In some views, philosophy’s glory days in bioethics are over. While philosophers were especially important in the early days of the field, so the argument goes, the majority of the work in bioethics today involves the “simple” application of existing philosophical principles or concepts, as well as empirical work in bioethics. Here, we address this view head on and ask: What is the role of philosophy in bioethics today? This paper has three specific aims: (1) to respond to skeptics and (...) make the case that philosophy and philosophers still have a very important and meaningful role to play in contemporary bioethics, (2) to discuss some of the current challenges to the meaningful integration of philosophy and bioethics, and (3) to make suggestions for what needs to happen in order for the two fields to stay richly connected. We outline how bioethics center directors, funders, and philosopher bioethicists can help. (shrink)

Food is a source of sustenance, a cause for celebration, an inducement to temptation, a vehicle for power, an indicator of well-being, a catalyst for change and, above all, a life good. Along with other life goods such as potable water, clean air, adequate shelter and protective clothing, food is something we cannot live without. The global corporate food system, however, allows 800 million to go hungry, while an even larger number of people grow obese. Based in money-values, this food (...) system promotes accumulation first and foremost, enriching a few while creating economic, social and environmental externalities that are destroying local economies, devastating individuals, families and communities and degrading the planet. What would a food system look like that was based in life-values, centred on the commons and anchored by social justice? This paper will focus on the creation of sustainable food systems, beginning with the crises of the global corporate food system and then moving to the heart of sustainable food systems – the civil commons. (shrink)

Sustainability has been the subject of prolonged debate within both academic and mainstream literature, rendered all the more heated because many of the disagreements come down to deep differences in values. These "value wars'' play out in decisions made about issues ranging from development and investment to livelihoods and agriculture. Using rural communities as the context for discussion, this article proposes new directions for this contested concept, based on the life code of values. These life values ground sustainability in a (...) multi-scalar web of everyday acts of human community. From this life-values perspective, compound terms such as sustainable agriculture and sustainable rural communities gain new meaning and offer the potential for the basis of a rural renaissance. (shrink)

Augustine famously claimed that the virtues of pagan Rome were nothing more than splendid vices. This critique reinvented itself as a suspicion of acquired virtue as such, and true Christian virtue has, ever since, been set against a false, hypocritical virtue alleged merely to conceal pride. _Putting On Virtue_ reveals how a distrust of learned and habituated virtue shaped both early modern Christian moral reflection and secular forms of ethical thought. Jennifer Herdt develops her claims through an argument of (...) broad historical sweep, which brings together the Aristotelian tradition as taken up by Thomas Aquinas with the early modern thinkers who shaped modern liberalism. In chapters on Luther, Bunyan, the Jansenists, Mandeville, Hume, Rousseau, and Kant, she argues that efforts to make a radical distinction between true Christian virtue and its tainted imitations actually created an autonomous natural ethics separate from Christianity. This secular value system valorized pride and authenticity, while rendering graced human agency less meaningful. Ultimately, _Putting On Virtue_ traces a path from suspicion of virtue to its secular inversion, from confession of dependence to assertion of independence. (shrink)

Literary beauty was once understood as intertwining sensations and ideas, and thus as providing subjective and objective reasons for literary appreciation. However, as theory and philosophy developed, the inevitable claims and counterclaims led to the view that subjective experience was not a reliable guide to literary merit. Literary theory then replaced aesthetics as did philosophy’s focus on literary truth. Along with the demise of the relevance of sensations, literary form also took a back seat. This suggested to some that either (...) literature communicated truth like any other literal form of communication or it was a mere diversion: a springboard to harmless reverie or daydreaming. Neither response satisfactorily captured what was distinctive about literature: the love readers can have for literary texts and the edification or insight claimed of works within each culture’s respective catalogue of classics. However, a concept of literary beauty has again become viable due to developments in theories of pleasure and imagination. If the defining aspect of literature is the imaginative engagement it occasions, and if this imagining is constrained by plausibility and endorsed as effective relative to our goals, ideals, and interests, then literature is not reduced to either mere fact or wish fulfillment. An account of literary beauty is available which defines literature accordingly and explains how subjective and objective reasons for appreciation intertwine to evoke pleasure and insight. (shrink)

Introduction -- From paideia to humanism -- Pietism and the problem of human craft (Menschen-Kunst) -- The harmonious harp-playing of humanity: J. G. Herder -- Ethical formation and the invention of the religion of art -- The rise of the Bildungsroman and the commodification of literature -- Authorship and its resignation in Goethe's Wilhelm Meister -- "The Bildung of self-consciousness itself towards science": Hegel.

Augustine famously claimed that the virtues of pagan Rome were nothing more than splendid vices. This critique reinvented itself as a suspicion of acquired virtue as such, and true Christian virtue has, ever since, been set against a false, hypocritical virtue alleged merely to conceal pride. _Putting On Virtue_ reveals how a distrust of learned and habituated virtue shaped both early modern Christian moral reflection and secular forms of ethical thought. Jennifer Herdt develops her claims through an argument of (...) broad historical sweep, which brings together the Aristotelian tradition as taken up by Thomas Aquinas with the early modern thinkers who shaped modern liberalism. In chapters on Luther, Bunyan, the Jansenists, Mandeville, Hume, Rousseau, and Kant, she argues that efforts to make a radical distinction between true Christian virtue and its tainted imitations actually created an autonomous natural ethics separate from Christianity. This secular value system valorized pride and authenticity, while rendering graced human agency less meaningful. Ultimately, _Putting On Virtue_ traces a path from suspicion of virtue to its secular inversion, from confession of dependence to assertion of independence. (shrink)

In communities of inquiry, dialogue is central as both the means and the outcome of collective inquiry. Indeed, features of dialogue—including formulating and asking questions, developing hypotheses and explanations, and offering and requesting reasons—are often highlighted as playing a significant role in the quality of the dialogue that unfolds. We inquire further into the quality of dialogue by arguing that dialogue should enable the expansion of epistemic openness, rather than its contraction, and that this is especially important in multicultural communities (...) of inquiry to acknowledge the cultural, perspectival, and experiential differences that exist alongside of similarities as resources for dialogue. The purpose of this article is to highlight two discourse practices that exemplify the nature of discourse as social practice and can be used in communities of inquiry. Attending to these discourse practices may enable teachers and students to reflect upon dialogue as it unfolds. First, we situate ourselves in multicultural classrooms in British Columbia, Canada. Then we articulate three principles of communities of inquiry. Next we describe and exemplify two discourse practices: heteroglossic attunement and lexical awareness. When attended to by teachers and students, 1) heteroglossic attunement enables teachers and students to begin to identify, reflect upon, and discuss the voices and perspectives that are drawn upon as participants inquire together and 2) lexical awareness enables teachers and students to begin to identify their attributions of thinking and feeling to social actors and to recognize how naming social actors positions them in an evolving set of social relations. Rather than a neutral medium of communication, social speech and dialogue is inherently value laden. Attending closely to the discourse that constitutes dialogue in a community of inquiry is a significant pedagogical tool for both teachers and students to expand epistemic openness and make visible learning as it unfolds. (shrink)

This edited book explores the under-analyzed significance and function of paranoia as a psychological habitus of the contemporary educational and social moment. The editors and contributors argue that the desire for epistemological truth beyond uncertainty characteristic of paranoia continues to profoundly shape the aesthetic texture and imaginaries of educational thought and practice. Attending to the psychoanalytic, post-psychoanalytic, and critical significance of paranoia as a mode of engaging with the world, this book further inquires into the ways in which paranoia functions (...) to shape the social order and the material desire of subjects operating within it. Furthermore, the book aims to understand how the paranoiac imaginary endemic to contemporary educational thought manifests itself throughout the social field and what issues it makes manifest for teachers, teacher educators, and academics working toward social transformation. (shrink)

This edited collection sets forth a new understanding of aesthetic-moral judgment organised around three key concepts: pleasure, reflection, and accountability. The overarching theme is that art is not merely a representation or expression like any other, but that it promotes shared moral understanding and helps us engage in meaning-making. This volume offers an alternative to brain-centric and realist approaches to aesthetics. It features original essays from a number of leading philosophers of art, aesthetics, ethics, and perception, including Elizabeth Burns Coleman, (...) Garrett Cullity, Cynthia A. Freeland, Ivan Gaskell, Paul Guyer, Jane Kneller, Keith Lehrer, Mohan Matthen, Jennifer A. McMahon, Bence Nanay, Nancy Sherman, and Robert Sinnerbrink. Part I of the book analyses the elements of aesthetic experience— pleasure, preference, and imagination—with the individual conceived as part of a particular cultural context and network of other minds. The chapters in Part II explain how it is possible for cultural learning to impact these elements through consensus building, an impulse to objectivity, emotional expression, and reflection. Finally, the chapters in Part III converge on the role of dissonance, difference, and diversity in promoting cultural understanding and advancement. Social Aesthetics and Moral Judgment will appeal to philosophers of art and aesthetics, as well as to scholars in other disciplines interested in issues related to art and cultural exchange. (shrink)

A presence for decades in individuals’ everyday life practices and identity formation, the Walt Disney Company has more recently also become an influential element within the "big" curriculum of public and private spaces outside of yet in proximity to formal educational institutions. _Disney, Culture, and Curriculum_ explores the myriad ways that Disney’s curricula and pedagogies manifest in public consciousness, cultural discourses, and the education system. Examining Disney’s historical development and contemporary manifestations, this book critiques and deconstructs its products and perspectives (...) while providing insight into Disney’s operations within popular culture and everyday life in the United States and beyond. The contributors engage with Disney’s curricula and pedagogies in a variety of ways, through critical analysis of Disney films, theme parks, and planned communities, how Disney has been taught and resisted both in and beyond schools, ways in which fans and consumers develop and negotiate their identities with their engagement with Disney, and how race, class, gender, sexuality, and consumerism are constructed through Disney content. Incisive, comprehensive, and highly interdisciplinary, _Disney, Culture, and Curriculum_ extends the discussion of popular culture as curriculum and pedagogy into new avenues by focusing on the affective and ontological aspects of identity development as well as the commodification of social and cultural identities, experiences, and subjectivities. (shrink)

Cavell’s interest in aesthetic objects can be understood to be motivated by an interest in the nature of meaning and value. The idea is that perceptual objects considered as cultural artefacts under-determine the meaning and value attributed to them. The process involved in determining their meaning and value is essentially a creative one. Through his study of film, literature and music, Cavell could be said to indirectly address the axiomatic, or what is sometimes referred to as the bedrock, of our (...) value judgments. In being embedded within larger cultural commitments, such axioms are impenetrable to the traditional analytical approaches in Anglo-American philosophy. Cavell’s style of philosophy can be understood to have been pioneered to attempt to understand and clarify aspects of experience which elude traditional analytical methods. (shrink)

The participants in this Symposium gathered for a two-day conference on Pictorial Realism at the University of Adelaide. Our aim was to analyse the notion of pictorial realism with a view to its relevance for the way in which art history is conceived and appreciated. Specifically, we examined the extent to which the representational content of artworks can be ascertained independently of preconceived theoretical knowledge about the representational system within which the artwork is made. Papers focus in particular on the (...) implications for understanding pictorial realism. (shrink)

I argue in this paper that our concept of pictorial realism should include a reference to perceptual proficiency relative to a cultural context. I argue this by demonstrating the greater explanatory power of such a concept for understanding pictorial realism. The central idea is that gestalt-like mechanisms that are normally involved in object recognition can be deployed at a second order level in picture perception. Styles of picturing that exploit this second order gestalt-like mechanism are learnable and transferable. The hypothesis (...) is that once a style of picturing is internalised, a picture that exploits this style will be experienced as true and fitting. (shrink)

A volume by leading economists and philosophers that explores the contributions that virtue ethics can make to economics. Provides historical and modern insights in both economics and philosophy and offers suggestions for incorporating the ethics of virtue into economics to make it more applicable to moral dilemmas in the world outside the models.

Very little research into women farmers in developed countries has been produced by economists, but much of what has been studied by scholars in other disciplines has economic implications. This article reviews such research produced by scholars in all disciplines to explore to what extent women farmers are becoming more equal to men farmers and to suggest further contributions to the literature. As examples, topics that has been widely researched in developing countries but have received almost no attention in developed (...) countries include comparisons of men and women farmers’ productivity and their access to and use of resources. Discoveries in these and other areas will be important not only for their insights into the agricultural industry in developed countries, but also because they will inform, and be informed by, research on women farmers in developing countries. (shrink)

Plato’s distinction between appearance and reality which he attempts to demonstrate in his allegory of the cave established the conceptual framework for theories of knowledge for many centuries. The quest for certainty set us on the path to believing that reality is there to be discovered. We only have to open our eyes and minds. Yet a recurring question about the interface between culturally acquired concepts and objective sense perception remains a point of contention. Mischa Kuball’s Platon’s Mirror addresses this (...) question. Kuball’s Platon’s Mirror exhibited at Artspace Sydney during September 2011 is an intriguing exploration of the various layers involved in the process of meaning. Light is the metaphor. Light is filtered through a variety of devices to reveal disparate aspects of the one apparent object. The easy distinction between appearance and reality is deliberately thrown into disarray. Kuball provides a meditation on the blurring of reality and meaning which suggests a recurrent philosophical theme in Kuball’s oeuvre, the nature of meaning and value. (shrink)

There are a number of problems associated with the classic notion of beauty understood as an experience of perceptual form. These problems are that there is an apparent incompatibility between beauty’s objectivity and subjectivity; and an incompatibility between the two self-evident theses that (i) there are no principles of beauty and (ii) there are genuine judgements of beauty. There is also the problem of explaining the possibility of a disinterested pleasure. To solve these problems I draw upon the work of (...) Glyn Humphreys & Dietmar Heinke (1998) according to whom the processing of ‘between-object’ relations draws upon view-dependent primitives and the processing of ‘within-object’ relations draws upon view-invariant primitives. I argue that if what we experience as aesthetic form or beauty is some kind of play on the processes involved in processing within-object-relations during the course of perceiving certain objects, then the apparent problems of beauty would be resolved. I speculate that perhaps the perception of certain objects employs perceptual principles in an unprecedented way or in a way which epitomizes their normal operation. The idea is that when perception is employed in such a way that our attention is drawn from the object recognized to the experience of perception as something like a solution to a problem (that is, to the experience of the construction of within-object relations), then we experience what we know of as aesthetic form and beauty. (shrink)

The arguments of each chapter demonstrate that there is no neutral perspective from which to analyse aesthetic qualities. Such qualities cannot be described as their very perception involves evaluation. In short, the chapters focus on those aspects of a first person perspective that can be considered inter-personal in the sense that they are susceptible of intentional calibration and enculturation. That said, not all chapters approach the theme from the same perspective nor with the same targets in mind. For example, approaching (...) the notion of inter-subjectivity with the intention of defending this possibility against the objection of relativism will yield a different treatment than championing inter-subjectivity in order to reject cultural arrogance, or overly reductive analyses of aesthetic qualities. Yet all chapters converge on the possibility of objectivity grounded in inter-subjectivity. (shrink)

A central idea of Romanticism in the arts is the idea that art or the aesthetic experience of nature reveals truth or insight about the human condition and relation to nature. What kind of truth could this be and how could perceptual objects reveal it?

Aesthetic autonomy is sometimes equated with an art for art’s sake approach to art. On the contrary, the philosophers whose work is often cited as backup to this concept of aesthetic autonomy held a very different conception of it. I will trace an alternative notion of aesthetic autonomy in the work of Adorno and Habermas, the origins of which can be found in Immanuel Kant’s aesthetic theory, the popular notion of his formalism, notwithstanding. I draw upon the art practice of (...) the contemporary Icelandic-Danish artist Olafur Eliasson in order to demonstrate this alternative notion of aesthetic autonomy. (shrink)

In order to establish a rational framework within which to discuss aesthetic matters, I attempt to find grounds to support the notion that objectivity in aesthetic evaluation is possible, within the visual arts. I begin by exploring the possibility that the foundations of our aesthetic response are innate, because, if this is the case, it would indicate that aesthetic considerations have a common basis within us all, rather than belonging to a purely personal and subjective realm. In Part One, in (...) search of foundations, I turn to the art of those who are relatively unprogrammed in our artistic conventions, in an attempt to distinguish between innate impulses and conditioned responses. Next, by looking for the motivation behind the aesthetic impulse, and what this can tell me about how the aesthetic is constituted, I consider the possibility that the aesthetic impulse is in some way linked to characteristics which aid survival. This includes studying the nature of perception, including various innate perceptual mechanisms and the part they play in the way our idea of the aesthetic is constituted, and some theories concerned with the psychological aspects involved in creativity, which link the aesthetic impulse with creativity in all fields of enquiry. In Part Two, I study examples of how discussions on aesthetic matters are conducted in our culture, to see whether there is evidence to support the notion of objectivity in aesthetic evaluation. While recognizing that it is common for aesthetic discussions to be conducted in a confused and even unintelligible manner, often using criteria actually irrelevant to aesthetic value (an example of which I provide), I seek out examples of reviews which are conducted in a rational and intelligible manner, based on relevant objective criteria. Also, by analysing the terms we use when discussing an art work, I ascertain whether these terms refer to properties in the actual art work, which we believe exist independently from the spectator, or whether these terms describe how we feel when viewing a work. In other words, I examine whether we have the concepts to support the idea that objectivity in aesthetic evaluation in the visual arts is possible. (shrink)

The idea of a ‘global’ concept of art might suggest a transcending of the categories which would locate an artwork relative to one place and one time. Is this possible? If we answer in the negative, this suggests that a global concept of art is not possible, but on the positive side, the significance of the particular is kept intact. If we answer in the affirmative, then a global concept of art is possible, but we lose the very aspect that (...) defines art: its particularity. I will argue that we can limit the damage all round by construing art in a way that allows the particular features of an artwork’s time and place to feature within the broader placeholders of a global concept of art. According to the global concept of art I will present here, art is a normative system. Its place holders could be a narrative, representation, expression of emotion or perceptual experience but what in each case explains our engagement with it as art rather than say a scientific experiment or an historical record is the particular kind of reflection that the form of the work gives rise to. Hence the form of the work or the form that our engagement with it takes is what qualifies the narrative, representation, expression of emotion or perceptual experience as art. The damage referred to above is not eliminated entirely though. The norms in a system are taken on board through day to day interaction with others who engage these norms. As such, when art is construed according to such systems, the meanings it embodies as art may be inaccessible to those not acculturated into the relevant norms. A theory of art for a global concept of art, then, must identify in what sense art is a normative system and it must provide some account of how we engage with it when we engage with it as art. For the former, I draw upon philosophical analyses of moral judgment, and for the latter, I turn to that much maligned, indeed bogus, divide between the aesthetic and the antiaesthetic. I conclude that a global concept of art is one that maintains the integrity of the artwork, and that writing is art historical rather than merely historical when it is conducted from within the culture that grounds the art under discussion. (shrink)

This symposium is inspired by the round tables organised by James Elkins in Cork, Ireland and Chicago which aimed to create a dialogue between art historians and philosophers on concepts which are central to the way both disciplines conduct their respective endeavours. For our symposium, art historians and philosophers will discuss topics and concepts which are likely to be given different interpretations by the respective disciplines. We will attempt to bridge the gap between the respective interpretations by inviting a closer (...) consideration of the alternative perspective. The first topic will be the relation of aesthetic and moral considerations in evaluating the photography of Bill Henson. The second will be "Beauty" and the third, will be the nature of "Aesthetic Autonomy". (shrink)

Jennifer Johnston’s fiction presents the conditions of Irish culture and society by exploring the separations between interior and exterior realms and past and present temporalities persisting within the insulating privacy of the familial home space. In _The Christmas Tree_ (1981), the home is both haven and prison for Johnston’s heroine. In this paper, I argue that the home—which assumes the form of the individual body and the familial home—is paradoxical. The protagonist leaves 1950s Ireland because of the country’s rigid (...) gender roles in order to pursue an autonomous life as a writer in England, but she is unable to publish her writing within the confines of the patriarchal publishing world. The home of her body becomes paradoxical when she becomes a single mother as an avenue for creativity but is then diagnosed with terminal cancer. She returns to her father’s home to die, which she re-orders and reclaims through the disorder of the uncanny—represented by her non-conformity and illness brought into the patriarchal home. By writing her life story and creating a brief, alternative maternal relationship with her young caretaker, the protagonist confronts her own ambivalence toward her parents, who also represent aspects of oppressive heteronormative gender expectations. (shrink)

In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...) (iii) the conditions for inter-subjectivity are met. (shrink)

As scholars integrate empirical approaches to ethical questions in healthcare, relational autonomy theory must inform research design and change practice. Qualitative approaches are well suited to issues where patient values play a central role, and they can be combined with relational autonomy theory to investigate the factors influencing autonomy-rich experiences. This paper draws upon my experience conducting bioethics research related to clinical trial decision-making to develop a systematic method for applying relational autonomy as a theoretical lens to qualitative health research. (...) The resultant practical guide utilizes Susan Sherwin’s theory of relational autonomy and presents an empirical method responsive to autonomy-relevant questions. (shrink)

Epistemological issues are usually taken to be David Hume's central preoccupation. Attending to the role of sympathy in Hume's thought reveals, however, that his primary aim is to secure the conditions for social peace and prosperity in 18th-century Scotland and beyond, a peace particularly threatened by religious conflict. This perspective not only discloses the unity of Hume's ethical, political, aesthetic, and historical writings, it also suggests that the driving forces in the development of modern ethical and religious thought are ethical (...) and social rather than epistemological. ;The first two chapters discuss the background to Hume's use of sympathy and explore its application in the Treatise. In Hume's secularized account of moral approbation, sympathy fills the place Hutcheson reserved for Providence; it assures an intelligible connection between moral judgments and human flourishing in society. Hume at first makes use of a passive notion of sympathy developed by Latitudinarian divines to counter Hobbesian accounts of self-interested human nature. But this passive form of sympathy is limited and variable, threatening to reinforce, rather than alleviate, religious zeal and sectarian conflict. Hume introduces a new form of corrected, 'extensive' sympathy which involves an active effort to overcome prior affinities and cross factional boundaries. ;Appreciating the role of sympathy in morals also illuminates malfunctions of judgment among religious believers. Chapter 3 interprets Hume's essay on the pleasures of tragedy as an unmasking of Scottish Evangelical condemnation of theater. Evangelical opposition reflects pathologies of belief which grow out of a rejection of worldly existence and eventually distort sympathetic capacities. In "Of the Standard of Taste," discussed in Chapter 4, Hume grapples with disagreement in taste and judgment and argues that sympathy cannot be extended to those who live "artificial" religious lives, deducing practical consequences from speculative theories. ;Where poetry fails, however, history may succeed, since history is for Hume the paradigm of sympathetic understanding. As the final chapter argues, it is in the History of England that sympathy reaches its mature expression and Hume's delineation of the links among religious irrationality, zeal, and faction, attains its most concrete and persuasive form. (shrink)

In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (iii) the conditions for inter-subjectivity provided, galleries and museums preside over (...) an experience economy devoid of art. (shrink)

The ethical naturalist asks us to take seriously the idea that practical norms are a species of natural norms, such that moral goodness is a kind of natural goodness. The ethical naturalist has not demonstrated, however, how it is possible for a power of reason to be governed by natural norms, because her own attempts to do this have led her into a dilemma. If she takes the first horn and stresses that ethical naturalism provides objective, natural norms of the (...) species, then she fails to show how such norms are practical, or operative from a deliberative point of view. If she takes the second horn and stresses that ethical naturalism yields a picture of knowledge of human life that is practical because it comes through virtuous dispositions of intellect and will, then she fails to have an account of how it is knowledge of facts about a life form, potentially accessible to a non-human knower. In this paper, I argue that one potential resolution to this dilemma can be found in the writings of Thomas Aquinas. On a broadly Thomist account of practical reason, the first principles of practical reason are our common human ends or goods, which are constitutive of a good human life. The work of practical reason on this naturalistic account is twofold: to conceive and order these ends into some general conception of how to live, and to apply this general conception to the particular situations of one’s life in order to realize one’s vision of the good life, here and now. (shrink)

This paper treats the political and ethical issues associated with the new caretaking technologies. Given the number of feminists who have raised serious concerns about the future of care work in the United States, and who have been critical of the degree to which society “free rides” on women's caretaking labor, I consider whether technology may provide a solution to this problem. Certainly, if we can create machines and robots to take on particular tasks, we may lighten the care burden (...) that women currently face, much of which is heavy and repetitious, and which results in injury and care “burnout” for many female caretakers. Yet, in some contexts, I argue that high-tech robotic care may undermine social relationships, cutting individuals off from the possibility of social connectedness with others. (shrink)

In this book, McMahon argues that a reading of Kant’s body of work in the light of a pragmatist theory of meaning and language leads one to put community reception ahead of individual reception in the order of aesthetic relations. A core premise of the book is that neo-pragmatism draws attention to an otherwise overlooked aspect of Kant’s "Critique of Aesthetic Judgment," and this is the conception of community which it sets forth. While offering an interpretation of Kant’s aesthetic theory, (...) the book focuses on the implications of Kant’s third critique for contemporary art. McMahon draws upon Kant and his legacy in pragmatist theories of meaning and language to argue that aesthetic judgment is a version of moral judgment: a way to cultivate attitudes conducive to community, which plays a pivotal role in the evolution of language, meaning, and knowledge. (shrink)

This essay will focus on the moral issues relating to surrogacy in the global context, and will critique the liberal arguments that have been offered in support of it. Liberal arguments hold sway concerning reproductive arrangements made between commissioning couples from wealthy nations and the surrogates from socioeconomically weak backgrounds that they hire to do their reproductive labor. My argument in this paper is motivated by a concern for controlling harms by putting the practice of globalized commercial surrogacy into the (...) context of care ethics. As I will argue, the unstable situations into which children of global surrogacy arrangements are born is symbolic of the crisis of care that the practice raises. Using the Baby Manji case as my touch point, I will suggest that liberalism cannot address the harms experienced by Manji and children like her who are created through the global practice of assisted reproductive technology. I will argue that, if commissioning couples consider their proposed surrogacy contracts from a care ethics point of view, they will begin to think relationally about their actions, considering the practice from an ethical lens, not just an economic or contractual one. (shrink)

This paper applies a relational and familial ethic to address concerns relating to nursing home deaths and advance care planning during Covid‐19 and beyond. The deaths of our elderly in nursing homes during this pandemic have been made more complicated by the restriction of visitors even at the end of life, a time when families would normally be present. While we must be vigilant about preventing unnecessary deaths caused by coronavirus outbreaks in nursing homes, some deaths of our elders are (...) inevitable. Thus, it is essential that advanced care planning occurs in a way that upholds the familial and relational aspects of elders’ lives that often matter to them the most. We invoke concepts from feminist ethicists like Hilde Lindemann and Eva Kittay and introduce Avery Weisman and Thomas Hackett’s concept of “appropriate death” to suggest better ways of planning for those deaths of our elderly that cannot be avoided. Our hope is to allow for deaths that are as meaningful as possible for both the elderly and the family members who survive them. (shrink)

Behavioural evidence suggests that cephalopod molluscs may have a form of primary consciousness. First, the linkage of brain to behaviour seen in lateralization, sleep and through a developmental context is similar to that of mammals and birds. Second, cephalopods, especially octopuses, are heavily dependent on learning in response to both visual and tactile cues, and may have domain generality and form simple concepts. Third, these animals are aware of their position, both within themselves and in larger space, including having a (...) working memory of foraging areas in the recent past. Thus if using a ‘global workspace’ which evaluates memory input and focuses attention is the criterion, cephalopods appear to have primary consciousness. (shrink)

Tool use research has suffered from a lack of consistent theoretical frameworks. There is a plethora of tool use definitions and the most widespread ones are so inclusive that the behaviors that fall under them arguably do not have much in common. The situation is aggravated by the prevalence of anecdotes, which have played an undue role in the literature. In order to provide a more rigorous foundation for research and to advance our understanding of the interrelation between tool use (...) and cognition, we suggest the adoption of Fragaszy and Mangalam's (2018) tooling framework, which is characterized by the creation of a body-plus-object system that manages a mechanical interface between tool and surface. Tooling is limited to a narrower suite of behaviors than tool use, which might facilitate its neurocognitive investigation. Indeed, evidence in the literature indicates that tooling has distinct neurocognitive underpinnings not shared by other activities typically classified as tool use, at least in primates. In order to understand the extent of tooling incidences in previous research, we systematically surveyed the comprehensive tool use catalog by Shumaker et al. (2011). We identified 201 tool use submodes, of which only 81 could be classified as tooling, and the majority of the tool use examples across species were poorly supported by evidence. Furthermore, tooling appears to be phylogenetically less widespread than tool use, with the greatest variability found in the primate order. However, in order to confirm these findings and to understand the evolution and neurocognitive mechanisms of tooling, more systematic research will be required in the future, particularly with currently underrepresented taxa. (shrink)