Pornography

This paper explores some surprising historical connections between philosophy and pornography (including pornography written by or about philosophers, and works that are both philosophical and pornographic). Examples discussed include Diderot's Les Bijoux Indiscrets, Argens's Therésè Philosophe, Aretino's Ragionamenti, Andeli's Lai d'Aristote, and the Gor novels of John Norman. It observes that these works frequently dramatize a tension between reason and emotion, and argues that their existence poses a problem for philosophical arguments against pornography.

This paper is based on the premise that the analysis of some cyberethics problems would benefit from a feminist treatment. It is argued that both cyberstalking and Internet child pornography are two such areas which have a `gendered' aspect which has rarely been explored in the literature. Against a wide ranging feminist literature of potential relevance, the paper explores a number of cases through a focused approach which weaves together feminist concepts of privacy and the gaze.

When it was at its height, the feminist pornography debate tended to generate more heat than light. Only now that there has been a cease fire in the sex war does it seem possible to reflect on the debate in a more productive way and to address some of the questions that were left unresolved by it. In this paper, I shall argue that one of the major unresolved questions is that of how feminists should conceptualize power. The antipornography feminists (...) and the feminist sex radicals presuppose radically different conceptions of power, and this fact helps to explain why they come to such different conclusions about what, if anything, should be done about pornography. The feminist pornography debate remains unresolved precisely because it is unresolvable in the terms in which it has been posed. I shall contend that the conceptions of power presupposed on both sides of the debate are incomplete, and, therefore, inadequate.4 My hope is that once we recognize this, we might be able to improve not only the way that feminists analyze pornography but also the way we conceptualize power. (shrink)

This anthology takes the ever-controversial discussion of pornography out of solely academic circles; it expands the questions about porn that academics might tackle and opens the conversation to those who know it best—the creators and users of porn. Features essays on non-traditional issues in porn, including celebrity sex tapes, virtual sex, S&M, homosexual porn, and technology’s impact on the porn industry Features fascinating insights from psychologists, a lawyer, and an English professor, as well as industry insiders such as Dylan Ryder (...) A fun, entertaining, and philosophically provocative approach to pornography, written for the general reader. (shrink)

This essay explains the prevalence of porn consumption by modeling it as a form of simulation. According to simulation theory (Gordon 1986, Goldman 2006) people predict and explain other’s behavior by using their own mind to model the mind of a target individual, much like an engineer might use a model aircraft to simulate the behavior of an actual aircraft. However, the cognitive mechanisms required for simulation have application outside of psychological interpretation. For example, it is plausible that while consuming (...) pornography individuals simulate the actual activities as depicted by the pornographic material. On this construal, viewers of pornography think and feel as though they are truly having the depicted experience: from the psychological and phenomenological perceptive of someone watching a pornographic video, they really are being sexually pleasured by others, and in just those specific ways. The goal of this essay is to develop the pornography-as-simulation model and examine both its social and theoretical implications. (shrink)

Can pornographic depictions have artistic value? Much pornography closely resembles art, at least in many superficial respects. Films, photographs, paintings—all of these can have artistic value. Of course, films, photographs and paintings can also be pornographic. If some photographs have artistic value, and some photographs are pornographic, can pornographic photographs have artistic value too? I argue that pornography may only possess artistic value despite, not by virtue of, its pornographic content.

In the last twenty years, recorded messages and written notes have become a significant test and an intriguing puzzle for the semantics of indexical expressions (see Smith 1989, Predelli 1996, 1998a,1998b, 2002, Corazza et al. 2002, Romdenh-Romluc 2002). In particular, the intention-based approach proposed by Stefano Predelli has proven to bear interesting relations to several major questions in philosophy of language. In a recent paper (Saul 2006), Jennifer Saul draws on the literature on indexicals and recorded messages in order to (...) criticize Rae Langton's claim that works of pornography can be understood as illocutionary acts – in particular acts of subordinating women or acts of silencing women. Saul argues that it does not make sense to understand works of pornography as speech acts, because only utterances in contexts can be speech acts. More precisely, works of pornography such as a film may be seen as recordings that can be used in many different contexts – exactly like a written note or an answering machine message. According to Saul, bringing contexts into the picture undermines Langton's radical thesis – which must be reformulated in much weaker terms. In this paper, I accept Saul's claim that only utterances in contexts can be speech acts, and that therefore only works of pornography in contexts may be seen as illocutionary acts of silencing women. I will, nonetheless, show that Saul's reformulation doesn't undermine Langton's thesis. To this aim, I will use the distinction Predelli proposes in order to account for the semantic behaviour of indexical expressions in recorded messages – namely the distinction between context of utterance and context of interpretation. (shrink)

The debate about children in art and the surrounding morality started with Bill Henson's photographs of naked pubescent children. It is wider now, extending in several directions. In particular, into freedom of speech , and its association with freedom in art This article explores these issues with particular regard to Hensons photographs; and the application of several of the moral theories to this issue.

For a few years in the 1980s, Andrea Dworkin’s Pornography: Men Possessing Women appeared to have changed the intellectual landscape – as well as some people’s lives. Pornography, she argued, not only constitutes violence against women; it constitutes also the main conduit for such violence, of which rape is at once the prime example and the central image. In short, it is patriarchy’s most powerful weapon. Given that, feminists’ single most important task is to deal with pornography. By the early (...) 1990s, however, the consensus had become that her project was a diversion, both politically and intellectually. Today, who would argue that pornography is a crucial political issue? I shall argue that Dworkin has in fact a great deal to teach us – perhaps even more today, as we are going through the neo-liberal revolution, than thirty years ago. Her argument is not a causal one, despite in places reading as if it were. The legal route she chose as the ground on which to fight may well be a dead end, but that does nothing to undermine the force of her analysis. Nor does the fact that she makes arguments that might not be recognized as professionally philosophical or social scientific undermine their substantive force. It may even be that pornography itself is not the sole key she thought it was to understanding and dealing with political realities; but even if that were so, the form of her analysis, far from rhetorical and/or fallacious, is exactly what is needed to counter the depredations of neo-liberal “common sense”. That she herself found it difficult to find a language beyond that of liberalism to express her argument is no reason either for ignoring or misinterpreting it. (shrink)

Everyone knows a picture is worth a thousand words. But sometimes, especially in journalism, a picture can be worth much, much more. This added value isn't always positive. Pictures can inflict lasting pain on victims of grief and tragedy. This paper by an undergraduate journalism student explores the ethical dilemmas photographers face when capturing such traumatic incidents on film and explores the lack of professional guidelines available to guide them.

Most people are familiar with Justice Stewart's now classic statement that while he cannot describe pornography, he certainly knows it when he sees it. We instantly identify with Justice Stewart. Pornography is not difficult to recognize, but it does elude description. This is because traditional attempts at description are attempts that seek to explain at either an abstract or empirical level rather than at the level that accounts for experience in its totality. Justice Stewart's lament represents the need to understand (...) the subjective experience of pornography and cease trying to explain it in purely objective terms. Much feminist literature in general and Catharine MacKinnon's work in particular seeks to do just this. MacKinnon argues that pornography should not be explained in familiar First Amendment freedom -of-expression terms, but rather in terms of the actual sexual abuse it constitutes in experience. Then, and only then, are we able to select the appropriate legal remedy. This essay suggests that MacKinnon's position not only needs the support of a non-traditional philosophical approach, but has one readily available in the phenomenology of philosopher Edmund Husserl. (shrink)

After describing the Child Pornography Prevention Act (CPPA) of 1996, I argue that the Act ought to be significantly amended. The central objections to CPPA are (1) that it is so broad in its main proscriptions as to violate the First Amendment rights of adults; (2) that it altogether fails to provide minors and their legal guardians with the privacy rights needed to combat the harms associated with certain classes of prurient material on the Internet; and, (3) that the actual (...) rate of technological advance in home computing, and Congress' failure to appreciate how prurient material may be accessed, combined with CPPA to wrongfully expose an increasing number of individuals to possible prosecution and personal ruination. Several other objections are registered along the way, including one aimed at the draconian punishments the law metes out to violators. I close by offering the outlines of an amended version of the law that promises not to violate the rights of adults, that affords children and adults equal and effective protection against the very harmful practices the current law cannot eradicate, and that prescribes punishments that are consistent with the tolerance necessary to support a more democratic vision of the Internet. (shrink)

In this essay we shall examine the contemporary jurisprudential thinking and legal precedents surrounding the issue of the sanctionability of pornography. We shall catalogue them by their logical presumptions, such as whether they view pornography as speech or act, whether they view pornography as obscenity, political hate-speech or anomalous other, whether they would scrutinize legislation governing pornography by a balancing of the harm of repression against the harm of permission, and who exactly they view as the victims.We shall take a (...) special interest in the most recent, but unsuccessful, attempt by a subgroup of feminists to proscribe pornography by treating it as neither political speech nor sexual speech but speech which causes harm which is both political and sexual. They would like it to be considered as a special kind of odious propaganda undeserving of protection because it promulgates a mental state conducive to criminal activity, and hence is criminal in and of itself. However, the repression of propaganda, even odious propaganda, is not so easily accomplished in this country. (shrink)

Even as it skirts mainstream contemporary culture, pornography remains a social taboo; there still exist strong biases both in favor and against it. With chapters addressing imagination, gender, power relationships, truth claims, aesthetics, and both pro and anti-porn slants, this book presents a balanced view of pornography in modern society.

: I argue that Alisa Carse's call for antipornography legislation sets a potentially dangerous legal move that could threaten to shut off the dialogue women need to redefine the meanings and terms of our sexualities. I also argue that the terms of legitimacy need to be re-examined outside a legal system that systematically fails to protect the rights of sexual minorities.

I argue that Alisa Carse's call for antipornography legislation sets a potentially dangerous legal move that could threaten to shut off the dialogue women need to redefine the meanings and terms of our sexualities. I also argue that the terms of legitimacy need to be re-examined outside a legal system that systematically fails to protect the rights of sexual minorities.

In the 1980s and 1990s, a series of attempts were made to put into U.S. law a civil rights ordinance that would make it possible to sue the makers and distributors of pornography for doing so (under certain conditions). One defence of such legislation has come to be called "the free speech argument against pornography." Philosophers Rae Langton, Jennifer Hornsby and Caroline West have supposed that this defence of the legislation can function as a liberal defence of the legislation: in (...) particular, a defence of the legislation based on the value of women's liberty. This would be somewhat unexpected given MacKinnon's own antipathy toward liberalism. In this paper, I argue that the free speech argument against pornography cannot be used as a liberal defence of the ordinances. The legislation is, to some extent, self-defeating insofar as it understood in terms acceptable to a fairly standard kind of liberal. This becomes apparent when we consider the value pornography can have for women, which we can see if we consider what female makers, distributors and consumers of pornography have to say about why they make, distribute and consume it. (shrink)

This study represents an inquiry into the historical conception of "pornography" that developed in the 19th century in response to the invention of photography. The project focusses on the historical coincidence of the invention of photography, the accompanying realist debates surrounding the nude, and the etymological transformation of the word "pornography." In contrast to recent literary histories of pornography, the dissertation insists that its modern conception and history, coincident with art in the age of its "technological reproducibility," is primarily image-oriented. (...) The study demonstrates that contemporary objections to pornography are indissociable from the 19th century dispute between photography and painting, which concerned the former's perceived disruption of established paradigms of art and realism. By locating both controversies within the Western philosophic and aesthetic tradition that associates the materiality of the image with femininity and the feminine, the dissertation questions the "self-evidentiary" nature of pornography as distinct not only from erotica but from other representational genres as well, and draws a number of conclusions concerning the relation of pornography to modernity. ;A cross-disciplinary study in sexuality and representation, the study concerns a broader cultural revolution in the 19th-century of which pornography and obscenity are a profoundly underestimated manifestation. In order to demonstrate the mutual implication of photography and pornography, the dissertation reconfigures the reigning admixture of psychoanalysis with Foucauldian panopticism in feminist theories of the gaze. While my interpretation is indebted to this line of thought, it differs radically in its insistence upon the femininity of the metaphors of Western iconoclasm; the project describes and examines the relation of subjectivity to the work of art wherein the sensuous materiality of the image, likened to the flesh of the female body, is a motivating concern of debates over medium and mediation. Once pornography is situated as a re-invention within the terms of a particular historical and social moment, the questions photography raises for the nature of art in the 19th century begin to resonate with traditional concerns regarding the immoderate materiality of the image, as manifested in debates regarding the appropriate "medium" of art. (shrink)