The ethics of describing and indexing works which have an element of deception is an important topic within the arena of knowledge organization (KO). However, what happens if the unreal element is for artistic purposes and is part of the experience of the document? The focus of this article is on the KO of art documentation. It considers art documents where unreality and mistruth are part of a document’s creative and artistic purpose. Three examples of exhibition documentation (...) for contemporary art are explored. These illuminate the KO implications of unreal elements in artworks, exhibitions and documents, and the interplay between them. Three models are then presented relating to the KO of unreality. Model one shows how the wishes of the creator are a significant part of ethical KO for art and the ethical KO decisions which result from the performative and experiential aspects of art documentation. Model two illustrates how the placement of the unreality in relation to metadata creation can have a critical impact on ethical decisions in KO. Model three posits unreal-ness as a novel type of information about metadata creation, introducing categories such as motive for the deception. It shows how this original way of contemplating applied ethics in KO is vital for all ethically challenging works. Ultimately, considering the KO ethics of art documentation extends our thinking about how to deal with deception and unreality and adds an important aesthetic-ethical dimension to the corpus of work on KO ethics. (shrink)

Ludwig Wittgenstein’s practical incursions on the domain of art were many and well known. It is worth drawing attention to the design that he did together with Paul Engelmann for his sister Margarethe Stonborough-Wittgenstein’s house and the bust he made for, and was inspired by, the sculptor Michael Drobil. To attribute just an anecdotal character to Wittgenstein’s few artistic projects is a misunderstanding. The Austrian philosopher devoted himself to them with the fervor and rigor that characterize his philosophical writings. (...) He took care of every detail in his sister’s house, which sometimes ended up in difficult changes, although quite minimal (as when he had the ceilings lowered a few centimeters just before .. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic (...) value is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Academics from diverse disciplines are recognizing not only the procedural ethical issues involved in research, but also the complexity of everyday “micro” ethical issues that arise. While ethical guidelines are being developed for research in aboriginal populations and low-and-middle-income countries, multi-partnered research initiatives examining arts-based interventions to promote social change pose a unique set of ethical dilemmas not yet fully explored. Our research team, comprising health, education, and social scientists, critical theorists, artists and community-activists launched a (...) five-year research partnership on arts-for-social change. Funded by the Social Science and Humanities Research Council in Canada and based in six universities, including over 40 community-based collaborators, and informed by five main field projects, we set out to synthesize existing knowledge and lessons we learned. We summarized these learnings into 12 key points for reflection, grouped into three categories: community-university partnership concerns, dilemmas related to the arts, and team issues. In addition to addressing previous concerns outlined in the literature, we identified power dynamics hindering meaningful participation of community partners and university-based teams that need to be addressed within a reflective critical framework of ethical practice. We present how our team has been addressing these issues, as examples of how such concerns could be approached in community-university partnerships in arts for social change. (shrink)

This book on the topic of ethics and poetry consists of contributions from different continents on the subject of applied ethics related to poetry. It should gather a favourable reception from philosophers, ethicists, theologians and anthropologists from Africa, Asia, Europe and Latin America and allows for a comparison of the healing power of words from various religious, spiritual and philosophical traditions. The first part of this book presents original poems that express ethical emotions and aphorism related to a philosophical (...) questioning of the grounding of our values for life. The poems are written by twelve authors coming from four continents, for whom poetic emotions are sources of artistic inspiration and that can be used for conflict resolution. In the second part, which features short essays, nine authors tackle how poems, symbolic representations, metaphorical narratives and lies impact the space of possibilities, in which we are moved to action, knowledge formation, and how we imagine the world together. (shrink)

Artistic Creation and Ethical Criticism investigates an idea that underpins the ethical criticism of art but is rarely acknowledged and poorly understood - namely, that the ethical criticism of art involves judgments not only of the attitudes a work endorses or solicits, but of what artists do to create the work. The book pioneers an innovative production-oriented approach to the study of the ethical criticism of art, one that will provide a refined philosophical account of (...) this important topic as well as conceptual tools that can guide future philosophizing and criticism. (shrink)

We explore briefly Foucault's ideas about the care of the self, creating ourselves and what he meant by ethics. We then examine the work of five artists–Mark Rothko, Cindy Sherman, Helena Hietanen, Samuel Beckett, and Betty Goodwin–to help us begin to think very differently about illness and human suffering. Taking our lead from Beckett, we regard reason as being given too much responsibility for the work of a caring knowledge, and that it is through the arts that new ideas (...) about bioethics can emerge. (shrink)

This book offers a unified collection of published and unpublished papers by Robert Audi, a renowned defender of the rationalist position in ethics. Taken together, the essays present a vigorous, broadly-based argument in moral epistemology and a related account of reasons for action and their bearing on moral justification and moral character. Part I details Audi's compelling moral epistemology while Part II offers a unique vision of ethical concepts and an account of moral explanation, as well as a powerful (...) model of moral realism. Part III extends this account of moral explanation to moral responsibility for both actions and character and to the relation between virtue and the actions that express it. Part IV elaborates a theory of reasons for action that locates them in relation to three of their traditionally major sources: desire, moral judgment, and value. Clear and illuminating, Audi's introduction outlines and interconnects the self-contained but cumulatively arranged essays. It also places them in relation to classical and contemporary literature, and directs readers to large segments of thematically connected material spread throughout the book. Audi ends with a powerfully synthetic final essay. (shrink)

The idea of dignity seems indissociable from that of humanity, whether in its universal dimension of ‘human dignity’, or in the individual ‘dignity of the person’. This paper provides an outlook on the ethics governing the sciences and technology, in particular the biological sciences and biotechnology, and recalls the notion of ‘glory’, both human and divine, as it infuses a great part of the Middle Ages and the Renaissance cultures, just before the scientific revolution in Europe.

Trust is a topic of longstanding philosophical interest. It is indispensable to every kind of coordinated human activity, from sport to scientific research. Even more, trust is necessary for the successful dissemination of knowledge, and by extension, for nearly any form of practical deliberation and planning. Without trust, we could achieve few of our goals and would know very little. Despite trust’s fundamental importance in human life, there is substantial philosophical disagreement about what trust is, and further, how trusting (...) is normatively constrained and best theorized about in relation to other things we value. This entry is divided into three sections, which explore key (and sometimes interconnected) ethical and epistemological themes in the philosophy of trust: (1) The Nature of Trust; (2) The Normativity of Trust, and (3) The Value of Trust. (shrink)

Each contributor to this volume, collected in conjunction with St. Louis University's sesquicentennial celebrations, addresses himself to the title topic in terms of his own field. The first part of the book contains essays grouped loosely under the theme "The Environment of Learning." This section is introduced by Ong with a thumbnail portrait of the knowledge explosion, its history, its technological apparatus, its social implications, and its undergirding presupposition: a faith in the intelligibility of the universe. Other essays in (...) the section cover university education, education in Africa, international politics, urban problems, and architecture. In his essay, McLuhan moves from a discussion of architecture to an explanation of a certain art form which integrates separate environmental fragments into a gestalt fusion of artist, art form, and art work. This art form, this "happening," for post-mechanical man is the environment itself plus the programmed structuring of its elements. John Macquarrie builds a doctrine of human responsibility using the creation myth and a little Heidegger to portray man not as the sovereign over creation but as its steward and guardian. The second section deals with specific areas of knowledge. J. R. Zacharias leads off with a superficial account of how scientific training, with its emphasis on objectivity, can lead to moral sureness and of how scientists make moral decisions. This ethical emphasis is maintained as other contributors in biology, law, and business discuss the impact of technology in their area and the "way out" possibilities of the future. The final three essays are moderate by comparison. J. D. Collins, speaking for philosophy, points out that philosophers are characteristically more concerned with their past than with their future, that they delay in order to reflect when others barge ahead, and that consequently for them the knowledge explosion has also been a knowledge implosion. However, he does manage a discussion of philosophy's new "developing patterns," the most significant for him being the convergence of phenomenology and language analysis. M. Eliade gives a short account of the history of religions, and Karl Rahner ends the book with a crisp essay relating Christian eschatology to secular ideologies of the future.--S. O. H. (shrink)

In the last decade, nurse scholars have focused extensively on the nature of nursing and its relationship to art and science. This emphasis has also been accompanied by an increasing literature on nursing ethics. In spite of this growing interest, the relationship of nursing art and nursing ethics has been left unclear. This paper proposes that nursing must be considered as a practical art because this conception explicates the relationship of nursing art and nursing ethics. It is based on the (...) thesis that nursing art is subordinated to nursing ethics and as such is a moral art. Different conceptions of nursing art (craft and fine art) will be explored to show their limits. This will be followed by the conception of nursing art as a practical art. (shrink)

It is not clear whether to assess Robert Audi’s Moral Knowledge and Ethical Character as a collection of essays or a unified piece of theorizing. Seven of the book’s twelve essays have been published before, and at first blush they appear connected by little more than a common focus on ethics. These essays are framed, however, by an introduction and conclusion characterizing the book as the elaboration of a single, large-scale ethical theory. Perhaps a comprehensive theory can (...) be disentangled from these essays, but its contours and merits would be far clearer if Audi had presented it systematically, drawing selectively from previous essays rather than reproducing them wholesale. (shrink)

To determine the knowledge and ethical perception regarding organ donation amongst medical students in Karachi- Pakistan.

It is widely maintained that a clinical trial is ethical only if some form of equipoise between the treatments being compared obtains. To be in equipoise between two treatments A and B is to be cognitively indifferent between the statement ‘A is strictly more effective than B’ and its negation. It is natural to claim that equipoise regarding A and B is necessary for randomised assignment to treatments A and B to be beneficent and non‐maleficent and is sufficient for (...) such an assignment to be fair. Cashing this out precisely is difficult, and various forms of equipoise have been discussed which consider whose equipoise is relevant to the decision. This is to make judgement of equipoise something to be managed socially, while its prima facie significance is supposedly cognitive. Recent reconstructions of equipoise‐like concepts in epistemology give clues about how to understand equipoise cognitively. In this paper I examine some of this work and discuss how successful it has been. I suggest that while this work is promising, it still has far to go, and that while equipoise remains the best theory we have of the cognitive justification for clinical trials, it is nonetheless incoherent. (shrink)

Moral epistemology is central to ethical theory and, after a period of some neglect, is currently receiving much attention. Discussion of the subject suffered no small setback from the influence of positivistic noncognitivism. Nor was moral epistemology a main object of the narrowly metaethical focus that dominated much of ethical discussion between the Second World War and the early 1970s; the concern during that period was mainly semantical and metaphysical. Even now, many writers in ethics who tend to (...) take for granted that there is much scientific knowledge are skeptical about the possibility of any moral knowledge; and some of them accept the view, especially common in university communities, that moral judgments represent at best cultural assumptions having no claim to truth. (shrink)

The past development of ethical knowledge has shown that in determining the future orientations of ethical research, the multiplicity of interconnecting links between ethics, the philosophy of morals, and the whole of intellectual culture have yet to receive sufficient study. At the same time, the sociocultural legacy—the framework within which philosophical thought lies—syncretically embraces science, art, and philosophy. Remaining "beyond the sequence" of philosophical abstraction, science and art are present as the sociocultural background of ethical thought. (...) Inasmuch as morals permeate the most diverse forms of the practical and intellectual activity of humanity, one should neither restrict the investigation of it strictly to the boundaries of philosophical-ethical analysis, nor limit its study to the special, concrete human sciences. The historically outlined "natural habitat" for the aggregate knowledge of moral phenomena is determined by the coordinated interaction of ethics, the humanities, and the arts. (shrink)

In the contemporary metaethical debate, expressivist (Blackburn, Gibbard) and constructivist (Korsgaard, Street) views can be viewed as inspired by irrealist ideas from Hume and Kant respectively. One realist response to these contemporary irrealist views is to argue that they are inconsistent with obvious surface-level appearances of ordinary ethical thought and discourse, especially the fact that we talk and act as if there is ethical knowledge . In this paper, I explore some constructivist and expressivist options for responding (...) to this objection. My conclusion is that, although both constructivists and expressivists can capture other surface-level features of ethical thought and discourse, the possibility of ethical knowledge causes special problems for these versions of irrealism. I end with some comments about where I think irrealists should begin to look for a response to these special problems, which points, somewhat surprisingly, towards an alternative inferentialist form of irrealism about epistemic and ethical thought and discourse, which is inspired by Sellars. (shrink)

Systematic research in the wide field of practical knowledge is a recent phenomenon. In this paper, the approaches which have been developed in the main centres of research into practical knowledge in Norway and Sweden are compared with an emphasis on their potential for revitalizing the study of ethics. The focus on narratives and reflection based on the researcher’s own professional experience which is the distinguishing feature of the centre for practical knowledge at the University of Nordland (...) is seen as a very promising addition to the traditional repertory of ethical studies. (shrink)

This volume explores the anthropology of knowledge. Inspired by eminent scholar Marilyn Strathern, leading anthropologists explore key theoretical themes of subjectivity, ethics and gender through global ethnographies.

Case-based instruction is a stable feature of ethics education, however, little is known about the attributes of the cases that make them effective. Emotions are an inherent part of ethical decision-making and one source of information actively stored in case-based knowledge, making them an attribute of cases that likely facilitates case-based learning. Emotions also make cases more realistic, an essential component for effective case-based instruction. The purpose of this study was to investigate the influence of emotional case content, (...) and complementary socio-relational case content, on case-based knowledge acquisition and transfer on future ethical decision-making tasks. Study findings suggest that emotional case content stimulates retention of cases and facilitates transfer of ethical decision-making principles demonstrated in cases. (shrink)

This grounded study investigated the negotiation of authorship by faculty members, graduate student mentors, and their undergraduate protégés in undergraduate research experiences at a private research university in the northeastern United States. Semi-structured interviews using complementary scripts were conducted separately with 42 participants over a 3 year period to probe their knowledge and understanding of responsible authorship and publication practices and learn how faculty and students entered into authorship decision-making intended to lead to the publication of peer-reviewed technical papers. (...) Herein the theoretical model for the negotiation of authorship developed through the analysis of these interviews is reported. The model identifies critical causal and intervening conditions responsible for the coping strategies faculty and students employ, which, in our study, appear to often produce unfortunate consequences for all involved. The undergraduate student researchers and their graduate student mentors interviewed in this study exhibited a limited understanding of authorship and the requirements for authorship in their research groups. The power differential between faculty and students, the students’ limited epistemic development, the busy-ness of the faculty, and the faculty’s failure to prioritize authorship have been identified as key factors inhibiting both undergraduate and graduate students from developing a deeper understanding of responsible authorship and publication practices. Implications for graduate education and undergraduate research are discussed, and strategies for helping all students to develop a deeper understanding of authorship are identified. (shrink)

How is ethical knowledge possible? One of the most promising answers is the moral sense view: we can acquire ethical knowledge through emotional experience. But this view faces a serious problem. Emotions are unreliable guides to ethical truth, frequently failing to fit the ethical status of their objects. This threatens to render the habit of basing ethical beliefs on emotions too unreliable to yield knowledge. I offer a new solution to this problem, (...) with practical implications for how we approach ethical decision-making. I argue that an agent can have a reliable belief-forming habit despite having unreliable emotions, so long as she is suitably attentive to defeaters. In moderately virtuous agents, unfitting ethical emotions are frequently accompanied by warning signs, such as negative metaemotions, epistemic feelings, moods, and social cues. An agent who cultivates the attentional skill of noticing these signs can prevent many of her unfitting emotions from translating into false beliefs. For a moderately virtuous agent with this skill, the habit of basing ethical beliefs on emotions will be reliable. The upshot is that emotion-based ethical knowledge is possible even for people whose emotions are unreliable, but only if we cultivate the skill of spotting defeaters. (shrink)

ABSTRACT Accurate self‐administration of antiretroviral medication therapy for HIV/aids is a significant clinical and ethical concern because of its implications for individual morbidity and mortality, the health of the public, and escalating healthcare costs. However, the traditional construction of patient medication adherence is oversimplified, myopic, and ethically problematic. Adherence relies on existing social power structures and western normative assumptions about the proper roles of patients and providers, and principally focuses on patient variables, obscuring the powerful socioeconomic and institutional influences (...) on behaviour. Some professionals advocate for alternate approaches to adherence, but many of the available alternatives remain conceptually underdeveloped. Using HIV/aids as an exemplar, this paper presents medication practice as a theoretical reconstruction and explicates its conceptual and ethical evolution. We first propose that one of these alternatives, medication practice, broadens the understanding of individuals’ medication‐taking behaviour, speaks to the inherent power inequities in the patient‐provider interaction, and addresses the ethical shortcomings in the traditional construal. We then integrate medication practice with feminist thought, further validating individuals’ situated knowledge, choices, and multiple roles; more fully recognizing the individual as a multidimensional, autonomous human being; and reducing notions of obedience and deference to authority. Blame is thus extricated from the healthcare relationship, reshaping the traditionally adversarial components of the interaction, and eliminating the view of adherence as a patient problem in need of patient‐centred interventions. (shrink)

Over the past decade AIDS research has turned toward the use of pharmacology in HIV prevention, including pre-exposure prophylaxis (PrEP): the use of HIV medication as a means of preventing HIV acquisition in those who do not have it. This paper explores the contradictory reasons offered in support of PrEP—to empower women, to provide another risk-reduction option for gay men—as the context for understanding the social meaning of the experimental trials that appear to show that PrEP works in gay men (...) and heterosexual couples but not single women. The PrEP debates reveal the different ideas about “demedicalization” in the earlier gay health and women’s health movements and highlight the relationship between health activism and critique of research ethics in the context of a global pharmaceutical market. (shrink)

In the history of Chinese and European philosophy, metaphysics has played an outstanding role: it is a theoretical framework which provides the basis for a philosophical understanding of the world and the self. A theory of the self is well integrated in a metaphysical understanding of the totality of nature as a dynamic process of continuous changes. According to this view, the purpose of existence can be conceived of as the development and realization of the full potential given to the (...) individual by its nature. In regard to human nature specifically, this idea of self-realization includes the development of all cognitive faculties as well as of the moral character. Metaphysics has, however, suffered a loss of importance in current debates, especially in ethics. As a result, we observe the emergence of such philosophical views as moral skepticism and even nihilism. The consequence of this tendency has been the renunciation of a claim to understanding and to providing a solid ground for ethics. Yet an intercultural dialogue can provide us with some hope as the consolidation of debates on crucial topics of our traditions might indeed serve as the basis for a more powerful philosophy in the future. (shrink)

Perhaps the most striking feature of this book is its combination of clarity and obscurity. Deploying a formidable array of technical resources from his “extensive work in epistemology and the philosophy of mind and action”, Audi produces an “overall ethical theory” that “combines a version of moral realism with a moderate intuitionism” and is “epistemologically internalist, normatively objective, valuationally pluralist, and qualifiedly naturalistic”.

Is art only art insofar as it refuses to be useful? How do people understand art's ability to know the world, to develop ethics, to express sense of historical belonging and to be, in different ways to different people, useful? Starting with the premise that art is best understood in dialogue with the social sphere, publication examines how the exchange between art, knowledge and use has historically been set up and played out. Theorists and artists included in this volume (...) seek an answer to the question: how can art know, and change, the world? (shrink)

Throughout her work, Audre Lorde maintains that her self-preservation in the face of oppression depends on acting from the recognition and valorization of her feelings as a deep source of knowledge. This claim, taken as a portrayal of agency, poses challenges to standard positions in ethics, epistemology, and moral psychology. This article examines the oppositional agency articulated by Lorde’s thought, locating feeling, poetry, and the power she calls “the erotic” within her avowed project of self-preservation. It then explores the (...) implications of taking seriously Lorde’s account, particularly for theorists examining ethics and epistemology under nonideal social conditions. For situations of sexual intimacy, for example, Lorde’s account unsettles prevailing assumptions about the role of consent in responsibility between sexual partners. I argue that obligations to solicit consent and respect refusal are not sufficient to acknowledge the value of agency in intimate encounters when agency is oppositional in the way Lorde describes. (shrink)

This study takes off from the ethical problem that racism grounded in population genetics raises. It is an analysis of four standard scientific responses to the problem of genetically motivated racism, seen in connection with the Human Genome Diversity Project (HGDP): (1) Discriminatory uses of scientific facts and arguments are in principle ‘misuses’ of scientific data that the researcher cannot be further responsible for. (2) In a strict scientific sense, genomic facts ‘disclaim racism’, which means that an epistemically correct (...) grasp of genomics should be ethically justified. (3) Ethical difficulties are issues to be ‘resolved’ by an ethics institution or committee, which will guarantee the ethical quality of the research scrutinized. (4) Although population genetics occasionally may lead to racism, its overall ‘value’ for humankind justifies its cause as a desirable pursuit. I argue that these typical responses to genetically motivated racism supervene on a principle called the ‘ethic of knowledge’, which implies that an epistemically correct account has intrinsic ethical value. This principle, and its logically related ideas concerning the ethic of science, effectively avoids a deeper ethical question of responsibility in science from being raised. (shrink)

While emancipatory ethical social media campaigns play an imperative role for fostering relationship and facilitating peace, limited research has examined the motivational response from peace-promoting viral videos. This research scrutinizes the effects of a viral video titled “Peace Anthem”: a mash-up between Pakistani and Indian national anthems, performed by famous artists and broadcasted in the wake of Independence Day in India and Pakistan. We examine the effect of listening to the anthem medley on relationship harmony using a longitudinal study (...) design and contribute to the burgeoning body of knowledge on peace music and relational musicology fostering relationship harmony. Study 1, consisting of 1048 cases, determines the effects of the likeability of the “Peace Anthem” and education on relationship harmony, and it also examines the moderating role of education. Study 2 with 605 cases investigates the persistency of these effects over time. The results demonstrate significant relationships between the likeability of the “Peace Anthem” and education with relationship harmony, as well as validate the moderating role of education. Although these effects decrease over time, there are noteworthy changes that consequently call for the persistence of ethical social media campaigns for stimulating peace. We discuss the policy implications of these findings and conclude with study limitations and recommendations for further research. (shrink)