• Publishing in general, and for the visual arts in particular, has moved to what’s called a “permission culture,” which basically means that nobody will publish your work unless you get explicit permission from the rights owner.  This is often an arduous process, since art often includes many copyrighted images or other materials.  A documentary film producer, for example, has to worry if an interview subject has the TV on in the background.  Permissions culture means that the producer has to either remove whatever is on the TV, or secure permission to use it.  It also means that scholars may not be able to publish articles that include images of the work they are discussing, either because the images are unavailable, or unaffordable.

    On the surface of things, this seems odd: shouldn’t a lot of this fall under “fair use?’ The copyright statute, after all, cites education as an example.  An important paper in 2007 explained why fair use doesn’t matter in this context.  Basically, fair use is an affirmative defense against an infringement claim: you sue me for infringement, I claim fair use, and that’s the argument that litigation resolves.  Fair use guidelines are deliberately vague and left to a case-by-case judicial determination, and so it’s not always obvious what gets counted as fair use.  Litigation is very, very expensive, and publishers are risk averse.  They don’t want to pay for litigation, and if they lose, they lose not only all that money, but the work they were trying to publish gets enjoined.  So publishers won’t publish without prior permission (fair use thus systematically favors rich claimants and defendants).  In addition to the problems all of this directly creates, it indirectly creates a ratcheting effect, because one place courts look to see if use is fair, is industry practices.  So the more publishers seek permission for everything, the narrower fair use becomes.

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  • In May, a 13-year-old named Izabel Laxamana took a selfie wearing a sports bra and some leggings, and sent it to a boy at her school.  When school administrators heard about the picture, they contacted her parents.  What happened next defies easy comprehension: delivering on a threatened punishment for breaking his social media rules, Izabel’s father cut off her hair.  He then made a video of Izabel with her hair (in a pile on the floor), demanding that she say breaking their rules hadn’t been worth it.  The video found its way to social media.  Two days later, Izabel jumped off an overpass, and a day later, she died from her injuries. The reasons why Laxamana committed suicide are of course complex, and may or may not be because of the shaming (and the father may or may not be the one who posted it to social media).*  But the videoed retaliatory haircut seems to be real.  In a recent piece in Slate, Amanda Hess catalogues the sudden re-emergence of this medieval phenomenon – literally medieval; women were punished by having their hair cut off, often in public – and situates it as part of a more general re-emergence of the public shaming of teenagers by their parents:

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  • by Eric Schwitzgebel


    Academic philosophers in Anglophone Ph.D.-granting departments tend to have a narrow conception of what counts as valuable philosophical work. Hiring, tenure, promotion, and prestige turn mainly on one’s ability to write an essay in a particular theoretical, abstract style, normally in reaction to the work of a small group of canonical historical and 20th century figures, on a fairly constrained range of topics, published in a limited range of journals and presses. This is too narrow a view.

    I won’t discuss cultural diversity here, which I have addressed elsewhere. Today I’ll focus on genre and medium.

    Unamuno
    Consider the recency and historical contingency of the philosophical journal article. It’s a late 19th century invention. Even as late as the mid-20th century, leading philosophers in Western Europe and North America were doing important work in a much broader range of styles than is typical now. Think of the fictions and difficult-to-classify reflections of Sartre, Camus, and Unamuno, the activism and popular writings of Russell, Dewey’s work on educational reform, Wittgenstein’s fragments. It’s really only with the generation hired to teach the baby boomers that our conception of philosophical work became narrowly focused on the academic journal article, and on books written in that same style.

    Consider the future of media. The magazine is a printing-press invention and carries with it the history and limitations of that medium. With the rise of the internet, other possibilities emerge: videos, interactive demonstrations, blogs, multi-party conversations on social media, etc. Is there something about the journal article that makes it uniquely better for philosophical reflection than these other media? (Hint: no.)

    Nor need we think that philosophical work must consist of expository argumentation targeted toward disciplinary experts and students in the classroom. This, too, is a narrow and historically recent conception of philosophical work. Popular essays, fictions, aphorisms, dialogues, autobiographical reflections, and personal letters have historically played a central role in philosophy. We could potentially add, too, public performances, movies, video games, political activism, and interactions with the judicial system and governmental agencies.

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  • Nick Huggett and Christian Wüthrich are happy to announce the award of a major grant from the John Templeton Foundation to fund a three year investigation into the philosophical implications of theories of quantum gravity, "Space and Time after Quantum Gravity." The work, which will be divided between the University of Illinois at Chicago and the University of Geneva, continues their "Beyond Spacetime" project. The premise of the project is that scientific research programs in quantum gravity simultaneously demand philosophical, conceptual investigation for their progress, and raise profound questions about fundamental philosophical assumptions resting on a non-quantum understanding of space and time. How physics thus ‘meets philosophy at the Planck scale’ has been explored so far in the various publications and meetings coming out of the project.

    The new grant, supplemented with funds from UIC and Geneva, will fund postdocs and predocs in the research groups at both institutions; regular speakers and visitors to the groups; essay competitions; a summer school at Chicago in 2016; a conference at Geneva in 2017; edited volumes; and a course of video lectures for non-specialists. Many of these activities will be made publicly available on video. For more information you can subscribe to the project blog at beyondspacetime.net or look out for calls for participation.

  • In the current issue of Philosophy and Rhetoric, Kelly Happe has an interesting paper interpreting Occupy Wall Street (or at least the Zuccotti Park component) as an example of cynical parrhesia.  In a time when all expression is always already co-opted by neoliberal capital as a source of surplus value (this point has been canvassed extensively by the autonomist Marxists as “complete subsumption,” and I’m going to take it for granted here.  I summarize it here in my discussion of Hardt and Negri’s Empire), it becomes hard to know what kind of speech would count as protest.  Anyone who has seen the branding of Che Guevera T-Shirts has some idea what the problem is.  It’s also one that has been very difficult to address; in Empire, for example, which lays out the problem quite clearly, we are offered the somewhat discouraging example of Coetzee’s Michael K, a character who drops out and nearly starves to death in caves. 

    Happe’s move is to suggest that Occupy succeeds in avoiding cooption by way of its rejection of politically expressive speech.  As she puts it, “what is striking is the time and space devoted to the material culture and everyday life of public, communal living.  Indeed, in the various accounts of the Zuccotti moment of Occupy, the radical imagination is inseparable from the otherwise unremarkable practices of day-to-day living in an encampment” (214).  That is, it is in the rejection of symbolic and explicitly “political” speech that Occupy evades neoliberal cooption.  Such speech, she proposes, is a good example of the sort of ethical parrhesia that Foucault recounts in the ancient Cynics.  For the Cynics, it is precisely the extent to which their speech is unintelligible to politics that makes it radical, suspends its subsumption into the political apparatus, and presents the contingency of a new way of life.  Happe writes:

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  • Another terrific reflection on affairs in Pakistan that should be of interest to philosophers of race by philosopher Saba Fatima here.

  • (Philosophical Aesthetics' answer to Philosophers’ Annual) has just been announced.

     

    A panel of seven judges were asked to nominate work in Aesthetics or Philosophy of Art published in 2014 they found to be particularly outstanding. From those initial nominations, the panel further deliberated and selected a final five works. Here's the link to the official announcement of the winners:

     

    http://www.aestheticsforbirds.com/2015/06/afb-fab-flock-five-2014.html

  • Readers of New APPS may recall Nathaniel Adam Tobias Coleman as the author of a powerful piece last March in Times Higher Education that drew attention to the discipline of philosophy’s overall, systemic failure to critically engage its own Whiteness.  And now, DailyNous draws our attention to a piece in The Independent, itself sourced (again) from Times Higher Education, in which Coleman announces that he will lose his position at University College London—along with the chance of that position becoming permanent—as a result of the rejection of a proposed MA in Critical Race Studies, which he had been hired specifically to develop over the past year.  
     
    One important consequence of Coleman's THE piece, which is now illustrated by his current plight, is to connect the problems that are specific to the disciplinary constitution of philosophy to a set of structural and systemic factors, present throughout the academy, constraining Black scholars’ ability to engage critically with material that is of importance to them, including Whiteness and White Supremacy. These factors remain operative despite the at least rhetorical—and at times much more substantive and sincere—welcome given to these scholars and their work, especially under the sign of diversity.  And because they do, not only has representative diversity remained problematic but also the more fundamental distribution of power and privilege centered around Whiteness has remained substantially intact. 

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  • One of my summer projects is to work up my SPEP paper from last year, which used the school desegregation decisions (like Brown v. Board) as a way to think about the relations between juridical power and biopower in the courts.  The role of the courts in the transition from hegemonic juridical power to hegemonic biopower hasn’t been studied a lot, and the tendency is to dismiss the courts as institutions along with juridical power.  The centrality of the judiciary in school desegregation convinced me that there’s more to be said, however.  Current litigation about whether corporate entities can use rights claims to deny contraceptive insurance coverage to their female employees seems to bear that intuition out.  So I’ve been reading, and one thing that didn’t particularly strike me until now is the complexity of the relation between school desegregation policy in the U.S. and what Foucault calls a “race war” at the end of Society must be Defended.

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  • For my MA course on Wittgenstein earlier this year, students had to write a short essay, blog post-style, on the Tractatus. One of them, Joseph Wilcox, took up the challenge of asking what exactly it means to say that Wittgenstein's project in the Tractatus is essentially a Kantian project — something I kept hammering on them relentlessly. (To me at least this seems like the best and perhaps the only way I can make sense of the Tractatus!) The result is the insightful post below. (Proud teacher here!)

     ===============================

    By Joseph Wilcox

    Wittgenstein [in the Tractatus] is a Kantian philosopher. Or so I'm told.

    What exactly does it mean to say that someone is a Kantian philosopher? I always find it hard to grasp what is meant by such comparisons. Is it some fundamental belief that they share? Is it a field of thought that they both enter into? Is it a common goal that guides their thinking?

    As often seems to be the case when it comes to philosophy, I am inclined to say that all the options must have some truth to them. In the case of Wittgenstein, however, I've been led to believe that it is the goal he sets out to achieve that forms the main connection between him and the lifework of his Prussian predecessor. What is it then, that both of these thinkers desire above everything else? The answer is to limit. To designate a point or level beyond which something does not or may not extend or pass. To place a restriction on the size or amount of something permissible or possible. On first looking, this doesn't seem like a very encouraging, confident or even useful objective. Why in the world would we bother to spend our precious time thinking about that which we can't reach? Isn't it far more interesting to seek to pass over such borders? Isn't it more inspiring to think that the impossible can serve as a beacon to aspire to? Isn't the thought of placing limits a token of the kind of pessimism that might cause one to give up hope?

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