'Place in garden, lawn, to beautify landscape.'When Don Featherstone's plastic pink flamingos were first advertised in the 1957 Sears catalogue, these were the instructions. The flamingos are placed on the cover of this book for another reason: to start us asking questions. That's where philosophy always begins.Introducing Aesthetics and the Philosophy of Art is written to introduce students to a broad array of questions that have occupied philosophers since antiquity, and which continue to bother us today--questions like: - Is there (...) something special about something's being art? Can a mass-produced plastic bird have that special something? - If someone likes plastic pink flamingos, does that mean they have bad taste? Is bad taste a bad thing? - Do Featherstone's pink flamingos mean anything? If so, does that depend on what Featherstone meant in designing them?Each chapter opens using a real world example -- such as Marcel Duchamp's signed urinal, The Exorcist, and the ugliest animal in the world -- to introduce and illustrate the issues under discussion. These case studies serve as touchstones throughout the chapter, keeping the concepts grounded and relatable.With its trademark conversational style, clear explanations, and wealth of supporting features, Introducing Aesthetics and the Philosophy of Art is the ideal introduction to the major problems, issues, and debates in the field. Now expanded and revised for its second edition, Introducing Aesthetics and the Philosophy of Art is designed to give readers the background and the tools necessary to begin asking and answering the most intriguing questions about art and beauty, even when those questions are about pink plastic flamingos. (shrink)

Secured to a table in my living room is an antique apple peeler—a cast iron 19th century mechanical contrivance that I gave my wife for her birthday some years ago. This thing is not art. At the very least, I do not believe it is art. Yet my wife and I do not use it as an apple peeler; we use it as art. Indeed, my living room is filled with things that we are using as art—some artifacts, some natural (...) objects—but my living room is not filled with art. This is not, I think, all that unusual a phenomenon. Indeed, I believe this is a widespread phenomenon occurring at the blurry line between art and non-art, especially in the home. However, exactly what it means to use a thing as art without thus believing it is art, and without it being art, is not a straightforward matter, especially given the many functions of art today, and their functional overlap with non-art. In this essay, I investigate the notion of using a thing—specifically a non-art thing, whether an artifact or otherwise—as art, and the importance of this notion both inside and outside of philosophy.. (shrink)

In this article, following a trajectory set out by Noël Carroll, Matt Hills, and Andrea Sauchelli, I propose a definition of horror, according to which something qualifies as a work of horror if and only if it centrally and demonstrably aims at provoking one or more of a particular set of negative affects. A catalog of characteristically negative affects is associated with horror—including terror, revulsion, the uncanny, and the abject—but which cannot be collapsed into any single affect. Further complicating matters (...) is that the set appears to be constantly, if slowly, mutating, so that the affects aimed at in the horror of the 1920s do not entirely overlap with those aimed at horror today, or which we might expect horror to aim at a century from now. As such, while we use “horror” as a blanket term across eras, whether some work is a work of horror will always be time-indexed. (shrink)

In this article, I use the example of the novel Micro, authored by Michael Crichton and Richard Preston, to tease out the relationships between an author and his work and with other authors of that work. The case presents a complication for a number of contemporary views on authorship and co-authorship, which suggest that Crichton is either not an author of the novel or an author but not a co-author—both, I suggest, are counterintuitive views. After working through the leading views (...) on the topic, I present my own view of authorship, co-authorship, and multiple authorship, centrally resting on issues of power, responsibility, and creation. (shrink)

By questions of “canon,” we mean questions of what is fictionally true of some character, story, or world. What is canon is treated as authoritative or official, usually by creators and fans alike. But disputes about canon have arisen as storytellers and publishers have sought to capitalize on the popularity of their characters, churning out more and more stories to meet public demand, and at the same time engaging with growing fan bases. As audiences have become more involved, and as (...) fictional worlds have become messier, the authoritative nature of canon—and who authorizes it—has begun to erode. In this paper, we characterize canon as an article in the evolving relation between authors and audiences. More specifically, we characterize canon as an intangible good, subject to a form of cultural negotiation, resting on a power relation between producers and consumers of fictions. In Part I, we consider the author’s evolving role, and the rights of the creator to a story, character, or world. In Part II, we discuss the emerging activities of fans, particularly as they weigh on issues of canon. In Part III, we discuss canon as being subject to cultural negotiation, highlighting the importance of power dynamics in this negotiation. (shrink)

Culture clashes -- Ontology, copyright, and artistic practice -- The myth of unoriginality -- Authorship, power, and responsibility -- Toward an ontology of authored works -- The rights of authors -- The rights of others -- Appropriation and transformation -- Afterword.

Canon is a concept from aesthetics that has become a regular subject of commonplace discussions. The nature of canon, especially as it is used in these commonplace discussions, has not been subject to adequate philosophical scrutiny. We attempt to remedy that by placing canon in its historical and philosophical context, exploring and rejecting several common accounts, and presenting some basics of how canon works. We reject the accounts that place control with the author or the legal property holder, which appear (...) to be the most commonly held accounts. (shrink)

We explore the classical philosophical problem of the “paradox of tragedy”—the problem of accounting for our apparent pleasure in feeling pity and terror as audiences of staged tragedies. After outlining the history of the problem in philosophy, we suggest that Apter’s reversal theory offers great potential for resolving the paradox, while explaining some of the central intuitions motivating philosophical proposals—an ideal starting point to bridge a narrowing gap between philosophy and psychology.

Although art forgery is documented throughout the history of Western art, philosophical discussion of the problems of art forgery is a relatively recent matter, beginning largely in the latter half of the twentieth century. Arising even more recently is the practice of creating ‘appropriation art’, a topic that has so far been largely ignored in aesthetics but which raises some challenging questions especially when compared with forgery. This article introduces some of the philosophical problems that arise from the practice and (...) products of art forgery and in the contemporary movement of art appropriation. Rather than involving issues on the periphery of aesthetics, I suggest, forgery and appropriation art cut to the heart of issues in the ontology of art, the intersection of aesthetics and ethics, and other central areas in the philosophy of art. (shrink)

Much ink has been spilled in philosophy over the question of whether morality is an objective or subjective matter. In the world of The Good Place, the answer to the moral question seems fairly firmly determined: right and wrong are objective matters, and there is a fact about whether our actions are good or bad. The ancient Greek philosopher Pythagoras believed that beauty was a quantifiable principle of nature, and that we could find the source of beauty in the harmony, (...) order, and regularity of beautiful things. In some ways, The Good Place appears to treat aesthetic goodness and badness as if they were objective matters. The Good Place is a sort of extended version of Jean‐Paul Sartre's (1905–1980) existentialist play No Exit. In The Good Place, hell is other people's tastes. (shrink)

This chapter contains sections titled: Introduction A Pre‐Emptive Strike How Comics Mean The Unified Comic Conclusion Notes References.

ABSTRACT This article investigates the moral wrongness of joke theft. Working through a trove of real-world cases, and using the sitcom The Marvelous Mrs. Maisel as a touchstone, I argue, ultimately, for a pluralist approach, contending that there are several wrongs that may be present in any case of joke theft, but which cannot be reduced to each other and which are collectively irreducible to any sort of “superwrong.”.

[Discussion article, no abstract is available].

A review of 'The aesthetics and ethics of copying'. Hick, Darren Hudson and Reinhold Schmücker, eds.

We report the identification of a recurrent, 520-kb 16p12.1 microdeletion associated with childhood developmental delay. The microdeletion was detected in 20 of 11,873 cases compared with 2 of 8,540 controls and replicated in a second series of 22 of 9,254 cases compared with 6 of 6,299 controls. Most deletions were inherited, with carrier parents likely to manifest neuropsychiatric phenotypes compared to non-carrier parents. Probands were more likely to carry an additional large copy-number variant when compared to matched controls. The clinical (...) features of individuals with two mutations were distinct from and/or more severe than those of individuals carrying only the co-occurring mutation. Our data support a two-hit model in which the 16p12.1 microdeletion both predisposes to neuropsychiatric phenotypes as a single event and exacerbates neurodevelopmental phenotypes in association with other large deletions or duplications. Analysis of other microdeletions with variable expressivity indicates that this two-hit model might be more generally applicable to neuropsychiatric disease. © 2010 Nature America, Inc. All rights reserved. (shrink)

Darren Hudson Hick has recently presented a fascinating puzzle case for theories of co-authorship: Micro. However, contrary to his goal, Hick fails to establish Michael Crichton as a co-author of Micro. Here, I explain why. Consequently, Micro is not a counterexample to the theories of co-authorship.

This investigation takes full account of the findings of the social and historical sciences while offering a religious interpretation of the religions as different culturally conditioned responses to a transcendent Divine Reality.

Hoping is an integral part of what it is to be human, and its significance for education has been widely noted. Hope is, however, a contested category of human experience and getting to grips with its characteristics and dynamics is a difficult task. The paper argues that hope is not a singular undifferentiated experience and is best understood as a socially mediated human capacity with varying affective, cognitive and behavioural dimensions. Drawing on the philosophy, theology and psychology of hope, five (...) modes of hoping are outlined: patient, critical, sound, resolute and transformative. The key aim of the paper is to illustrate how different modes of hoping are associated with different pedagogical strategies. Phrased differently, the paper seeks to delineate a range of pedagogies of hope. The phrase ‘pedagogy of hope’ is very much associated with critical theory—one thinks instantly of, for example, Paulo Freire, Henry Giroux or bell hooks. There are many pedagogies of hope, however, and an explicitly conservative text such as William Bennett’s Book of Virtues has as strong a claim to the title as Freire’s radical and utopian ideas. A broader argument, therefore, is that there is nothing inherently radical or subversive about a pedagogy of hope. Pedagogies of hope can serve to reproduce social relations as well as to transform them. (shrink)

First published in 1993, this is a new edition of the classic text in which Clenora Hudson-Weems sets out a paradigm for women of African descent. Examining the status, struggles and experiences of the Africana woman forced into exile in Europe, Latin America, the United States or at Home in Africa, the theory outlines the experience of Africana women as unique and separate from that of some other women of color, and, of course, from white women. Differentiating itself from (...) the problematic theories of western feminisms, Africana Womanism allows an establishment of cultural identity and relationship directly to ancestry and land. (shrink)

Did you know that insects could be tried for criminal acts in pre-industrial Europe, that the dead could be executed, that statues could be subjected to public humiliation, or that it was widely accepted that corpses could return to life? What made reasonable, educated men and women behave in ways that seem utterly nonsensical to us today? Strange Histories presents for the first time a serious account of some of the most extraordinary occurrences of European history. Throughout the ages, people (...) have held ideas and events have taken place which have baffled later societies. Religious disbelievers were thought deserving of death, insects were occasionally excommunicated, studying the biology of angels was a legitimate activity, and the pursuit of personal happiness was considered rather misguided as a life strategy. Using case studies from the Middle Ages and the early modern period with some from the more recent past, this book provides fascinating insights into the world-view through the ages, and shows how such goings-on fitted in quite naturally with the "common sense" of the time. Explanations of these phenomena, riveting and ultimately rational, encourage further reflection on what really shapes our beliefs. In the light of history, can we be sure of the validity of our own ideas? How many of our own beliefs might no longer "make sense" a few centuries from now? (shrink)

Seth MacFarlane’s space adventure, The Orville, is not “Family Guy in Space.” It is a social commentary of the most direct and compelling sort. Through satire, humor, and symbolism, The Orville explores the potential dangers of religion. It does so in individual episodes, such as “If the Stars Should Appear” and “Mad Idolatry,” as well as through the series as a whole in its depiction of how the Union resolves its political differences with the Krill and the Moclans. In this (...) chapter, we will look at how The Orville criticizes religion, both generally and specifically. We will see that while it is not a condemnation of all religious believers, it is a critique of religion itself, suggesting that it can become dangerous when it merges religious dogma with political power. (shrink)

This book examines the concepts of international law and international relations as they are developed in the social and political philosophy of G.W.F. Hegel. Hegel has a vision of a single modern social world, in which peoples and nation-states can co-exist under conditions of peace, justice, mutual respect, and prosperity.

This book of readings was designed for an introductory course in the theory of modern, Western law. The materials mine the depths of history, philosophy, politics, & ethics to bring to view a certain story of the present, past & future condition of modern Western legal theory, namely that "modern" legal theory is reaching its end with the new millennium.

This book argues for the importance of writing to conceptions of language, technology, and civilization in the early modern era.

In this title the author explores the time-tested practice and philosophy using modern examples from more than a decade of experience with this ancient practice. He brings the principles of yoga into focus and makes them user-friendly for yogis living in the post modern era.

How do we access the authentic self in order to live fulfilling, meaningful lives? In straightforward terms, The Heart of the Matter: Gifts in Strange Wrapping Paper explains a simple but extraordinarily powerful technique called the See, Feel, Hear Challenge that enables people to easily gain entry into the storehouse of their subconscious core beliefs. In the process, it cracks the coded messages that those beliefs release in the form of disease, suffering, addictions, unhappy relationships, and victimized circumstances. Based in (...) the latest findings in neuroscience and neurocardiology, this book guides readers to an uncomplicated understanding of the astounding power of our emotions and how life automatically delivers experiences that trigger negative reactions that subconsciously impact us. These emotions form the foundation of core beliefs that create unhealthy attitudes and dis-ease patterns that keep us from experiencing the authentic, satisfying lives we desire. Using clear examples and true stories from clients, Dr. Weissman’s latest work demonstrates how we can release these stored emotions and their wisdom via the See, Feel, Hear Challenge. It then explains how to use this simple method to evoke feelings that positively impact the quantum field, remolding our bodies, minds, and everyday lives into purposeful expressions of inner joy and radiant well-being. Whether you’re dealing with addictions, dysfunctional relationships, or illness, or are focused on becoming an Olympic champion, The Heart of the Matter gives you a potent tool for positive change and transformation that you can use for the rest of your life. (shrink)

The book moves from descriptive through to more interpretative phenomenological methods to enable the reader to learn to use the main approaches to ...