Open Access: This article argues for an aesthetic approach to resisting oppression based on judgments of bodily unattractiveness. Philosophical theories have often suggested that appropriate aesthetic judgments should converge on sets of objects consensually found to be beautiful or ugly. The convergence of judgments about human bodies, however, is a significant source of injustice, because people judged to be unattractive pay substantial social and economic penalties in domains such as education, employment and criminal justice. The injustice is compounded by the (...) interaction between standards of attractiveness and gender, race, disability, and gender identity. -/- I argue that we should actively work to reduce our participation in standard aesthetic practices that involve attractiveness judgments. This does not mean refusing engagement with the embodiment of others; ignoring someone’s embodiment is often a way of dehumanizing them. Instead, I advocate a form of practice, aesthetic exploration, that involves seeking out positive experiences of the unique aesthetic affordances of all bodies, regardless of whether they are attractive in the standard sense. I argue that there are good ethical reasons to cultivate aesthetic exploration, and that it is psychologically plausible that doing so would help to alleviate the social injustice attending judgments of attractiveness. -/- This essay was the winner of the 30th Anniversary of the American Society for Aesthetics Feminist Caucus Committee Feminist Research Essay prize in 2020. (shrink)

The theory of visual perception that Irvin Rock develops and supports in this book with numerous original experiments, views perception as the outcome of a process of unconscious inference, problem solving, and the building of structural descriptions of the external world.

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors in (...) philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

Irvine looks at various Stoic techniques for attaining tranquility and shows how to put these techniques to work in our own life.

A methodology is shown to evaluate the quality of the continuous improvement plans in schools of the upper medium type. For this, a rubric validated by expert judgment and Alpha de Crombach was prepared. The results obtained show the distribution of the quality level of the PMC, as well as the most recurring errors during the planning process.

Sloman suggests that although many try to model consciousness as a unitary and abstract entity, the project is an incoherent one. This claim will be supported, but it will also be argued that current movements in consciousness research are broadly consistent with Sloman's "alternative" suggestions of how best to make progress in this area.

Consciousness is now a hot topic in both philosophy and the cognitive sciences, yet there is much controversy over how to measure it. First, it is not clear whether biased subjective reports should be taken as adequate for measuring consciousness, or if more objective measures are required. Ways to benefit from the advantages of both these measures in the form of ‘Type 2’ metacognitive measures are under development, but face criticism. Research into neurophysiological measures of consciousness is potentially very valuable, (...) but often hindered by its dependence on behavioural measures that are themselves controversial. Newer informational measures are theoretically interesting, but as yet not easily applicable, while other measures of consciousness are designed for application in clinical cases . Although much optimism accompanies research into measures of consciousness, the controversies and methodological problems reviewed here suggest that making progress in this area may be more difficult than is often acknowledged. (shrink)

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

Block [Block, N. . Two neural correlates of consciousness. Trends in Cognitive Science, 9, 46–52] and Snodgrass claim that a signal detection theory analysis of qualitative difference paradigms, in particular the exclusion failure paradigm, reveals cases of phenomenal consciousness without access consciousness. This claim is unwarranted on several grounds. First, partial cognitive access rather than a total lack of cognitive access can account for exclusion failure results. Second, Snodgrass’s Objective Threshold/Strategic model of perception relies on a problematic ‘enable’ approach to (...) perception that denies the possibility of intentional control of unconscious perception and any effect of following different task instructions on the presence/absence of phenomenal consciousness. Many of Block’s purported examples of phenomenal consciousness without cognitive access also rely on this problematic approach. Third, qualitative difference paradigms may index only a subset of access consciousness. Thus, qualitative difference paradigms like exclusion failure cannot be used to isolate phenomenal consciousness, any attempt to do so still faces serious methodological problems. (shrink)

Insults are part of the fabric of daily life. But why do we insult each other? Why do insults cause us such pain? Can we do anything to prevent or lessen this pain? Most importantly, how can we overcome our inclination to insult others? In A Slap in the Face, William Irvine undertakes a wide-ranging investigation of insults, their history, the role they play in social relationships, and the science behind them. He examines not just memorable zingers, such as (...) Elizabeth Bowen's description of Aldous Huxley as "The stupid person's idea of a clever person," but subtle insults as well, such as when someone insults us by reporting the insulting things others have said about us: "I never read bad reviews about myself," wrote entertainer Oscar Levant, "because my best friends invariably tell me about them." Irvine also considers the role insults play in our society: they can be used to cement relations, as when a woman playfully teases her husband, or to enforce a social hierarchy, as when a boss publicly berates an employee. He goes on to investigate the many ways society has tried to deal with insults-by adopting codes of politeness, for example, and outlawing hate speech-but concludes that the best way to deal with insults is to immunize ourselves against them: We need to transform ourselves in the manner recommended by Stoic philosophers. We should, more precisely, become insult pacifists, trying hard not to insult others and laughing off their attempts to insult us.A rousing follow-up to A Guide to the Good Life, A Slap in the Face will interest anyone who's ever delivered an insult or felt the sting of one--in other words, everyone. (shrink)

Snodgrass et al.’s commentary makes explicit one of the major problems in consciousness research; that there seem to be just as many definitions of basic terms are there are people in the field. Although Snodgrass et al.’s position appears at odds with the views expressed in Irvine , many of their arguments are actually consistent with the proposed views, or else fail to engage with them as a consequence of the shifting goal posts of what basic terms mean.

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

Arien Mack and Irvin Rock make the radical claim that there is no conscious perception of the visual world without attention to it.

Ethical medical care of pregnant women in Australia should include the real provision of information regarding the risks and benefits of vaginal birth. Routinely obtaining consent for the different ways in which childbirth is commonly intervened on and the assistance involved (such as midwife-led care or a planned caesarean section) and providing sufficient information for women to evaluate the harms and benefits of the care on offer, would not only enable the empowerment of women but would align with the current (...) standard of care as established by Rogers v Whittaker. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

The source of endless speculation and public curiosity, our scientific quest for the origins of human consciousness has expanded along with the technical capabilities of science itself and remains one of the key topics able to fire public as much as academic interest. Yet many problematic issues, identified in this important new book, remain unresolved. Focusing on a series of methodological difficulties swirling around consciousness research, the contributors to this volume suggest that ‘consciousness’ is, in fact, not a wholly viable (...) scientific concept. Supporting this ‘eliminativist‘ stance are assessments of the current theories and methods of consciousness science in their own terms, as well as applications of good scientific practice criteria from the philosophy of science. For example, the work identifies the central problem of the misuse of qualitative difference and dissociation paradigms, often deployed to identify measures of consciousness. It also examines the difficulties that attend the wide range of experimental protocols used to operationalise consciousness—and the implications this has on the findings of integrative approaches across behavioural and neurophysiological research. The work also explores the significant mismatch between the common intuitions about the content of consciousness, that motivate much of the current science, and the actual properties of the neural processes underlying sensory and cognitive phenomena. Even as it makes the negative eliminativist case, the strong empirical grounding in this volume also allows positive characterisations to be made about the products of the current science of consciousness, facilitating a re-identification of target phenomena and valid research questions for the mind sciences.​. (shrink)

Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their (...) work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it. (shrink)

How have the world's great thinkers, politicians, mathematicians, and religious figures reached their transformative moments of insight? Are there lessons to be learned from their experiences? William B. Irvine takes up these questions and others that relate to what he calls "aha moments," guiding us through the most striking examples of instantaneous intellectual breakthroughs that have shaped human civilization.

This paper argues for a position of ‘dark pessimism’ towards introspective reports playing a strong justificatory role in consciousness science, based on the application of frameworks and concepts of measurement. I first show that treating introspective reports as measurements fits well within current discussions of the reliability of introspection, and argue that introspective reports must satisfy at least a minimal definition of measurement in order to play a justificatory role in consciousness science. I then show how treating introspective reports as (...) measurements makes it possible to identify the foundational methodological problems that underlie much of the current philosophical and scientific debate about the status of introspective evidence in studying consciousness. I argue that these problems prevent introspective reports from playing a strong justificatory role and resolving long-standing debates in consciousness science, both in contemporary work and in the future. (shrink)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)