Dickie, Bonnie. Hollow Water
2000, NFB. 48 min. Canada.
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Added by: Sonja Dobroski and Quentin PharrAbstract:
This documentary profiles the tiny Ojibway community of Hollow Water on the shores of Lake Winnipeg as they deal with an epidemic of sexual abuse in their midst. The offenders have left a legacy of denial and pain, addiction and suicide. The Manitoba justice system was unsuccessful in ending the cycle of abuse, so the community of Hollow Water took matters into their own hands. The offenders were brought home to face justice in a community healing and sentencing circle. Based on traditional practices, this unique model of justice reunites families and heals both victims and offenders. The film is a powerful tribute to one community's ability to heal and create change.Comment: available in this Blueprint
Dissanayake, Ellen. Doing Without the Ideology of Art
2011, New Literary History 42: 71–79.
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Abstract: My invited comment on Steven Connor’s essay, “Doing Without Art,” proposes that a fuller understanding of the implications of my notion of “making special”—referred to by Connor in his essay as somewhat relevant to his own position—would expand his view of the human art impulse and allay some of his disaffections. Rather than contributing to aesthetic theory, the ideology of art, my work proposes an ethology of art: it suggests why members of the human species, in all times and places, made and otherwise engaged with the arts (plural). An ethology of art requires a new way of regarding its subject, not philosophically as an entity or essential quality but as a behavior, something that people everywhere “do.” What characterizes all instances of “doing with art,” from prehistory to the present, is making something (a rock surface, face or body, implement, sound, space, place, movement, utterance) special. A summary of the development and ramifications of the concept of “making special”—called “artifying” in my most recent work—answers Connor’s three questions and suggests that placing our modern ideology or ideologies of art in the wider and deeper context of artification enables an understanding of the arts as intrinsic and even necessary to human lives everywhere.Comment: Dissenayake makes her points clear and brief, and uses the opportunity to present the main elements of her evolutionary theory. This makes this paper not only an interesting voice in the scepticism about the definition of art debate, but also an excellent introduction to her wider work. The main question worth discussing in class is: should we replace definitions of art with an ethology of art? It might also be worth asking whether Dissenayake is right to claim that even the assumption that a theory of art is needed at all is elitist.
Dotson, Kristie. Tracking Epistemic Violence, Tracking Practices of Silencing
2011, Hypatia 26 (2):236-257.
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Added by: Simon Fokt, Contributed by: Naomi Beecroft, Emily DysonAbstract: Too often, identifying practices of silencing is a seemingly impossible exercise. Here I claim that attempting to give a conceptual reading of the epistemic violence present when silencing occurs can help distinguish the different ways members of oppressed groups are silenced with respect to testimony. I offer an account of epistemic violence as the failure, owing to pernicious ignorance, of hearers to meet the vulnerabilities of speakers in linguistic exchanges. Ultimately, I illustrate that by focusing on the ways in which hearers fail to meet speaker dependency in a linguistic exchange, efforts can be made to demarcate the different types of silencing people face when attempting to testify from oppressed positions in society.Comment: This text provides an alternative framework to epistemic injustice and focuses on the positionality of black women. It encourages thought about (certain kinds of) ignorance as specific harms to others. This would suit an undergraduate class who were looking at race, gender, and/or applied epistemologies.
Dotson, Kristie. A Cautionary Tale: On Limiting Epistemic Oppression
2012, Frontiers: A Journal of Women Studies 33 (1):24-47.
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Added by: Clotilde Torregrossa, Contributed by: Corbin CovingtonAbstract: In this paper, first and foremost, I aim to issue a caution. Specifically, I caution that when addressing and identifying forms of epistemic oppression one needs to endeavor not to perpetuate epistemic oppression. Epistemic oppression, here, refers to epistemic exclusions afforded positions and communities that produce de? ciencies in social knowledge. An epistemic exclusion, in this analysis, is an infringement on the epistemic agency of knowers that reduces her or his ability to participate in a given epistemic community.2 Epistemic agency will concern the ability to utilize persuasively shared epistemic resources within a given epistemic community in order to participate in knowledge production and, if required, the revision of those same resources.3 A compromise to epistemic agency, when unwarranted, damages not only individual knowers but also the state of social knowledge and shared epistemic resources.
Dotson, Kristie. Accumulating Epistemic Power
2018, Philosophical Topics 46 (1):129-154.
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Added by: Clotilde Torregrossa, Contributed by: Corbin CovingtonAbstract: On December 3, 2014, in a piece entitled 'White America's Scary Delusion: Why Its Sense of Black Humanity Is So Skewed,' Brittney Cooper criticizes attempts to deem Black rage at state-sanctioned violence against Black people 'unreasonable.' In this paper, I outline a problem with epistemology that Cooper highlights in order to explore whether beliefs can wrong. My overall claim is there are difficult-to-defeat arguments concerning the 'legitimacy' of police slayings against Black people that are indicative of problems with epistemology because of the epistemic power they accumulate toward resilient oblivion, which can have the effect of normalizing oppressive conditions. That is to say, if one takes the value of lessening oppression as a key feature of normative, epistemological conduct, then it can generate demands on epistemological orientations that, in turn, generate wrongs for beliefs and, more specifically, beliefs as wrongs.
Dotson, Kristie. Conceptualizing Epistemic Oppression
2014, Social Epistemology 28 (2):115-138.
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Added by: Clotilde Torregrossa, Contributed by: Corbin CovingtonAbstract: 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.
Douglas, Heather. Inductive Risk and Values in Science
2000, Philosophy of Science 67(4): 559-579.
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Added by: Nick NovelliAbstract: 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.Comment: A good challenge to the "value-free" status of science, interrogating some of the assumptions about scientific methodology. Uses real-world examples effectively. Suitable for undergraduate teaching.
Doyle, Jennifer. Thinking Feeling: Criticism and Emotion
2013, In: Hold It Against Me: Difficulty and Emotion in Contemporary Art. Durham: Duke University Press. 69-89.
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Added by: Rossen VentzislavovSummary: 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.Comment: This text can be used in discussions of emotion and affectivity. While much of its focus is on art, it can be used in more general classes on emotions as well.
Du Bois, W.E.B.. Criteria of Negro Art
1926, The Crisis, 32: 290-297
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract:
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.Comment (from this Blueprint): In this selection, Du Bois discusses the nature of aesthetic value, how black artists have been historically excluded from creating it for false and racist reasons, and what role black artists actually have to play in creating beauty. Firstly, he establishes an expansive conception of aesthetic value. Secondly, he sets out various examples of how black artists have been historically excluded from producing art in general and art which portrays "blackness" more specifically. And lastly, he sets out a vision for the arts which not only includes black artists, but also recognizes the aesthetic and political value of their work for creating fair and equal societies where beauty is ever present and sought. It will help readers to understand the costs and wrongs that come with exclusionary practices in the production of aesthetic objects.
Dushun. The Jewel Net of Indra
2000, in Stephanie Kaza and Kenneth Kraft (eds.), Dharma Rain Sources of Buddhist Environmentalism. Shambhala Publications.
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Added by: Kas BernaysAbstract:
A comprehensive collection of classic texts, contemporary interpretations, guidelines for activists, issue-specific information, and materials for environmentally-oriented religious practice. Sources and contributors include Basho, the Dalai Lama, Thich Nhat Hanh, Gary Snyder, Chögyam Trungpa, Gretel Ehrlich, Peter Mathiessen, Helen Tworkov (editor of Tricycle), and Philip Glass.Comment (from this Blueprint): A primary reading which helps to introduce the ontological interconnectedness that forms a core part of ecological readings of Buddhist philosophy.
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