This quote from Silvio Berlusconi is part of the speech he held on April 18, 1994 during the celebrations for AC Milan’s third consecutive scudetto under his management. Suppose we take this claim seriously: what is the logic at play when soccer is linked to other spheres of life? In particular, in what ways is a team a metaphor for its patrons?

In this paper, I argue for what I define as the multiplicity thesis. According to MT, there is not a single public of public art, but a multiplicity of them. I defend MT both as a descriptive and a normative claim. I explore different types of publics of public art that can be distinguished from one another in terms of their different sizes. I expand my analysis of the differences among separate publics of public art by considering temporary and enduring (...) ones. (shrink)

This article is about culinary authenticity as a cultural heritage issue. Our purpose is to establish a distinction between experts and stakeholders that, as we.

In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street (...) art's subversiveness, its challenge against the Modern separation of art and life appears more radical than Riggle foresees. (shrink)

Is graffiti writing creative activism? In this paper, I challenge commonly held beliefs that graffiti writing is politically inert. On the contrary, I argue that graffiti writing is an example of creative activism. Rather than being a narcissistic form of vandalism, primarily directed at increasing one’s fame in front of an esoteric group, that is, fellow writers, writing is a form of everyday resistance allowing its practitioners to challenge authoritarian power. In questioning dominant hierarchies, graffiti is a powerful tool to (...) help correct a specific instance of spatial injustice: the unequal distribution of access to urban surfaces for self-expression in the city, where corporations and political elites hold an unjustified monopoly over visual communication. (shrink)

We are living in the era of street art. Since Nick Riggle’s pivotal work on the definition of street art, several philosophers have addressed issues in the philosophy of street art. The goal of this paper is to summarize the literature. I consider the following matters, which have been at the core of philosophical discussions on street art: demarcation, value, illegality, and the ethical foundation of intellectual property (IP) protection. In answering the question ‘What is street art?,’ philosophers have generally (...) resisted skeptical approaches by developing a wide range of real and essentialist definitions of street art (Section 2). When considering street art’s value, I distinguish between aesthetic and non-aesthetic centered accounts. If the former focus on the aesthetic side of our experience of street art, the latter generally place emphasis on its activist nature and political significance (Section 3). In discussing the relationship between street art and illegality, I canvas different takes on the issue. If for some scholars illegality is either a necessary or sufficient condition for street art, philosophers tend to agree that it is neither, while not denying its relevance at the level of identity and authenticity (Section 4). Finally, I consider matters of IP protection of street art. On the one hand, copyright optimists defend the view that current IP legislations may very well have a positive impact on the promotion and preservation of street art. Pessimists, on the other hand, argue that an extension of copyright privileges to works of street art is likely to jeopardize the counter-cultural and rebellious nature of this urban art kind (Section 5). (shrink)

Street art and graffiti are on the rise and their problematic relationship with the law is becoming an increasingly pressing issue. This paper considers a series of high profile street art controversies involving famous street artists Banksy and Alice Pasquini as cases studies for illuminating such a relationship. First, by discussing the “Banksy’s Law” – a “law” protecting street artworks in the style of Banksy while condemning graffiti – and its perceived arbitrariness, I investigate what I call the structural differences (...) between aesthetic and legal judgments. While not denying some continuity in reasoning about the law and the arts, I argue that legal judgments possess a degree of formality that cannot be found in their aesthetic counterpart. Second, in expanding my discussion, I also maintain that aesthetic considerations should not function as overriding reasons in legal determinations. By being illegal, many street artworks and graffiti acquire subversive power. If deprived of the possibility of challenging the law because of their aesthetic value, these art forms would lose much of their political value. And, more generally, a world where artworks cannot challenge the law is a world where the arts are rather superficial forms of entertainment. (shrink)

What is the relationship between street art and the law? In 'A Philosophy Guide to Street Art and the Law', Andrea Baldini argues that street art has a constitutive relationship with the law. A crucial aspect of the identity of this urban art kind depends on its capacity to turn upside down dominant uses of public spaces. Street artists subvert those laws and social norms that regulate the city. Baldini shows that street art has not only transformed (...) public spaces and their functions into artistic material, but has also turned its rebellious attitude toward the law into a creative resource. He aims at elucidating and arguing for this claim, while drawing important implications at the level of street art's metaphysics, value, and relationship with rights of intellectual property, in particular copyright and moral rights. At the other end of the spectrum of contractual art, street art is outlaw art. (shrink)

By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...) the myth of economic rationality, street art can change people’s experience of finance, while opening up a space for imagining alternative economic scenarios. (shrink)

In this paper I begin to fashion a theory of musical form that I call historical formalism. Historical formalism posits that our perception of the formal properties of a musical work is informed by considerations not only of artistic categories but also of the historical, sociopolitical, and cultural circumstances within which that work was composed.

Can there be improvised recipes? This paper argues that improvised recipes are possible. I call them instantaneous-recipes. They emerge at the same instant where a dish is also prepared. The improvisational freedom of instantaneous-recipes is displayed in the spontaneity of using what is available in terms of ingredients, tools, utensils, and techniques. Similar to what graffiti writers do while tagging – that is, leaving their signatures on – a wall or the side of a train car, in creating their signature (...) dishes, improvisers of the kitchen are forced to adapt on the spot to changing contextual conditions just like a missing or newly available ingredient, a technical failure, or a mistake. Analogously to tags, improvised recipes are formally imperfect: they do not comply with established ones and are often rough, unpolished, broken, and disordered. But their imperfections are not aesthetic flaws, but merits. Imperfectionism in cooking, as I call the view rejecting the idea that only perfect instantiations of pre-existing recipes afford positive aesthetic experiences, is linked with three values: aesthetic, humanistic, and sustainable. By bringing imperfect features within the domain of gastronomic appreciation, instantaneous-recipes broaden the range of our aesthetic palette, while also reminding us of our finitude as humans. By encouraging creative uses of available ingredients and leftovers, improvisation in the kitchen also embodies a more sustainable approach to food waste. (shrink)

What is street art? This paper offers a definition of street art as an art kind or art form based on its essential value: its subversiveness. It argues that street art is essentially subversive in virtue of using public space as a technical resource. By hijacking a portion of the urban landscape with its colourful forms and witty designs, street art challenges familiar ways of practising the city, while creating a ‘temporary autonomous zone’ of free expression. There, corporate control over (...) the city’s visible surfaces is ridiculed and people reclaim their right to use the city. In this sense, street art functions as a carnivalesque tactic of social resistance, favouring the emergence of alternative ways to imagine our urban life and our uses of public space. By considering its subversiveness, one can also explain how street art (i) significantly differs from official public art; (ii) includes graffiti as its original and most radical style. (shrink)

Philosophers have recently paid increasing attention to the aesthetic and artistic worth of food (Korsmeyer 2005, 1999; Kuhen 2005; Monroe 2007; Myhrvold 2011.

Tom Finkelpearl is a unique figure in contemporary art. He is the executive director of the Queens Museum of Art. However, for decades, he has been a passionate advocate of unconventional artistic practices that have been flourishing outside the boundaries of the mainstream circuit of museums, biennales, art fairs, galleries, and art schools. In recognition of his involvement in promoting nontraditional forms of art, Public Art Dialogue, one of the most important associations devoted to public art, has recently awarded Finkelpearl (...) their 2015 prize. What We Made follows in the footsteps of Finkelpearl’s previous book, Dialogues in Public Art. With that book, Finkelpearl contributed to.. (shrink)

I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it (...) is not always in virtue of its challenging the co-opting of public space by commercial art. (shrink)

Human cooperation is highly unusual. We live in large groups composed mostly of non-relatives. Evolutionists have proposed a number of explanations for this pattern, including cultural group selection and extensions of more general processes such as reciprocity, kin selection, and multi-level selection acting on genes. Evolutionary processes are consilient; they affect several different empirical domains, such as patterns of behavior and the proximal drivers of that behavior. In this target article, we sketch the evidence from five domains that bear on (...) the explanatory adequacy of cultural group selection and competing hypotheses to explain human cooperation. Does cultural transmission constitute an inheritance system that can evolve in a Darwinian fashion? Are the norms that underpin institutions among the cultural traits so transmitted? Do we observe sufficient variation at the level of groups of considerable size for group selection to be a plausible process? Do human groups compete, and do success and failure in competition depend upon cultural variation? Do we observe adaptations for cooperation in humans that most plausibly arose by cultural group selection? If the answer to one of these questions is “no,” then we must look to other hypotheses. We present evidence, including quantitative evidence, that the answer to all of the questions is “yes” and argue that we must take the cultural group selection hypothesis seriously. If culturally transmitted systems of rules (institutions) that limit individual deviance organize cooperation in human societies, then it is not clear that any extant alternative to cultural group selection can be a complete explanation. (shrink)

Introduction: bearing politics -- Abortion, sin, and the state -- A history of the abortion debate -- Conceiving the nation: representations of abortion in Thailand -- Corrupt girls, victims of men, desperate women: representations of women who abort -- 'A small sin': everyday acts -- 'The truth of our day by day lives': situational ethics -- Global debates, local dilemmas.

Originally presented as the author's thesis (doctoral--Gregorian University).

Many people are worried about the harmful effects of climate change but nevertheless enjoy some activities that contribute to the emission of greenhouse gas (driving, flying, eating meat, etc.), the main cause of climate change. How should such people make choices between engaging in and refraining from enjoyable greenhouse-gas-emitting activities? In this chapter, we look at the answer provided by decision theory. Some scholars think that the right answer is given by interactive decision theory, or game theory; and moreover think (...) that since private climate decisions are instances of the prisoner’s dilemma, one rationally should engage in these activities provided that one enjoys them. Others think that the right answer is given by expected utility theory, the best-known version of individual decision theory under risk and uncertainty. In this chapter, we review these different answers, with a special focus on the latter answer and the debate it has generated. (shrink)

Accompanying DVD is a filmed segment of the conversation.

This article analyzes the treatment of vegetative powers in Nicolaus Taurellus’s critical response to Andrea Cesalpino. Taurellus’s interest in this topic derives from larger metaphysical and theological concerns. His concern is that Cesalpino’s view that vegetative powers are due to a divine principle of activity inherent in natural particulars leads to a version of substance monism that is incompatible with the Christian doctrine of creation. Taurellus’s critique can best be understood within the context of his defense of an immaterialist (...) account of the basic constituents of reality, which is connected with an emergentist account of the origin of vegetative powers. (shrink)

Even though public awareness about privacy risks in the Internet is increasing, in the evolution of the Internet to the Internet of Things these risks are likely to become more relevant due to the large amount of data collected and processed by the “Things”. The business drivers for exploring ways to monetize such data are one of the challenges identified in this paper for the protection of Privacy in the IoT. Beyond the protection of privacy, this paper highlights the need (...) for new approaches, which grant a more active role to the users of the IoT and which address other potential issues such as the Digital Divide or safety risks. A key facet in ethical design is the transparency of the technology and services in how that technology handles data, as well as providing choice for the user. This paper presents a new approach for users’ interaction with the IoT, which is based on the concept of Ethical Design implemented through a policy-based framework. In the proposed framework, users are provided with wider controls over personal data or the IoT services by selecting specific sets of policies, which can be tailored according to users’ capabilities and to the contexts where they operate. The potential deployment of the framework in a typical IoT context is described with the identification of the main stakeholders and the processes that should be put in place. (shrink)

Traditionally, the manufacturer/operator of a machine is held (morally and legally) responsible for the consequences of its operation. Autonomous, learning machines, based on neural networks, genetic algorithms and agent architectures, create a new situation, where the manufacturer/operator of the machine is in principle not capable of predicting the future machine behaviour any more, and thus cannot be held morally responsible or liable for it. The society must decide between not using this kind of machine any more (which is not a (...) realistic option), or facing a responsibility gap, which cannot be bridged by traditional concepts of responsibility ascription. (shrink)

For many years the intellectual activities of the Society of Jesus were dismissed as wholly conservative, as their Ratio studiorum clung to a Ptolemaic–Aristotelian world‐picture despite the rising...