attempts, Christy Mag Uidhir offers a nominalist account of repeatable artworks, eschewing talk of universals. Mag Uidhir argues that all artworks are concrete, and artworks that we regard as repeatable are simply unified by a relevant similarity relation: we use the name Beloved to refer to two concrete printed novels because they are relevantly similar to each (...)
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  35. Artworks, Objects and Structures.Sherri Irvin - 2012 - In Anna Christina Ribeiro (ed.), Continuum Companion to Aesthetics. Continuum. pp. 55-73.
    This essay examines the difficulties faced by the claim that artworks are simple physical objects (or, in the case of non-visual art forms, simple structures of another sort) and examines alternative proposals regarding their ontological nature.
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  36. Body.Sherri Irvin - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). Oxford University Press. pp. 410-414.
    The body is relevant for aesthetics from two perspectives. We experience and assess bodies aesthetically from the outside; and we have aesthetic experiences of and through our bodies from the inside. In experiences of one’s own body, these perspectives often intersect in interesting ways. From both perspectives, the body is a site where aesthetic and ethical considerations are deeply intertwined. This article includes discussion of Beauty and the Body, Aesthetic Body Practices, Body Aesthetics and Gender Construction, Somatic Dimensions of Aesthetic (...)
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  37. The Nature of Aesthetic Experience and the Role of the Sciences in Aesthetic Theorizing.Sherri Irvin - 2019 - Estetika: The European Journal of Aesthetics 56 (1):100-109.
    Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...)
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  38. God, Evil, and Meticulous Providence.Bruce Reichenbach - 2022 - Religions 13.
    James Sterba has constructed a powerful argument for there being a conflict between the presence of evil in the world and the existence of God. I contend that Sterba’s argument depends on a crucial assumption, namely, that God has an obligation to act according to the principle of meticulous providence. I suggest that two of his analogies confirm his dependence on this requirement. Of course, his argument does not rest on either of these analogies, but they are illustrative of the (...)
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  39. Contemporary Art: Ontology.Sherri Irvin - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). Oxford University Press. pp. 170-172.
    The ontology of visual artworks might be thought comparable to the ontology of other sorts of artifacts: a work of painting seems to be materially constituted by a particular canvas with paint on it, just as a spoon is constituted by a particular piece of metal. But recent developments have complicated the situation, requiring a new account of the ontology of contemporary art. These developments also shed light on the ontology of works from earlier historical eras. This article discusses Artworks (...)
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  40. Aesthetics as a Guide to Ethics.Sherri Irvin - 2010 - In Robert Stecker & Ted Gracyk (eds.), Aesthetics Today: A Reader. Rowman & Littlefield Publishers. pp. 370-377.
    This paper argues for several claims about the moral relevance of the aesthetic: that attention to aesthetic values may promote moral motivation; that aesthetic values should be regarded as constraining moral demands; and that the pursuit of aesthetic satisfactions may itself have positive moral value. These arguments suggest that moral thinking should be aesthetically informed to a much greater degree than has been typical. The aesthetic is a central dimension of a good life, and a life’s being good for the (...)
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  41. Aesthetics and the Private Realm.Sherri Irvin - 2009 - Journal of Aesthetics and Art Criticism 67 (2):226-230.
    I clarify the arguments of my paper “Scratching an Itch” in response to a discussion piece by Brian Soucek. I also offer a new argument that objectivity is possible for aesthetic judgments about private phenomena such as somatic experiences.
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  42. Can prolife theorists justify an exception for rape?Bruce P. Blackshaw - 2022 - Bioethics 36 (1):49-53.
    Prolife theorists typically hold to the claim that all human beings possess equal moral status from conception and consequently possess a right to life. This, they believe, entails that abortion is impermissible in all circumstances. Critics characterize this as an extreme anti-abortion position, as it prima facie allows no exceptions, even in cases of rape. Here, I examine whether the prolife claim regarding equal moral status is compatible with a more attractive moderate stance that permits an exception in the case (...)
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  43. Fine-Tuning the Impairment Argument.Bruce Philip Blackshaw & Perry Hendricks - 2021 - Journal of Medical Ethics 47 (9):641-642.
    Perry Hendricks’ original impairment argument for the immorality of abortion is based on the impairment principle (TIP): if impairing an organism to some degree is immoral, then ceteris paribus, impairing it to a higher degree is also immoral. Since abortion impairs a fetus to a higher degree than fetal alcohol syndrome (FAS) and giving a fetus FAS is immoral, it follows that abortion is immoral. Critics have argued that the ceteris paribus is not met for FAS and abortion, and so (...)
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  44. Applying Pascal’s Wager to Procreation.Bruce P. Blackshaw - forthcoming - Sophia.
    Pascal’s wager uses decision theory to argue that it is rational to attempt to nurture belief in God, based on the expected utility of believing (infinite happiness) compared to not believing (at best, only finite happiness). A belief in an eternal conscious torment in hell (infinite suffering) for non-believers makes the differences in expected utility even more apparent, strengthening the argument. Similar reasoning can also be used to calculate the expected moral value of actions, including procreation. Under theism, if possible (...)
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  45. Why inconsistency arguments fail: a response to Shaw.Bruce P. Blackshaw, Nicholas Colgrove & Daniel Rodger - 2022 - The New Bioethics 28 (2):139-151.
    Opponents of abortion are commonly said to be inconsistent in their beliefs or actions, and to fail in their obligations to prevent the deaths of embryos and fetuses from causes other than induced...
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  46. Contraception is not a reductio of Marquis.Bruce P. Blackshaw - 2023 - Bioethics 37 (5):508-510.
    Don Marquis’ future-like-ours account argues that abortion is seriously immoral because itdeprives the embryo or fetus of a valuable future much like our own. Marquis was mindful ofcontraception being reductio ad absurdum of his reasoning, and argued that prior tofertilisation, there is not an identifiable subject of harm. Contra Marquis, Tomer Chaffercontends that the ovum is a plausible subject of harm, and therefore contraception deprives theovum of a future-like-ours. In response, I argue that being an identifiable subject of harm is (...)
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  47. Interprétation et description d’une oeuvre d’art.Sherri Irvin - 2005 - Philosophiques 32 (1):135-148.
    According to Arthur Danto, it is illegitimate to seek a neutral, or pre-interpretative, description of an artwork, since such descriptions necessarily fail to respect the artwork as such. Instead, we must begin by interpreting, so as to constitute the work : interpretation is what distinguishes artworks from mere physical objects. In this paper, I argue that, while Danto is right to distance artworks from mere things, this can be done without suggesting that artworks are constituted by interpretation. Moreover, Danto’s view (...)
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  48. Frozen Embryos and The Obligation to Adopt.Bruce P. Blackshaw & Nicholas Colgrove - 2020 - Bioethics (8):1-5.
    Rob Lovering has developed an interesting new critique of views that regard embryos as equally valuable as other human beings: the moral argument for frozen human embryo adoption. The argument is aimed at those who believe that the death of a frozen embryo is a very bad thing, and Lovering concludes that some who hold this view ought to prevent one of these deaths by adopting and gestating a frozen embryo. Contra Lovering, we show that there are far more effective (...)
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  49. Capacities, Context and the Moral Status of Animals.Sherri Irvin - 2004 - Journal of Applied Philosophy 21 (1):61–76.
    According to a widely shared intuition, normal adult humans require greater moral concern than normal, adult animals in at least some circumstances. Even the most steadfast defenders of animals' moral status attempt to accommodate this intuition, often by holding that humans' higher-level capacities (intellect, linguistic ability, and so on) give rise to a greater number of interests, and thus the likelihood of greater satisfaction, thereby making their lives more valuable. However, the moves from capacities to interests, and from interests to (...)
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  50. Artwork and Document in the Photography of Louise Lawler.Sherri Irvin - 2012 - Journal of Aesthetics and Art Criticism 70 (1):79-90.
    What makes a photograph an artwork, as opposed to a mere document? I defend a cluster account such that aesthetic value, aptness to interpretation, the artist’s intention and institutional uptake may contribute to the arthood of a body of photographs, with no single condition being necessary. With regard to Lawler’s works, I suggest that Lawler’s intention that they be art plays a definitive role because of the works’ resemblance to non-art photography. For some of her photographs, however, it appears that (...)
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