In the one-for-one business model, a purchaser of, for example, a pair of shoes simultaneously purchases a pair of shoes for a child in need. This model, popularized by TOMS shoe company in 2006, has been remarkably successful. The driving force behind the success is most likely the emotional appeal of the one-for-one idea. The TOMS model has been criticized, however—not just for being less effective than advertised, but for arguably doing more harm than good. Whether or not this (...) latter charge is true, the TOMS story serves as an illustrative starting point for an exploration of the ways in which commonsense thinking about charity and philanthropy is often wrong. Examining these criticisms will set the stage for an examination of the influential “effective altruism” movement and invite the reader to think more deeply about different ways of doing good in the world. (shrink)

This chapter contains sections titled: A Runner is Born A Runner's Conversion to Cycling A Few Lessons from a Relatively New Convert The End of the Tour Notes.

In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts. These subjects are intertwined in striking and surprising ways. By exploring connections among them, appealing sometimes to notions of imagining oneself in shoes different from one's own, Walton creates a wide-ranging mosaic of innovative insights.

The problem of identity in the world of art is relevant from many perspectives. This paper aims at discussing the identity of the work of art. The discussion is built in three steps: the problem of identification of an object as work of art, the problem of the relevant properties of a work of art and the question of the author of the work of art as decisive (or not) for the identification of a work of art. These issues are (...) raised with the evolution of artistic practice and art theory in the last century. The appearing of the “ready-made” destabilized the firm identity of a work of art and now we have to decide what the difference is between a work of art and its perceptually identical pair. Traditionally relevant perceptual features lost their importance in conceptual art, so we have to decide what relevant properties belong, even today, to works of art. Finally, the practice of appropriation in postmodern art challenges the notion of the artist and of the meaning of genuine creation. (shrink)

Apparent design breakthroughs in short-range missile defense systems such as Theater High-Altitude Air Defense have prompted questions about the legality of such systems under the 1972 Antiballistic Missile Treaty. Prominent physicists have used computer “footprint” methodology to prove that if engineered to specifications, THAAD might exceed ABM Treaty performance limits banning highly effective missile defense systems. In response, missile defense officials commissioned Sparta, Inc. to conduct secret research casting doubt on the validity of such findings. The substantial diplomatic issues at (...) stake and the interesting rhetorical dynamics involved in this dispute warrant close scholarly analysis. Attention to the iterative relationship between the interpenetrating spheres of public argument and scientific practice in this case yields novel insight about the processes in which technical knowledge of defense systems is forged and raises fresh issues for the “closure project” in science and technology controversy studies. (shrink)

Digges, Matthew Review(s) of: Take off your shoes, walk on the ground: The journey towards reconciliation in Australia, by Lyn Henderson-Yates, Brian McCoy SJ, Melissa Brickell, Catholic Social Justice Series No 71, Alexandria NSW: Australian Catholic Social Justice Council, 2012, pp.32, $6.60.

In Herodas Mime 6 Metro first learns from Coritto that she purchased her scarlet dildos from Kerdon the cobbler. In Mime 7 Metro comes to Kerdon’s cobbler’s shop and he shows her some special shoes, which the poet displays in a catalogue. Most scholars agree that the shoes in Mime 7 refer to the dildos in Mime 6, yet more work remains to unlock their hidden meaning. I argue that the catalogue of shoes in Mime 7 stands as a catalogue (...) of double entendres and that it is set among a series of sexual puns. (shrink)

Heidegger's comments about a pair of shoes painted by van Gogh are read with attention to their historical context.

In lieu of an abstract, here is a brief excerpt of the content:Bob Dylan’s “Highway Shoes” The Hobo-Hero’s Road through ModernityTodd Kennedy (bio)In the final verse of Bob Dylan’s “Don’t Think Twice, It’s Alright” (1963), the speaker proclaims, “I’m walkin’ down that long, lonesome road, babe / where I’m bound, I can’t tell.” With no destination in sight, he seems content to remain on a perpetual, isolated journey on what he terms “the dark side of the road.” Such an ethos (...) of movement, which permeates Dylan’s corpus, mirrors a dissident strain of American culture that seeks to find a Jeffersonian, individualistic freedom via movement through space outside of mainstream society. As early as Bringing It All Back Home (1965), peaking with Blood on the Tracks (1975), and persisting into his most recent work, Dylan has consistently merged aspects of blues, country, and literary traditions, to invoke images of mobility that examine individual freedom in a world where technology, fragmentation, and homogeneity seem to result in a destructive dehumanizing of individuals. In so doing, Dylan uses an intensely innovative aesthetic as he ambivalently romanticizes uprooted wandering in a manner that both mirrors and expands upon what I term an ontology of the hobo-hero that permeates American letters from Walt Whitman to John Dos Passos (and beyond) as it glorifies those who remain in constant motion in order to maintain a sense of integrated self in the face of crushing modernity.Gilles Deleuze and Félix Guattari similarly identify such an ontology within American culture when they, in A Thousand Plateaus, declare America a “special case” defined by its ceaseless search for a “rhizome,” or a “space in which two things that have nothing to do with one another form a parallel constructed by the mind. It is not imitation or resemblance, but becoming” (10). For Deleuze, Guattari, and, as I argue, Bob Dylan, the rhizome occupies a singular place within American letters. In other words, Deleuze and Guattari admit that America “is not immune from [...] the search for roots” in its “quest for a national identity or even for a European ancestry or genealogy (Kerouac going off in search for his ancestors),” yet they adamantly assert,every thing important that has happened or is happening takes the route of the American rhizome [...]. American books are different from European books, even when Americans set off in search of trees. The conception of the book is different. Leaves of Grass. And directions in America are different: the search for arborescence and the return to the Old World occur in the East. But there is the rhizomatic West, with its Indians without ancestry, its ever-receding limit, its shifting and displaced frontiers.(19) [End Page 37]Such an assertion should come as no surprise, I would argue, since, beginning with the earliest attempts to define “America,” Americans have seen their identity linked to mobility. In fact, the lone commonality that Americans share is descent from immigrants who came to the United States from a “home” or “homeland” where cultural identity was not far removed from national identity. It would stand to reason, therefore, that a group of uprooted individuals thrust into a self-declared melting pot would begin to define themselves by their dislocation. For instance, eighteenth-century French immigrant J. Hector St. John de Crèvecœur claimed that, within the American continent, “individuals of all nations are melted into a new race of men” (44) as America represents, for Crèvecœur, an “asylum” in which “the poor of Europe have by some means met together” (42). Crèvecœur proceeded to privilege those people, such as farmers, who planted “roots” as they helped to build and improve their society, but Crèvecœur’s assertion that we are united by our mutual uprootedness proves indicative of what critic Robert James Butler has observed as a recurrent American “quest for pure motion” (80, emphasis in original). Or, one encounters what the novelist John Steinbeck claimed he perceived in “nearly every American”: a “burning desire to go, to move, to get under way, anyplace, away from any Here” (10). It is such an attempt for perennial rebirth through movement, a rhizomatic selfhood, that... (shrink)

In Kate Bush’s 1993 album, The Red Shoes, and her film, The Line, the Cross and the Curve, she engages with the symbolism of The Red Shoes fairytale as first depicted in Hans Christian Andersen’s 1845 fairy tale and later developed by the Powell and Pressburger film of the same name. In Bush’s versions of the tale she attempts to find a space of agency for the main female protagonist in a plot structure over-determined by patriarchal narrative and symbolic logic. (...) I will argue that it is through her own use of mystical symbolism — the Line, the Cross and the Curve — mediated through the deployment of ritual magick and kabbalistic ritual — that she breaks the ‘spell’ of the red shoes story where the main female character can escape the gender specific ‘curse’ of the red shoes. (shrink)

Sackris and Beebe (2014) report the results of a series of studies that seem to show that there are cases in which many people are willing to attribute knowledge to a protagonist even when her belief is unjustified. These results provide some reason to conclude that the folk concept of knowledge does not treat justification as necessary for its deployment. In this paper, we report a series of results that can be seen as supporting this conclusion by going some way (...) towards ruling out an alternative account of Sackris and Beebe’s results—the possibility that the knowledge attributions that they witnessed largely stem from protagonist projection, a phenomenon in language use and interpretation in which the speaker uses words that the relevant protagonist might use to describe her own situation and the listener interprets the speaker accordingly. With that said, we do caution the reader against drawing the conclusion too strongly, on the basis of results like those reported here and by Sackris and Beebe. There are alternative possibilities regarding what drives the observed knowledge attributions in cases of unjustified true belief that must be ruled out before, on the basis of such results, we can conclude with much confidence that the folk concept of knowledge does not treat justification as necessary for its deployment. (shrink)

Par de botas se titula la obra del pintor holandés Vincent Van Gogh. Es a partir del análisis de esta pintura que realiza el filósofo alemán Martin Heidegger en su obra El origen de la obra de arte, desde el cual se creará un rico debate, referido sobre todo a la procedencia y significado último de esta obra de Van Gogh. El presente ensayo procura aunar fenomenológicamente, al alero del pensamiento de Martin Heidegger, el conjunto de cuadros que pintó el (...) pintor holandés sobre el “modelo zapato”, bajo el “tema del andar”, entendido como una “errancia”, que en Van Gogh se torna en dramática búsqueda de pertenencia, pero sobre todo de condiciones para la subsistencia, tanto física como espiritual. Por lo tanto el zapato deviene en emblema, el vehículo con el cual desplazarse en las agrestes geografías de su vagabundear. Pair of Boots is the work titled by the Dutch painter Vincent Van Gogh. It is based on the analysis of this painting that the German philosopher Martin Heidegger makes in his book The Origin of the Work of Art, from which we create a rich debate, primarily concerned with the origin and ultimate meaning of Van Gogh´s work. This paper seeks to combine phenomenologically, the wing of thought of Martin Heidegger, the set of pictures he painted on the Dutch painter “shoe model” under the “theme of walking”, understood as a “wandering” in Van Gogh dramatic turns in search of belonging, but especially for subsistence conditions, both physical and spiritual. So the shoe becomes an emblem, the vehicle with which to travel in the rugged geography of his wandering. (shrink)

Informed by understandings of affect theory, the pedagogic potential of object itineraries, or simply, the journey of things, is proposed in this case as a form of sensual a-r-tography. A pair of sporty shoes as mundane objects are at the heart of this deliberation, and the mechanism through which to consider the scope of conversations underway about more-than-human perspectives and how objects can be activated as sites of educational inquiry. The embodiment of each step in this walk is an opening (...) to interrogate how the potential materiality of artefacts ‘enflesh’ object-body-space as artist-researcher-teacher. Mapping geographies of self-in-relation, and guided by the betweenness in landscape encounters as relational and contingent, this speculative account with theoretical perspectives is rendered through the entanglements offered by story shoes. (shrink)

Con el término “la patria en los zapatos”, aludía Danton al rechazo que la figura del exilio suscitaba entre los mentores de la ciudadanía moderna, en plena Revolución francesa. Ello da pie a una breve reflexión introductoria sobre la actualidad de esta figura, la cual desenmascara la vocación excluyente del estado-nación y obliga a pensar de nuevo conceptos como el de cosmopolitismo.

I suggest in this paper that Professor Peacocke has given an elegant and, it seems to me, successful account of how we hear in music, metaphorically, various extra-musical properties, among them the much vexed expressive ones. I argue that what Peacocke now must do, as the next step in his project, is to tackle the normative question of when, particularly in the case of absolute music, we are justified in hearing in the music what, on his account, we can hear (...) in it. (shrink)

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] Other Shoes is a companion to Kendall Walton’s other essay collection, Marvellous Images, published seven years earlier. But careful study reveals considerable coherence; Walton reprises the same motifs throughout, though with different combinations and inflections, the book’s reverse chronology revealing how some of these ideas developed. Moreover, every paper exhibits the same accessible, sometimes (...) homespun, ‘care beans’, ‘gosh’ ) style typical of Walton: unburdened by needless technicality, yet deft. This style’s downside is perhaps that insufficiently careful readers may misread him. A quarter-century of Charles and faithful sidekick The Slime not so much evading critical fire as watching it spray harmlessly across the pages of philosophy journals is testament to this.Some of the papers, especially the... (shrink)

Deficits in the ability to read the emotions of others have been demonstrated in mental disorders, such as dissociation and schizophrenia, which involve a distorted sense of self. This study examined whether weakened self-referential source memory, being unable to remember whether a piece of information has been processed with reference to oneself, is linked to ineffective emotion recognition. In two samples from a college and community, we quantified the participants’ ability to remember the self-generated versus non-self-generated origins of sentences they (...) had previously read or partially generated. We also measured their ability to read others’ emotions accurately when viewing photos of people in affect-charged situations. Multinomial processing tree modelling was applied to obtain a measure of self-referential source memory that was not biased by non-mnemonic factors. Our first experiment with college participants revealed a positive correlation between correctly remembering the origins of sentences and accurately recognising the emotions of others. This correlation was successfully replicated in the second experiment with community participants. The current study offers evidence of a link between self-referential source memory and emotion recognition. (shrink)

In this essay, I argue for three interpretative claims about the philosophical strategies and examples employed in the first of Heidegger’s three lectures on ‘The Origin of the Work of Art’. I argue that his initial response to a Van Gogh painting is intended to dramatize a confusion rather than to articulate an insight; that his invocation of a poem by C. F. Meyer serves a number of functions overlooked by other commentators; and that Heidegger’s overall approach is best understood (...) in terms of Michael Fried’s conception of modernism in painting. (shrink)

In participatory activities in the workplace, employees are invited to raise problems and suggest improvements to the management. Although it is widely acknowledged that employees rarely control decisions in these settings, little is known about the interactional resources that employees and managers draw upon when negotiating consensus about which initiatives to pursue in the future. We analyse interactions from participatory meetings in an industrial setting in relation to the topic of work shoes, showing how the participants orient to both their (...) relative deontic rights and epistemic rights. The analysis suggests that besides their low deontic status, employees’ fragile epistemic status constitutes an important but overlooked challenge to achieving improved working conditions through the participatory activities. (shrink)

이 글은 하이데거, 샤피로, 데리다 사이에 있었던 반 고흐의 낡은 구두 그림에 관한 논쟁을 (1) 구두의 임자 문제 (2) 그림의 특정 문제 (3) 예술의 본성 문제로 주제화하고 그 순서대로 세 사람의 주장과 그들 사이의 논쟁을 따라가면서 조명하고 그에 대해 각각 비판적으로 논술하고 평가하며 그 함의를 추출하는 것을 목적으로 한다. 나아가서 세 사람 사이의 가교를 마련할 수 있는 가능성과 필요성을 언급하고 그 현실성을 전망하고자 한다. 첫째, 구두의 임자 문제에 있어서 하이데거는 자신의 존재론적 예술론을 언급하기 위한 대상으로 낡은 구두 그림을 선택했기 때문에 (...) 샤피로와 달리 누구의 구두이든 문제 삼지 않는다. 그러나 나중에 아무런 근거 없이 농부의 것이라고 봄으로써 그 문제에 관한 한 맹목적이 되고 논리적 비일관성을 범한다. 데리다는 구두가 누구의 구두인가는 규명할 수 없다는 입장을 취한다. 둘째, 그림의 특정 문제에 있어서 하이데거는 반 고흐의 구두 연작 가운데 어느 구두 그림을 두고서 해석한 것인지를 밝히지 않고 모호한 입장을 취한다. 반면 샤피로는 반 고흐가 그린 여러 구두 그림들 가운데 어느 하나를 지정한다. 데리다는 하이데거가 그 그림을 그 자체로서 기술하는 것이 관심사가 아니라 예술 작품의 존재론적 진리를 지시하는 것을 목적으로 하기 때문에 어떤 그림을 대상으로 했는지는 아무래도 상관없다고 주장한다. 셋째, 예술의 본성 문제에 있어서 하이데거는 예술을 존재의 진리 정립으로 규정하고 샤피로는 예술을 사실의 재현을 통한 영혼 또는 자아의 표현으로 이해하며 데리다는 예술을 고정된 의미로 환원될 수 없는 기호나 텍스트로 본다. 이 세 가지 입장을 통합할 수 있는 길은 예술을 사실을 재현하거나 표현하는 것이면서도 존재의 진리를 담고 있는 것으로 이해하는 것이다. (shrink)

According to rich views of consciousness (e.g., James, Searle), we have a constant, complex flow of experience (or 'phenomenology') in multiple modalities simultaneously. According to thin views (e.g., Dennett, Mack and Rock), conscious experience is limited to one or a few topics, regions, objects, or modalities at a time. Existing introspective and empirical arguments on this issue (including arguments from 'inattentional blindness') generally beg the question. Participants in the present experiment wore beepers during everyday activity. When a beep sounded, they (...) were to take note of the conscious experience, if any, they were having at the last undisturbed moment immediately prior to the beep. Some participants were asked to report any experience they could remember. Others were asked simply to report whether there was visual experience or not (and if so, what it was). Still others were asked about experience in the far right visual field, or tactile experience, or tactile experience in the left foot. A majority of participants in the full experience and the visual conditions reported visual experience in every single sample. Tactile and peripheral visual experience were reported less often. However, the proper interpretation of these results is uncertain. (shrink)