Diversity Reading List

Abstract: Epistemic oppression refers to persistent epistemic exclusion that hinders one's contribution to knowledge production. The tendency to shy away from using the term 'epistemic oppression' may follow from an assumption that epistemic forms of oppression are generally reducible to social and political forms of oppression. While I agree that many exclusions that compromise one's ability to contribute to the production of knowledge can be reducible to social and political forms of oppression, there still exists distinctly irreducible forms of epistemic oppression. In this paper, I claim that a major point of distinction between reducible and irreducible epistemic oppression is the major source of difficulty one faces in addressing each kind of oppression, i.e. epistemic power or features of epistemological systems. Distinguishing between reducible and irreducible forms of epistemic oppression can offer a better understanding of what is at stake in deploying the term and when such deployment is apt.

Abstract: Although epistemic values have become widely accepted as part of scientific reasoning, non-epistemic values have been largely relegated to the "external" parts of science (the selection of hypotheses, restrictions on methodologies, and the use of scientific technologies). I argue that because of inductive risk, or the risk of error, non-epistemic values are required in science wherever non-epistemic consequences of error should be considered. I use examples from dioxin studies to illustrate how non-epistemic consequences of error can and should be considered in the internal stages of science: choice of methodology, characterization of data, and interpretation of results.

Summary: Doyle investigates the emotional dimensions of aesthetic experience in the context of controversial performance art practices. She focuses on sentimentality because it sits at the extreme end not only of the emotional spectrum but also, as a negative, on the art critical radar. Critics' charge against the sentimental is twofold - it enables vicarious experience at the expense of its direct counterpart and it gives a platform to the inauthentic. Furthermore, the overwhelming critical consensus is that the personal itself, manifested in sentimentality or otherwise, is inherently suspect. Emotion is thus framed as detrimental to "serious" art. It is also, and even more damagingly, feminized and drained of its political charge. To counter these assumptions, Doyle uses specific art-historical examples which reveal the richness and importance of emotional interest in the way art is made and experienced.

Abstract:
Published in The Crisis of October 1926, DuBois initially spoke these words at a celebration for the recipient of the Twelfth Spingarn Medal, Carter Godwin Woodson. The celebration was part of the NAACP's annual conference and was held in June 1926.

Summary: Eaton and Gaskell argue that museums are "instruments of power," and then ask whether it is permissible for them to display the cultural heritage of peoples who have been subordinated. Ultimately, they argue that despite a series of arguments to the contrary, the display of "subaltern" artifacts is not just permissible, "but advantageous to all interested parties." They make the argument by posing and responding to four central objections to this position.

Abstract: This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.

Abstract:
How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.

Content: Eaton begins with some remarks on the practical need for classification of art and proceeds to present and improve her definition. Her focus is not on specific properties of artworks, but on the fact that they possess properties which within a given culture are considered worth attending to. The modifications made to the theory follow a realisation of Western-centric bias embedded in the original formulation, and the discussion explicitly aims to work towards a definition which acknowledges the cultural differences in art production and appreciation. Eaton moves on to discuss Danto’s and Cohen’s claims that art cannot be defined and points out some Western-centric aspects of their arguments. The paper ends with an overview of what it is for art and its definition to be sustainable.

Content: The paper is written in support of the claim that artworks have to be artefacts. In a series of thought experiments involving driftwood and poems typed by monkeys, Eaton argues that linguistic objects such as warnings or poems have to result from intentional actions. She supports this argument by distinguishing linguistic objects from linguistic actions. To understand an utterance, it is necessary to not only explicate the meaning of the words used, but also to interpret the linguistic action which resulted in it. Literary works require interpretation, and interpretation requires reference to the linguistic actions of the work’s creator – their intentions. So literary works need to result from intentional actions, i.e. be artefacts. Similarly, artworks are objects of interpretation and thus must be artefacts.

Abstract:
The Language Question is a very central subject of discourse in African Philosophy. This is consequent upon the fact that the essence of language in philosophy cannot be gainsaid. Language, as it were, is culture bound. As such, to deny a people of their language is to deny them their cultural heritage. While applying the descriptive and analytic method in this work, it is contended that language plays not only a catalyzing role in the art of philosophizing but that it occupies an inalienable place in philosophy. Again, that since philosophy is more or less about resolving “conceptual cramps” or “bottle-necks”, indigenous languages should be given a pride of place over and against their foreign counterparts because of the obvious epistemological advantages embedded therein (especially in mother-tongues). It is submitted here that a lot of homework need to be done in terms of advocacy and development on the low status of such languages so as to meet up with the international standard and nature of the discipline. Meanwhile, the need for using a language that engenders understanding across ethnic barriers alongside the language of the environment is being advocated as a short-term measure. This is not without sounding a caveat that such a transfer of knowledge which is often fraught with some degree of adulteration via the instrument of translation, though practicable, is far from being the ideal. It is on this token the opinions of experts such as Barry Hallen, Quine and a host of others on Methods of Ordinary Language Philosophy and Indeterminacy, respectively are being advanced as plausible means of meeting the challenges before us. In this manner, while using the Igala language of Central Nigeria as a case study, it is finally submitted that it is possible to have what we might term authentic African Philosophy emerging from a systematic analysis of our traditional worldviews.