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)

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)

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.

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)

'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)

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.

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)

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

An important line of response to scepticism appeals to the best explanation. But anti-sceptics have not engaged much with work on explanation in the philosophy of science. I plan to investigate whether plausible assumptions about best explanations really do favour anti-scepticism. I will argue that there are ways of constructing sceptical hypotheses in which the assumptions do favour anti-scepticism, but the size of the support for anti-scepticism is small.

Hick addresses many of the major issues posing challenges to contemporary Christian belief, and offers his much-debated proposal for a Copernican revolution in our understanding of Christianity and the wider religious life of humanity.

This article makes the political dimension of Gadamer's thought more explicit by examining the interplay of three concepts in his work: solidarity, friendship, and the other. Focusing primarily on certain post--"Truth and Method" writings, I argue that Gadamer's conception of solidarity has to do with historically contingent manifestations of bonds that reflect a civic life together of reciprocal co-perception. These bonds go beyond conscious recognition of observable similarities and differences and emerge from encounters among those who are, and remain, in (...) important ways other to each other. I make this case through an analysis of Gadamer's phenomenology of friendship and the crucial role of otherness in his accounts of both understanding and friendship. I suggest that Gadamer's political thought gives us a way of conceptualizing solidarity and otherness without making the other same or leaving the other completely other. (shrink)

The best way to divide control over children’s education between private and state authorities is unclear. This task has ethical implications that this thesis explores—in the context of a pluralist liberal democracy. In cases where authority over children’s education is granted to private groups, like ethnic or religious minorities, rights are often part of the default vocabulary adopted by politically liberal commentaries. These rights are often viewed as a shield that offers the group immunity from state interference. Some illiberal minority (...) groups argue that they need to be shielded from state interference because the persistence of their cultural or religious identity depends on it. For example, the Amish community in Wisconsin argued in Wisconsin v. Yoder that the future of their community would be jeopardized if they were forced to send their children to school beyond the age of fourteen. While a rights-based approach does explain many of the variables connected with cases like these, the explanation is incomplete. I will offer two clarifications to the rights-based view. First, in the event that a minority group is shielded from state interference, it is not clear that it would be morally legitimate for the group to take over the authority of the state. I will, then, offer a plausible theory that could justify the self-governing authority of minority groups in these situations. My second clarification is that the concept of individual autonomy, often the central liberal value protected by rights, is too broad to support a zero-tolerance approach toward illiberal groups. This indicates that illiberal minority groups might still have a claim to self-governing authority even though they arguably interfere with the autonomy of their children. Some interference with minor elements of individual autonomy should arguably be tolerated in cases where the ruination or assimilation of the group’s unique culture or religion is at stake. (shrink)

Whilst continuing racism is often invoked as evidence of the urgent need for Philosophy for Children, there is little in the current literature that addresses the topic. Drawing on Critical Race Theory and the related field of Critical Whiteness Studies , I argue that racism is deeply ingrained culturally in society, and best understood in the context of ‘Whiteness’. Following a CRT-informed analysis of two picturebooks that have been recommended as starting points for philosophical enquiry into multiculturalism, racism and diversity (...) – ‘Elmer’ and ‘Tusk Tusk’ by David McKee, I argue that whilst the use of stories with animals is commonly regarded as offering children the comfort of distance from emotionally challenging topics, this has the effect of separating racism from its temporal and spatial realities, which limits rather than enhances opportunities for engaging philosophically with it. I argue in favour of the practice of ‘reading against the text’ and consider the epistemological and practical obstacles to this practice drawing on my own experiences discussing race with P4C practitioners in the UK. I attempt to illustrate how the selection of recommended materials, combined with commonly held principles of P4C, make for a climate where a philosophical engagement with race and racism that considers the discourse of ‘Whiteness’ is highly unlikely to occur. This leads me to posit the idea of The Gated Community of Enquiry. (shrink)

ABSTRACT Hegel gave the bureaucracy a distinctively corporatist and collegiate structure and insulated it from legislative control. The close match between these features of the Philosophy or Right and the structure of the Prussian bureaucracy, which had been used by reformers to insulate progressive decisions from Junker resistance, suggests that Hegel, too, wanted the bureaucracy to spearhead reform within a hostile environment.

This paper examines how the exercises offered to the young Socrates in the Parmenides can be understood as an educational practice, or a gymnastic that is prior to and instrumental for defining forms. To this end, I argue that the subject of the exercises given to Socrates can be understood as an open and indeterminate ‘one’, rather than a form per se. I show that the description of the gymnastic exercises, the demonstration of the hypotheses themselves, and the language concerning (...) the ‘one’, are consistent with an indeterminate subject ‘one’. (shrink)

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)

Biomedical ontologies are emerging as critical tools in genomic and proteomic research where complex data in disparate resources need to be integrated. A number of ontologies exist that describe the properties that can be attributed to proteins; for example, protein functions are described by Gene Ontology, while human diseases are described by Disease Ontology. There is, however, a gap in the current set of ontologies—one that describes the protein entities themselves and their relationships. We have designed a PRotein Ontology (PRO) (...) to facilitate protein annotation and to guide new experiments. The components of PRO extend from the classification of proteins on the basis of evolutionary relationships to the representation of the multiple protein forms of a gene (products generated by genetic variation, alternative splicing, proteolytic cleavage, and other post-translational modification). PRO will allow the specification of relationships between PRO, GO and other OBO Foundry ontologies. Here we describe the initial development of PRO, illustrated using human proteins from the TGF-beta signaling pathway. (shrink)