This paper aims to show that any account of how artworks lie must acknowledge (I) that artworks can lie at different levels of their content—what I call ‘surface’ and ‘deep’—and (II) that, for an artwork to lie at a given level, a norm of truthful communication such as Grice’s Maxim of Quality must apply to it. A corollary is that it’s harder than you might think for artworks to lie: Quality is not automatically ‘switched on’ during our engagement with art. (...) However, I show how a work’s curation and genre-membership can ‘switch on’ Quality, allowing artworks to lie at different levels. (shrink)

Some visual artworks constitute hate speech because they can perform oppressive illocutionary acts. This illocution-based analysis of art reveals how responsive curation and artmaking undermines and manages problematic art. Drawing on the notion of counterspeech as an alternative tool to censorship to handle art-based hate speech, this article proposes aesthetic blocking and aesthetic spotlighting. I then show that under certain conditions, this can lead to eventual metaphysical destruction of the artwork; a way to destroy harmful art without physically destroying it.

In a recent paper, James Edwin Mahon argues that literary artworks—novels in particular—never lie because they do not assert. In this discussion note, I reject Mahon’s conclusion that novels never lie. I argue that a central premiss in his argument—that novels do not contain assertions—is false. Mahon’s account underdetermines the content of literary works; novels have rich layers of content and can contain what I call ‘profound’ assertions, and ‘background’ assertions. I submit that Mahon therefore fails to establish that novels (...) never lie. (shrink)

Art viewers and critics talk as if visual artworks say things, express messages, or have meanings. For instance, Picasso’s 'Guernica' has been described as a “generic plea against the barbarity and terror of war”, forming a “powerful anti-war statement”. One way of understanding meaning in art is to draw analogies with language. My thesis explores how the notion of a speech act – an utterance with a performative aspect – can illuminate art’s power to ‘speak’. In recent years, philosophers of (...) art have explored speech act theory in relation to literary art, though barely at all in relation to visual art. Given the way we talk about painting, sculpture, installation, film, and photography, and given that artists have investigated performativity through their art, this neglect is surprising. My thesis develops two main arguments. First, artwork meaning is active. I argue that visual artworks, under certain conditions, are speech acts. They have propositional content, and they have a certain force: they can do things such as assert, protest, and criticise – things we would normally do with words. I defend these contested claims against several dissenters, and explore some consequences: in particular, I explore how art can lie, a hitherto neglected question. Second, artwork meaning is flexible. I argue that what an artwork says and does is affected by the context in which it’s displayed, and in particular, by its curation. As a result, an artwork’s content and force can vary from context to context. This goes against a dominant view in the philosophy of art – what I call ‘Originalism’ – that the meaning of an artwork is fixed by factors which held at the time of the work’s creation, and so cannot change across time. I argue that this is mistaken: artworks can change in meaning. Curatorial factors can affect an artwork’s content and force, and consequently its social effects. It is known that our verbal speech has the power to oppress and liberate people in a society. My thesis aims to show that art also has this power to shape society; through what it says, and through what it does. (shrink)

Controversy persists over the ethics of compensating research participants and providing posttrial benefits to communities in developing countries. Little is known about residents' views on these subjects. In this study, interviews about compensation and posttrial benefits from a hypothetical HIV vaccine trial were conducted in Uganda’s Rakai District. Most respondents said researchers owed the community posttrial benefits and research compensation, but opinions differed as to what these should be. Debates about posttrial benefits and compensation rarely include residents' views like these, (...) but future ones should. (shrink)

The purpose of this paper is to review and discuss Luciano Floridi’s 2019 book The Logic of Information: A Theory of Philosophy as Conceptual Design, the latest instalment in his philosophy of information (PI) tetralogy, particularly with respect to its implications for library and information studies (LIS) .

Purpose – To review and discuss Luciano Floridi’s 2019 book The Logic of Information: A Theory of Philosophy as Conceptual Design, the latest instalment in his philosophy of information (PI) tetralogy, particularly with respect to its implications for library and information studies (LIS). Design/methodology/approach – Nine scholars with research interests in philosophy and LIS read and responded to the book, raising critical and heuristic questions in the spirit of scholarly dialogue. Floridi responded to these questions. Findings – Floridi’s PI, including (...) this latest publication, is of interest to LIS scholars, and much insight can be gained by exploring this connection. It seems also that LIS has the potential to contribute to PI’s further development in some respects. Research implications – Floridi’s PI work is technical philosophy for which many LIS scholars do not have the training or patience to engage with, yet doing so is rewarding. This suggests a role for translational work between philosophy and LIS. Originality/value – The book symposium format, not yet seen in LIS, provides forum for sustained, multifaceted and generative dialogue around ideas. (shrink)

Philosophical analysis of metaphor in the non-linguistic arts has been biased towards what I call the ‘aesthetic metaphor’: metaphors in non-linguistic art are normally understood as being completely formed by the work'sinternalcontent, that is, by its perceptual and aesthetic properties such as its images. I aim to unearth and analyse a neglected type of metaphor also used by the non-linguistic arts: the ‘artistic metaphor’, as I call it. An artistic metaphor is composed by an artwork's internal content, but also by (...) itsexternalcontent, which is provided by the work's artistic properties such as its history. The artistic metaphor has been gestured at but not afforded a considered analysis; I aim to do this. Identifying the artistic metaphor has at least two benefits. It shows how curation plays a role in generating metaphors in artworks, which has been overlooked, and it illuminates a potentially powerful tool to interpret and understand ‘conceptual’ art. (shrink)

Journalists in many Afiican countries have long been caught between differing ideals i n their relationship between press and government. Two models viefor dominance-the western, libertarian and development journalism models. This article uses Walzer's (1983) theory of distributive justice to illuminate the ethical significance of this debate. A t issue is political power. A case study of the 1996 proposed press law i n Kenya illustrates the ethical arguments mounted for each press model and how the arguments are marshaled not (...) necessarily for moral purposes but to gain political advantage. Finally, a viable third alternative avoids a false dilemma between the libertarian and development journalism models. Communitarianism preserves the independence from government SO central to the libertarian model while providing a basis for activist journalism. (shrink)

No consensus has been reached about the reconstruction of Euripides' fragmentary tragedyBellerophon, but two suggestions have not received the serious attention they deserve. The first is that Stheneboea is a character in the play, and the second that Euripides does not depict Bellerophon as an atheist or an impious hero. In this paper, I shall reconsider both of these suggestions. In fact, the addition of Stheneboea to thedramatis personaeallows us to correct the second problem, as I shall propose that Stheneboea, (...) not Bellerophon, speaks the infamous atheistic fragment. (shrink)

_ Source: _Volume 5, Issue 2, pp 251 - 272 The old _Das Adam Smith Problem_ is no longer tenable. Few today believe that Smith postulates two contradictory principles of human action: one in the _Wealth of Nations_ and another in the _Theory of Moral Sentiments_. Nevertheless, an Adam Smith problem of sorts endures: there is still no widely agreed version of what it is that links these two texts, aside from their common author; no widely agreed version of how, (...) if at all, Smith's postulation of self-interest as the organising principle of economic activity fits in with his wider moral-ethical concerns. We argue that the enduring Adam Smith problem may be solved by recourse to a realist perspective that recognises the different levels of social reality to which Smith refers in his discourse. Essential to Smith, we try to show, is the action-theoretic distinction between motive and capacity; between a typology of empirical human acts, on the one hand—self-love and benevolence in Smiths terminology—and the condition of possibility of all human action—what Smith calls the sympathetic principle—on the other. (shrink)

I write this while listening to Michael Jackson's Beat It (1982). The song fills me with joy, confidence, and nostalgia. As well as being a musical marvel, it t.

We’ve been led to believe that museums are temples of knowledge. The historical ideal of the European museum has been to improve us morally by educating us about the globe’s myriad different cultures, creative practices, and belief systems. We’re taught that museum spaces are neutral: that they represent the world from an ‘objective’ point of view. But we have been lied to.As art historian Alice Procter shows in this incisive book, Western museums fall devastatingly far from this ideal. They do (...) not merely represent the harms done by colonialist forces; they perpetuate them. Museums tell us stories about their objects on display—many stolen from their original homes—and push narratives which, often subtly, express harmful ideologies about cultures ‘discovered’ in the Age of Imperialism. As viewers, our perception is narrowed and moulded while the voices of the displayed marginalized identities are silenced.Procter takes us on one of her ‘Uncomfortable Art Tours’, guiding us through four types of museum, presenting a selection of objects ranging from a Gweagal Shield to art performances of human zoos, each with their own sobering story. Procter sensitively reveals the histories and meanings behind these pieces, which are often obscured or overlooked, to highlight the imperial and colonial reality of our art collections. Part 1 opens with the ‘Palace’; spaces which functioned as homages to a collector’s taste, often an aristocrat or royal, who displayed their private collections in an attempt to shape the taste of elite audiences. Part 2 takes us to the ‘Classroom’, a didactic space which sees the origin of categorization—taxonomy sinisterly extended to notions of race, pre-empting nineteenth-century eugenics. Part 3 presents the solemn ‘Memorial’ space, a site for remembrance and display of human remains. Part 4 closes with the ‘Playground’, a self-reflexive space of activism and social art, which challenges the museum institution itself. (shrink)