Abstract: Advances in cognitive neuroscience make cosmetic neurology in some form inevitable and will give rise to extremely difficult ethical issues.
Carving up the Social World with Generics
Summary (Diversifying Syllabi): Leslie argues that generic language has an effect on social cognition. Specifically, generic language plays a role in the way small children develop concepts related to abilities, which facilitates the transmission and development of social prejudices.
On Epistemology
Publisher’s Note: What is knowledge? Why do we want it? Is knowledge possible? How do we get it? What about other epistemic values like understanding and certainty? Why are so many epistemologists worried about luck? In ON EPISTEMOLOGY Linda Zagzebski situates epistemological questions within the broader framework of what we care about and why we care about it. Questions of value shape all of the above questions and explain some significant philosophical trends: the obsession with answering the skeptic, the flight from realism, and the debate between naturalism and anti-naturalism. THE WADSWORTH PHILOSOPHICAL TOPICS SERIES (under the general editorship of Robert Talisse, Vanderbilt University) presents readers with concise, timely, and insightful introductions to a variety of traditional and contemporary philosophical subjects. With this series, students of philosophy will be able to discover the richness of philosophical inquiry across a wide array of concepts, including hallmark philosophical themes and themes typically underrepresented in mainstream philosophy publishing. Written by a distinguished list of scholars who have garnered particular recognition for their excellence in teaching, this series presents the vast sweep of today’s philosophical exploration in highly accessible and affordable volumes. These books will prove valuable to philosophy teachers and their students as well as to other readers who share a general interest in philosophy.
Knowing from Testimony
Abstract: Testimony is a vital and ubiquitous source of knowledge. Were we to refrain from accepting the testimony of others, our lives would be impoverished in startling and debilitating ways. Despite the vital role that testimony occupies in our epistemic lives, traditional epistemological theories have focused primarily on other sources, such as sense perception, memory, and reason, with relatively little attention devoted specifically to testimony. In recent years, however, the epistemic significance of testimony has been more fully appreciated. I shall here focus on two questions that have received the most attention in recent work in the epistemology of testimony. First, is testimonial knowledge acquired only by being transmitted from speaker to hearer? Second, must a hearer have positive reasons to justifiedly accept a speaker’s testimony?
’But What Are You Really?’ The Metaphysics of Race
Summary (Diversifying Syllabi): There are a variety of possible views about the metaphysical status of racial assignments, which roughly parallel the variety of meta-ethical views in the literature. Most people are realists about race. Those who see that the realist position is wrongheaded often conclude that race is unreal, subjective, or relative. Both of these views are mistaken.
There are seven candidate conditions for racial identification: appearance, ancestry, public awareness of ancestry, self-awareness of ancestry, culture, experience, and self-identification. Consideration of ten cases of “racial transgressives”—in which a person has some of these conditions but not others — push on our intuitions and ultimately show that we ought to conclude that race is a social construction. This view is to be distinguished from relativism, insofar as you can be wrong about what race you are: Thinking does not make it so.
Moral orientation and moral development
Abstract: When one looks at an ambiguous figure like the drawing that can be seen as a young or old woman, or the image of the vase and the faces, one initially sees it in only one way. Yet even after seeing it in both ways, one way often seems more compelling. This phenomenon reflects the laws of perceptual organization that favor certain modes of visual grouping. But it also suggests a tendency to view reality as unequivocal and thus to argue that there is one right or better way of seeing.
Diversifying Syllabi: Gilligan argues that there are two “moral perspectives” that individuals can take when making moral judgments. The “justice” perspective has been associated with men and is (traditionally) taken as paradigmatic of mature moral reasoning. The “care” perspective, on the other hand, is associated with women, and is taken (by psychologists of the time) as a less mature form of moral reasoning. She argues against this view, and suggests that both perspectives are valuable. Though an individual may only be able to take on one perspective at a given time, they are not mutually exclusive, nor is one better than the other.
The impact of Neuroscience on Philosophy
Diversifying Syllabi: Churchland claims that experimental science has gradually (and rightfully and successfully) replaced philosophical investigations of the world, and suggests that the time has come for philosophy of mind and moral philosophy to “cede” to experimental science. She claims that conceptual analysis has been undermined by “a torrent of neuropsychological results” that contradict folk psychology (i.e. intuition). Thus, selfrespecting philosophers of mind have begun to engage with experimental science. Moral philosophers have not yet realized that their field is going in the same direction, and that their stories are about to be superceded by a “naturalistic framework for looking at human morality and decision making” (409). She gives some examples from animal studies bearing on social behaviour and organization like monogamy, trust and cooperation, social attachment, group cooperation or amalgamation. One central point is that moral rules play only a partial role, if at all, in the “brain’s decision” when faced with “constraintsatisfaction problems” (410).
Pornography, Art and Porno-Art
Abstract: Philosophers involved in the ‘porn-or-art’ debates standardly assume that pornography is centrally about sexual arousal, while art is about something else. I argue against this assumption and for the view that there is no single thing that pornography (or art) ‘is about’. This suggests that there is no prima facie reason for claiming that some x cannot be both pornography and art. I further go on to develop an understanding of (what I call) ‘porno-art’ – a wholly new kind of thing developing from the extant categories of pornography and art, but still distinct and separate from them.
Exclusivism and Evaluation: Art, Erotica and Pornography
Content: Patridge discusses and rejects some of the main arguments for the exclusivist thesis that no pornography can be art: Levinson’s, Mag Uidhir’s, and one based on Rea’s definition of pornography. In doing so, she offers a useful overview of some other arguments already used against those authors. This leads her to conclude that at least some pornography can be art. A normative question follows: should we treat pornography as art? Given the high cultural status of art, and the often unethical nature of pornography, doing so might lead us to promoting unethical attitudes. She finds such treatment too unselective: at least some pornography isn’t morally problematic (and some of it can actually be morally laudable), while much of art, including erotic art, definitely is. But consumption of pornography cannot be taken out of our paternalistic and sexist cultural context. As most pornography is inegalitarian and expresses (and possibly promotes) harmful attitudes towards women, enjoying it constitutes a moral flaw. This is true even if the consumer is never inspired to actually harm women – in those cases enjoyment of pornography constitutes moral obliviousness, a ‘failure of sensitivity and solidarity with the victims of such imagery’ (54) similar to taking enjoyment in racist jokes.
Why Do Porn Films Suck?
Content: The authors present ‘the paradox of porn’: pornography seems to score very highly on various evaluative criteria which make art good (e.g. ability to elicit strong emotions), and has features similar to great art (e.g. ‘Brechtian’ acting, idealisation of the human body), yet is rarely consider art. They proceed to discuss some arguments for the exclusivist thesis, suggesting that they ‘reflect a limited knowledge of or experience with pornography’ (168). A review of various types of non-mainstream porn leads them to claim that the division between pornography and art is a false dichotomy. Section 3 revisits the paradox, offering an analysis of various reasons which could lead to so little porn being (considered) art. After rejecting most of the common arguments, the authors suggest that a great majority of porn is not art for purely contingent reasons: very few pornographers even try to pursue that possibility. But pornography has the potential to be great art, and section 4 explores the ways in which it could.