If we can wrong a work of art, then it has moral status. This paper considers two examples of putative wrongings of works of art, but in both cases, the claim that the work of art itself is wronged cannot be vindicated. The sense that a work of art has been wronged arises when that work has a special meaning for us or has a special standing in a cultural context. There is nothing intrinsic to works of art that can (...) confer moral status upon them, and so they are not moral patients. (shrink)

A person points to a situation, A, and says that A is morally repugnant; A ought to be condemned; we should do something about A. In response, another person says, “Well, what about B? B is analogous to A in that it is equally morally repugnant. If we ought to condemn and do something about A then we should also condemn and do something about B.” This “what about” response is an argumentative strategy, sometimes called “whataboutery” or “whataboutism.” In popular (...) discussion, whataboutery is condemned as a fallacy, in particular an instance of the tu quoque fallacy. I will present an analysis of whataboutery showing that, to the degree that this is a fallacy, it is a red herring. But this argumentative move cannot always be dismissed as fallacious. Sometimes the imputation of fallacious reasoning attempts to cover over political commitments. (shrink)

This paper argues that cool is a virtue in a specific context: that of black Americans living under a specific modality of white supremacy. But cool is not merely a coping mechanism. A historical analysis of the term shows that cool is being unimpressed by, and calm in the face of, white supremacy. This is made manifest in a style, the “cool pose,” the sophistication of which is captured in the jazz of Lester Young and Miles Davis. Thus, cool is (...) both a virtue of character and a feature of black American aesthetics. But as a cultural phenomenon, it has been appropriated by white American culture. (shrink)