Media and Moral Education demonstrates that the study of philosophy can be used to enhance critical thinking skills, which are sorely needed in today’s technological age. It addresses the current oversight of the educational environment not keeping pace with rapid advances in technology, despite the fact that educating students to engage critically and compassionately with others via online media is of the utmost importance. -/- D’Olimpio claims that philosophical thinking skills support the adoption of an attitude she calls critical perspectivism, (...) which she applies in the book to international multimedia examples. The author also suggests that the Community of Inquiry – a pedagogy practised by advocates of Philosophy for Children – creates a space in which participants can practise being critically perspectival, and can be conducted with all age levels in a classroom or public setting, making it beneficial in shaping democratic and discerning citizens. -/- This book will be of interest to academics, researchers and postgraduate students in the areas of philosophy of education, philosophy, education, critical theory and communication, film and media studies. (shrink)

Trust is vital for individuals to flourish and have a sense of well-being in their community. A trusting society allows people to feel safe, communicate with each other and engage with those who are different to themselves without feeling fearful. In this paper I employ an Aristotelian framework in order to identify trust as a virtue and I defend the need to cultivate trust in children. I discuss the case study of Buranda State School in Queensland, Australia as an instance (...) of successful school reform that reinstates trust in an educational setting. Buranda makes use of the community of inquiry (CoI) pedagogy practiced by advocates of philosophy for children (P4C). Educators may create a safe space in the classroom by using the CoI and giving children the chance to voice their ideas and build upon, as well as question, those of others in a democratic and respectful manner. Through this pragmatic dialogue, trust may be established, along with a sense of belonging that supports well-being in the classroom as well as in life. (shrink)

Social media is a key player in contemporary political, cultural and ethical debates. Given much of online engagement is characterised by impulsive and emotive responses, and social media platforms encourage a form of sensationalism that promotes epistemic vices, this paper explores whether there is space online for moral responses. This paper defends the need for moral engagement with online information and others, using an attitude entitled ‘critical perspectivism’. Critical perspectivism sees a moral agent adopt a critical eye, supplemented by a (...) caring disposition, when engaging with interactive digital media and the stories of others that are technologically mediated. Such an ethical attitude is required given our globally connected, technological world features new versions of recognisable challenges to democracy and the reasonableness of citizens. There is a vital role for educationalists to play in teaching and making space and time for students to practice being critically perspectival. (shrink)

There is a debate within philosophy of literature as to whether narrative artworks should be judged morally, for their ethical value, meaning and impact. On one side you have the aesthetes, defenders of aestheticism, who deny the ethical value of an artwork can be taken into consideration when judging the work’s overall aesthetic value. Richard Posner backs artists such as Oscar Wilde who famously wrote, ‘there is no such thing as a moral or an immoral book. Books are well written, (...) or badly written. That is all’. On the other side of the debate are proponents of ethical criticism such as Martha Nussbaum, Wayne Booth, Noël Carroll and Mary Devereaux. This article examines the educational implications of each position and ultimately defends the importance of moral education alongside aesthetic education. Given artworks are powerful vehicles for moral sentiments and meaning, it is important that viewers are taught to engage critically with art’s ethical features as well as aesthetic features. In this way, educational concerns pose a challenge to the position of aestheticism. (shrink)

There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of (...) reality. Adorno worries about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-WWII is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed story-telling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin 's theories of mass art. (shrink)

Educating against extremism doesn't just involve seeking to prevent individuals from becoming extremists or radicalized, although that, of course, is a significant concern. There is also an important role for education in teaching the rest of us, the general populace, the best way to react and respond when we learn of a terrorist attack or consider the potential risk of violent extremism in our community, or even worldwide, given we are connected globally via technology. In this article, Laura D'Olimpio argues (...) that educators have a central role to play in teaching young people to respond to the news of violent extremism and the worry about terrorists and terrorism in ways that support our sense of community and personal well-being. Among the ways in which educators may support such aims is by educating the emotions. There are practical and moral reasons to temper our fearful reactions, and it is in our best interest to educate pupils to avoid allowing fear of terrorists or violent extremism to interfere with their daily lives and actions. D'Olimpio claims that our best response to extremism, both representationally and practically, is to refuse to be terrified. By not being overwhelmed by fear or altering our day-to-day activities, we not only better support a well-functioning democracy and our own happiness or flourishing, but we also disempower rather than empower extremists. (shrink)

Educating against extremism doesn't just involve seeking to prevent individuals from becoming extremists or radicalized, although that, of course, is a significant concern. There is also an important role for education in teaching the rest of us, the general populace, the best way to react and respond when we learn of a terrorist attack or consider the potential risk of violent extremism in our community, or even worldwide, given we are connected globally via technology. In this article, Laura D'Olimpio argues (...) that educators have a central role to play in teaching young people to respond to the news of violent extremism and the worry about terrorists and terrorism in ways that support our sense of community and personal well-being. Among the ways in which educators may support such aims is by educating the emotions. There are practical and moral reasons to temper our fearful reactions, and it is in our best interest to educate pupils to avoid allowing fear of terrorists or violent extremism to interfere with their daily lives and actions. D'Olimpio claims that our best response to extremism, both representationally and practically, is to refuse to be terrified. By not being overwhelmed by fear or altering our day-to-day activities, we not only better support a well-functioning democracy and our own happiness or flourishing, but we also disempower rather than empower extremists. (shrink)

ABSTRACTAs our technology rapidly advances, designer babies and other bioethical issues are fast becoming possible. Instead of solely being considered in economic terms, or in terms of accuracy and desirability, ethical questions should also be asked such as ‘is this a good thing to do?’. This article considers whether moral people would ‘design’ and genetically engineer their babies and applies the moral theories of virtue ethics, deontology and utilitarianism to help guide our ethical decision-making in relation to this complex issue. (...) Even if we can do something, we should pause and consider whether or not we should. (shrink)

The point of education is to support students to be able to live meaningful, autonomous lives, filled with rich experiences. The arts and aesthetic education are vital to such flourishing lives in that they afford bold, beautiful, moving experiences of awe, wonder and the sublime that are connected to the central human functional capability Nussbaum labels senses, imagination and thought. Everyone ought to have the opportunity to learn about art, to appreciate and create art, to critique art and to understand (...) how we are connected to the culture of our society. A life without art is unimaginable, and to the extent that people lack aesthetic experiences, their lives are impoverished, not ‘fully human’. Given that the distinctive value of art objects is that they afford aesthetic experience, it is upon this foundation that an argument ought to be mounted as to why schooling needs the arts, specialised teachers, and all students deserve aesthetic education. Therefore, in this paper, I offer a defence of compulsory aesthetic education across the curriculum on the basis of the aesthetic experiences the arts afford, and the central role such experiences play in eudaimonia—the flourishing life. (shrink)

Ethical debate about the use of animals in science is argued within different ethical frameworks; mainly utilitarianism, deontology, relativism or emotional ethics, with some debaters preferring particular frameworks. Stakeholders to the debate are veterinarians, scientists using animals, animal welfare groups and the general public. To estimate the balance of ethical frameworks used, we ran a discourse analysis of written texts by each stakeholder . The discourse analysis targeted the description of animals, instances of emotional language and language associated with utilitarianism, (...) deontology and relativism. Frequencies were compared using ANOVAs and Tukey tests. All stakeholders used words associated with all frameworks but emotional language was the most used followed by utilitarian , relativist and deontological language. Emotional language was used in texts from the general public more than in texts from veterinarians and scientists and animal welfare representatives . Animals were mainly described in a utilitarian way , more frequently by scientists than the general public . All stakeholders preferentially used negative emotional language when referring to animals than positive , and all stakeholders prioritised human interests over animals . Not surprisingly, a mixture of ethical frameworks were used to assess the ethics of animal experimentation. However, the language used in texts from animal welfare groups and the general public suggest that those two groups preferentially build arguments with emotion rather than utilitarianism, a framework that is privileged by veterinarians and scientists since they primarily use animals. (shrink)

In Australia, the ethics of the use of animals for scientific purposes are assessed by Animal Ethics Committees that are comprised of the four major parties involved in the animal experimentation debate: veterinarians, scientists using animals, animal welfare representatives and members of the public. AECs are required to assess animal experiments as ethical based on a cost/benefit analysis, suggesting the use of consequentialist ethics. However, people are more likely to use a mixture of frameworks when making ethical decisions. Therefore, we (...) hypothesised that AEC members will make their decisions using argumentation relying on multiple frameworks, including ethical relativism, deontology and emotional ethics; frameworks commonly used in the public debate about animal experimentation. The language used by AEC members, examined using discourse analysis techniques, can indicate which ethical frameworks they rely upon. Using a role playing method, representatives from each of the four AEC categories discussed the ethical value of eight fictional protocols involving animal experimentation. The discussions were recorded and analysed using Nvivo for instances of emotional and ethical language. Data were analysed using ANOVAs and Tukey tests. Emotional language was more common than ethical language (p. (shrink)

This volume investigates the role of the arts in character education. Bringing together insights from esteemed philosophers and educationalists, it looks to the arts for insight into human character and explores the arts' relationship to human flourishing and the development of the virtues. Focusing on the moral value of art and considering questions of whether there can be educational value in imaginative and non-narrative art, the nine chapters herein critically examine whether poetry, music, literature, films, television series, videogames, and even (...) gardening may improve our understanding of human character, sharpen our moral judgement, inculcate or refine certain skills required for virtue, or perhaps cultivate certain virtues themselves. Bringing together research on aesthetics, ethics, moral and character education, this book will appeal to students, researchers and academics of philosophy, arts, and education as well as philosophers of education, morality, aesthetics, and teachers of the arts. (shrink)

In A Theory of Moral Education, Michael Hand defends the importance of teaching children moral standards, even while taking seriously the fact that reasonable people disagree about morality. While I agree there are universal moral values based on the kind of beings humans are, I raise two issues with Hand’s account. The first is an omission that may be compatible with Hand’s theory; the role of virtues. A role for the cultivation of virtues and rational emotions such as compassion is (...) vital in accounting for the emotional aspect of morality. The second issue pertains to Hand’s foundational premise of human beings’ rough equality. Following Martha Nussbaum, I argue that contractarian approaches must be critically evaluated to ensure the social contract properly includes and accounts for the human dignity of those who are typically excluded from the benefits of society. Hand’s justificatory arguments rely upon a contractarian premise, and the contract itself needs scrutiny and adjustment if it is to support a viable theory of moral education. (shrink)

The Affect of good artworks can be difficult to explain or describe, particularly in relation to conceptual art. The experiential process of engaging with an artwork involves the spectator perceiving the physical art object as well as receiving a concept. For an aesthetic experience to result, or for the viewer to be affected, the artist must be skilled and the receiver must adopt the relevant attitude. Many theorists argue that the correct attitude to adopt is one that is objective and (...) ‘disinterested’. I argue that a ‘loving’ attitude, in the Iris Murdoch / Martha Nussbaum sense derived from an ethics of care / virtue ethics framework is also appropriate when engaging with art in order to achieve an aesthetic affect. This open, caring attitude requires the receiver to be receptive to the concepts contained within the work as well as its formal features. If the concepts implored are ethical or social, a disinterested attitude may impede the appropriate up-take of intended affect. Therefore, I argue that pure aesthetes are misguided when they take their ‘disinterested’ attitude too far and argue that ethical judgements do not apply to art qua art. If the artist is making an ethical point, or if the concept involved relies on ethics, then a caring critique is not a contradiction in terms; the viewer is encouraged to adopt multiple perspectives in order to get closer to an objective whole. I will explore the notion of affect through the art of a contemporary, conceptual Western Australian artist, Steven Morgana. (shrink)

Empirical evidence advancing the theory of anthropogenic climate change and resultant policy action has been framed through the perspectives of scientists, economists and politicians; the ultimate objective being to minimise the risk of dangerous climate change through the reduction of GHG emissions. However, policies designed to reduce carbon pollution have utilised cost benefit analysis , largely ignoring ethical implications of such actions. This has resulted in a climate debate that sidelines the moral and social considerations of the suggested actions designed (...) to reduce the impact of dangerous climate change. Special interest groups have focussed on subjective interpretations of objective statistics, resulting in an extreme polarisation of viewpoints, pitting climate change deniers against politico-economic rationalists, with climate scientists largely sitting on the sidelines. There has, however, been a recent shift in the science of climate change acknowledging that, “many profound ethical questions are hidden in scientific and economic arguments about various climate change policy proposals” ‘White Paper on the Ethical Dimensions of Climate Change’, Rock Ethics Institute, Penn State University). We wish to promote an inter-disciplinary approach to the ethical considerations of climate change and situate the debate within a ‘real world’ context to enable people to link evidence and resultant policy to their own moral responsibility as ‘global citizens’. By placing reliable scientific information within a holistic framework, scientific outcomes with a high level of certainty may be conveyed within a wider perspective that includes ethical and social considerations, resulting in a stronger claim for practical outcomes with respect to climate change solutions. This can be used to support policies that are practical as well as moral. (shrink)

Much of the current philosophy of film literature follows Walter Benjamin’s optimistic account and sees film as a vehicle for screening philosophical thought experiments, and offering new perspectives on issues that have relevance to everyday life. If these kinds of films allow for philosophical thinking, then they are like other so-called ‘high’ artworks in that they encourage social, political and economic critique of social norms. Yet, most popular films that are digested in large quantities are not of a high aesthetic (...) or moral quality. Theorists who conceive of cinema as a means of thinking must firstly reply to the objections that most films simply do not encourage active, intelligent, imaginative participation. Prior to the publication of Deleuze’s cinema books, theorists such as T. W. Adorno feared the advent of the Hollywood Studio film as akin to Nazi propaganda. Dismissed as elitist, their concern was that mass produced and distributed artworks portrayed the depicted social norms as immutable reality. If the imagination cannot enter and engage with the messages depicted through the filmic medium, i.e. through montage or similar ‘shock’ techniques, then viewers cannot critique the moral and social status quo screened; instead, they simply receive it, and it is reinforced. If we consider how passive cinematic viewers are, voyeuristically ensconced in a darkened theatre, we can see the concern here. If only some films allow for critique of social, political and economic norms in society, and these films are attended by those viewers who are already critical viewers, then how is film more generally a tool for thinking? If we are to honestly discuss the filmic medium, we must acknowledge the Hollywood blockbusters that stifle imaginative engagement with their narratives and often depict stereotypes. I argue that we need to read Adorno alongside Benjamin, in order to acknowledge the positive as well as negative attributes of films. In doing this we see the need to focus on the critical attitude of the viewer, as well as the moral messages of the film, particularly when we consider what the majority of consumers willingly ingest uncritically. Adorno and Benjamin both offer a historical account of art whereby their aesthetics require audience reception and are linked to experience. The way art is tied to human experience and the world of sensory perception is through language. Language allows the communication of ideas or referents which convey meaning via signs that contain some kind of ‘truth’ in the form of a cognitive component that must be interpreted. While there are many different stories being told in contemporary culture, the focus on the critical thinker, the interpreter of the narrative, is vital. (shrink)

This article reflects on the ‘Philosophy and Gender’ project, which introduced the pedagogical technique known as the ‘Community of Inquiry’ into an undergraduate Gender and the Law course at the University of Western Australia. The Community of Inquiry is a pedagogy developed by Matthew Lipman in the discipline of Philosophy that facilitates collaborative and democratic philosophical thinking in the context of teaching philosophy in schools. Our project was to see if this pedagogy could advance two objectives in Gender and the (...) Law at undergraduate level: ‘reflexive thinking’ and ‘standpoint thinking’. We conclude that the Communities of Inquiry had a significant influence on the development of ‘reflexive thinking’ but appeared to have limited influence on the development of ‘standpoint thinking’. Here we provide a practitioner reflection on an exploratory new approach to teaching in a tertiary setting, with a view to setting an agenda for more systematic research in the future. (shrink)

What is knowledge? What makes me, me? Do we have free will? People have been asking such fundamental questions about the nature of reality for centuries, but how can they help us make sense of our existence in a 21st-century world of social media, cyber wars, cloning, artificial intelligence and virtual reality? Short Cuts: Philosophy provides the map you need to travel beyond traditional foundations and explore a diverse array of deep thinkers. Soul-searching questions prompt 'short cut' answers written by (...) experts in their field, with each one the setting-off point for instructions that plot a path through the philosophical landscape. With 'one-stop' graphics visualizing a memorable theory or idea for each concept, and 'route map' glossaries explaining key words and their connections, Short Cuts: Philosophy will help you wrestle with the meaning of ancient and modern philosophical thought. (shrink)