Moral orientation and moral development

Posted on by Simon Fokt

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.

Pornography, Art and Porno-Art

Posted on by Simon Fokt

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

Posted on by Simon Fokt

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?

Posted on by Simon Fokt

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.

Gender and Aesthetics: An Introduction

Posted on by Simon Fokt

Publisher’s note: Feminist approaches to art are extremely influential and widely studied across a variety of disciplines, including art theory, cultural and visual studies, and philosophy. Gender and Aesthetics is an introduction to the major theories and thinkers within art and aesthetics from a philosophical perspective, carefully introducing and examining the role that gender plays in forming ideas about art. It is ideal for anyone coming to the topic for the first time.

Organized thematically, the book introduces in clear language the most important topics within feminist aesthetics:

  • Why were there so few women painters?
  • Art, pleasure and beauty
  • Music, literature and painting
  • The role of gender in taste and food
  • What is art and who is an artist?
  • Disgust and the sublime.

Each chapter discusses important topics and thinkers within art and examines the role gender plays in our understanding of them. These topics include creativity, genius and the appreciation of art, and thinkers from Plato, Kant, and Hume to Luce Irigaray and Julia Kristeva. Also included in the book are illustrations from Gaugin and Hogarth to Cindy Sherman and Nancy Spero to clarify and help introduce often difficult concepts. Each chapter concludes with a summary and further reading and there is an extensive annotated bibliography.

Carolyn Korsmeyer’s style is refreshing and accessible, making the book suitable for students of philosophy, gender studies, visual studies and art theory, as well as anyone interested in the impact of gender on theories of art.

Glaring Omissions in Traditional Theories of Art

Posted on by Simon Fokt

Abstract: I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” a future that unfortunately rests upon the same outdated foundation as the concept “art.”.

Reproductive freedom, self-regulation, and the government of impairment in utero

Posted on by Simon Fokt

Abstract: This article critically examines the constitution of impairment in prenatal testing and screening practices and various discourses that surround these technologies. While technologies to test and screen (for impairment) prenatally are claimed to enhance women’s capacity to be self-determining, make informed reproductive choices, and, in effect, wrest control of their bodies from a patriarchal medical establishment, I contend that this emerging relation between pregnant women and reproductive technologies is a new strategy of a form of power that began to emerge in the late eighteenth century. Indeed, my argument is that the constitution of prenatal impairment, by and through these practices and procedures, is a widening form of modern government that increasingly limits the field of possible conduct in response to pregnancy. Hence, the government of impairment in utero is inextricably intertwined with the government of the maternal body.

Anorexia Nervosa: Psychopathology as the Crystallization of Culture

Posted on by Simon Fokt

Diversifying Syllabi: Bordo claims that the recent increase in women with Anorexia is a symptom of the “central ills” of our culture. Bordo discusses three sources of this “cultural illness” which leads to anorexia: the dualist axis, the control axis, and the gender/power axis. She spends the bulk of the paper discussing each “axis” or problematic component of society which is reflected back to us in the increasing diagnosis of anorexia. These “psychopathogolgies” are expressions of the culture, she claims.

Five faces of oppression

Posted on by Simon Fokt

Diversifying Syllabi: The concept of ‘oppression’ cannot be captured by traditional, distributive conceptions of justice. Oppression is also not a unified phenomenon with an underlying, fundamental essence. To make sense of oppression, we need to revise our accounts of social ontology to recognize the existence of “groups.” Social groups can experience oppression in any of the following, crucially distinct five ways: exploitation, marginalization, powerlessness, cultural imperialism, and violence. Individuals within these groups can experience all, multiple, or just one of these forms of oppression and can also find themselves, simultaneously, in dominant groups/positions in other contexts. A revised social ontology that accounts for the existence of such groups shows that redistribution of material goods will not eliminate these forms of oppression.