Diversity Reading List

Comment (from this Blueprint): Migdalia Arcila-Valenzuela and Andrés Páez argue that it is impossible to detect an individual instance of epistemic injustice. Their case relies on a review and analysis of the recent research on implicit bias. The key theoretical premise of their argument is that it is impossible to establish, for any individual situation, what is the minimum degree of credibility that the speaker is entitled to. However, they still think we can measure general testimonial injustice, which they construe as “a behavioral tendency of a prejudiced hearer.”

Comment (from this Blueprint): In this excerpt, Miranda Fricker introduces the concept of testimonial injustice.

Comment (from this Blueprint): Schwartzman mounts a critical argument about x-phi's feminist potential. She argues that the sorts of methods that are central to much x-phi are uncritical of the ways in which intuitions can be shaped by a variety of prejudicial and ideological forces, and are unable to reveal the existence of the sort of structural injustice that is responsible for professional philosophy's radically unrepresentative demographics. Importantly, along the way she recruits empirical work about the nature of implicit bias and stereotype threat.

Comment (from this Blueprint): Pohlhaus begins by presenting her argument as a critical response to both Buckwalter and Stich's controversial article, and Antony's (2012) reply to it. What follows is an argument about the way x-phi practicioners have failed to fully incorporate feminist insights about the significance of intuition difference. For Pohlhaus, a discovery that some one or some groups has a different intuitive response to one's own is the jumping off point for a potentially transformative conversation, rather than a result that either puts to rest a philosophical concept, or needs to be explained away.

Comment (from this Blueprint): Hamid Seyedsayamdost presents the results of the replications of three classes of studies invoked by Buckwalter and Stich in support of the claim that philosophical intuitions vary across gender. Most of the studies fail to replicate the original results. Although the paper is rather technical in focus, working through (some parts of) it may help the readers better understand the methodology of x-phi and assess the credibility of results published in x-phi papers.

Comment (from this Blueprint): Helen Beebee and Anne-Marie McCallion argue that Antony misunderstands the conceptual commitments of the different voices model. Once the confusion is removed, the authors claim, it becomes clear that its pursuit is of positive social value.

Comment (from this Blueprint): Louise Antony distinguishes between two types of explanation of the gender disparity in philosophy: “different voices” and “perfect storm.” The latter – Antony’s preferred model – explains the disparity in terms of the convergence of non-domain specific phenomena: academic philosophy features a unique combination of factors hampering women’s success. The former, in turn, appeals to the different ways in which men and women think. According to Antony, the different voices model is not only empirically unsupported, but also its very pursuit could have negative social consequences. Her paper also features an extensive critique of Buckwalter & Stich’s paper, both from a methodological and from a feminist perspective. As such, it offers important lessons as to how feminist x-phi should be practiced.

Comment (from this Blueprint): This article presents a thorough discussion of the competing interests surrounding cultural appropriation and one promising explanation of why it amounts to a harm or wrong based on the notion of intimacy - in particular, breaches of group intimacy. Although this explanation is just one of many that might be given, the hope is that readers will find tools for thinking about the previous items from this week's selections and for developing their own views on cultural appropriation.

Comment (from this Blueprint): This news item is an interview with Joe Corré, son of British fashion designer Vivienne Westwood and Malcolm McLaren, former manager of the Sex Pistols. In response to the 2016 events celebrating '40 years of Punk' in London, Corré announced he would burn his collection of punk artefacts, estimated to be worth £5 million (he did end up burning it on a barge on the Thames). In this interview, Corré discusses how the punk aesthetic has been appropriated by the very people and institutions that the punk movement was against - the establishment. For Corré, his collection is only worth £5 million because of the mainstream appropriation that punk has undergone - for him these items are worthless, they barely even have sentimental value. But equally, Corré, a very wealthy man himself (he co-founded the lingerie brand Agent Provocateur and sold it to private equity for £60 million), has come under fire for his decision to burn the items rather than give them to charity. As such, this piece is an interesting case study that illustrates the mechanics of class appropriation of fashion as discussed by Crane. But it can also be discussed in reference to the People's History Museum virtual exhibition from week 6, as perhaps Corré's judgement that these items are not worthy of preservation and display is itself clouded by class privilege.

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.