ABSTRACT There is growing interest in epistemic injustice and its connection to education. However, the relation between social studies and epistemic injustice has not yet been adequately explored and this topic has been given insufficient attention by social studies educators. But it is regarded as an important resource for students who are socially disadvantaged to render their experiences intelligible. However, due to its unique status, it has also been an effective tool for those who are in power and want to (...) maintain social inequalities. For that reason, social studies is the subject most likely to give rise to epistemic injustice in the classroom. In this paper, we address this issue that is currently coming to the fore in social studies. We argue that cultivating moral sensitivity plays a substantive role in overcoming epistemic injustice and this cultivation comes with shaping student’s schemas by integrating the interpretive resources into social studies. (shrink)

Social scripts, like A gives a compliment, B says ‘thank you’, pervade and shape natural language discourse and social interactions. Scripts usually promote cooperation between conversational participants, but not always. For example, if A pays B a ‘compliment’ like ‘nice legs’, A puts B in a double bind of either abiding by the compliment script by saying ‘thank you’ and being humiliated, or breaking the script and risking escalation. In this paper, I take a philosophical lens to the notion of (...) a social script. I give a theoretical overview of what it would mean to disrupt a social script and explain why and when it is prudential to do so. Then I give several examples of disruptions of social scripts. This essay makes four key contributions to the philosophical literature on social scripts: (1) it introduces a new distinction between interpersonal and structural scripts; (2) it illuminates how interpersonal social scripts can be pernicious by creating a double bind; (3) it analyzes what it is to disrupt a social script; and (4) in doing so, it challenges the orthodoxy about the relationship between cooperation and disruption in political action. (shrink)

Stephen Davies offers a compelling account of adornment as a form of aesthetic enhancement that aims either to intensify or to contribute to beauty and sublimit.

According to Miranda Fricker, being hindered from rendering something significant about oneself intelligible to someone constitutes a hermeneutical injustice only if it results from the hermeneutical marginalization of some group to which one belongs. A major problem for Fricker’s picture is that it cannot properly account for the paradigm case of hermeneutical injustice Fricker herself takes from Ian McEwan’s novel Enduring Love. In order to account properly for this case, I argue that being hindered from rendering something significant about oneself (...) intelligible to someone can constitute a hermeneutical injustice so long as it results from the hermeneutical marginalization of some group - whether or not one belongs to that group. One upshot is that Fricker’s distinction between systematic and incidental cases of hermeneutical injustice needs redrawing, and I show how this can be done. Another is that hermeneutical injustice is more widespread than Fricker recognizes. (shrink)

The topic of this article is the relationship of street art to both the street and the artworld. I take it as significant that philosophers have turned their attention to “street art” and not, say, “urban outdoor art” or “site-specific art in urban settings.” The “street” in street art seems to imply more than a location or geographic modifier. I consider the further significance of the “street” in street art, and the view, argued or assumed, of the street when philosophers (...) discuss street art. My second target in this article is what I have called the “discontinuity thesis.” This is the idea, defended or assumed in some of the most important philosophical writing about street art, that street art represents a radical break with the artworld and is “antithetical” to it. I argue that the discontinuity thesis is mistaken, and that to understand the larger institutional context of street art we must examine the sociology of artworlds. Street art has followed a familiar process and pioneering street artists are best seen as “mavericks” in Howard Becker’s sense. I argue that seeing street artists in this way can help better understand and appreciate their work. (shrink)

We are living in the era of street art. Since Nick Riggle’s pivotal work on the definition of street art, several philosophers have addressed issues in the philosophy of street art. The goal of this paper is to summarize the literature. I consider the following matters, which have been at the core of philosophical discussions on street art: demarcation, value, illegality, and the ethical foundation of intellectual property (IP) protection. In answering the question ‘What is street art?,’ philosophers have generally (...) resisted skeptical approaches by developing a wide range of real and essentialist definitions of street art (Section 2). When considering street art’s value, I distinguish between aesthetic and non-aesthetic centered accounts. If the former focus on the aesthetic side of our experience of street art, the latter generally place emphasis on its activist nature and political significance (Section 3). In discussing the relationship between street art and illegality, I canvas different takes on the issue. If for some scholars illegality is either a necessary or sufficient condition for street art, philosophers tend to agree that it is neither, while not denying its relevance at the level of identity and authenticity (Section 4). Finally, I consider matters of IP protection of street art. On the one hand, copyright optimists defend the view that current IP legislations may very well have a positive impact on the promotion and preservation of street art. Pessimists, on the other hand, argue that an extension of copyright privileges to works of street art is likely to jeopardize the counter-cultural and rebellious nature of this urban art kind (Section 5). (shrink)

Is graffiti writing creative activism? In this paper, I challenge commonly held beliefs that graffiti writing is politically inert. On the contrary, I argue that graffiti writing is an example of creative activism. Rather than being a narcissistic form of vandalism, primarily directed at increasing one’s fame in front of an esoteric group, that is, fellow writers, writing is a form of everyday resistance allowing its practitioners to challenge authoritarian power. In questioning dominant hierarchies, graffiti is a powerful tool to (...) help correct a specific instance of spatial injustice: the unequal distribution of access to urban surfaces for self-expression in the city, where corporations and political elites hold an unjustified monopoly over visual communication. (shrink)

The starting point of this paper are two views: on the one hand, two general claims about street art – a broad art category encompassing works of spray painting as well as of yarn bombing, paste ups as well as sculptural interventions, tags as well as stickers, and so on – and, on the other hand, a much more specific view about certain contemporary tags produced, roughly, over the past twenty years. The two general claims are, first, that all works (...) of street art are subversive (see, e.g., Bacharach 2015; 2018; Chackal 2016; Baldini 2015; 2016; 2017; 2018; Willard 2016), second, that works of street art are the result of acts of self-expression (Riggle 2016). The specific view about certain contemporary tags is that they are artworks, although they are not presented, mainly, for appreciation of aesthetic properties grounded in their perceptual properties, because they are works of conceptual street art (see Lewisohn 2010; JAK 2012). The key question of the paper concerns, however, not contemporary tags, but “very early tags” (VETs) – a term that I shall use to designate the extremely simple, unadorned tags that first appeared in the late 1960s and that some scholars consider as the historical predecessors of the various practices that today we group under the category “street art” (see, e.g., Young 2014; Gastman et al. 2015): should we regard VETs as artworks? On the one hand, VETs writers tend to answer this question in the negative, since they stress that they didn’t cast themselves as artists and often identify the first tags that are artworks with the graphically elaborated tags that begun to be seen around New York City and Philadelphia just a few years after the appearance of the first tags. On the other hand, already in the early 1970s, artists and intellectuals such as Norman Mailer and Gordon Matta-Clark seemed to hold the view that it was appropriate to regard both VETs and later tags as art, although they didn’t defend this thesis with argument. The view that some contemporary tags that are not presented, mainly, for appreciation of their aesthetic properties might be candidates for appreciation as works of conceptual art suggests a strategy for assessing the issue whether VETs are candidates for art appreciation: can we defend the claim that the extremely simple, unadorned VETs were presented for appreciation as works of conceptual street art? I argue that we have good reasons to hold this view. (shrink)