Search Results (5)

How do we see the world aright? This question is central to Iris Murdoch’s philosophy as well as to that of her great source of inspiration, Simone Weil. For both of them, not only our action, but the very quality of our being depends on the ability to see things as they are, where vision is both a metaphor for immediate understanding and a literal expression of the requirement to train our perception so as to get rid of illusions. For both, too, the method to achieve this goal is attention. For both, finally, attention requires a dethronement of the self, considered as the source of illusion. In this paper I investigate what moral perception means for each of these philosophers and how it operates through attention and its relationship with the self. I will show that, despite many striking similarities, Murdoch’s project does not equal ‘Weil minus God’, but offers a different concept of the self, a different understanding of its removal, and therefore a different picture of attention and moral perception. In evaluating both views, I will gesture towards a third way represented by Zen Buddhism, which both philosophers variously consider but do not embrace. Full article

In the fields of experimental writing and experimental filmmaking, respectively, Hélène Cixous and Laida Lertxundi gather images of fruits: apples, oranges and lemons. Although Cixous and Lertxundi are well-known for seeking something of the feminine for writing and filmmaking, in these texts and these films, fruit is not equivalent to feminine anatomy and the juiciness of neither apple, nor orange, nor lemon is mere metaphor for feminine jouissance. While Cixous and Lertxundi recognise in art, literature and philosophy an historical relation of women to nature, an essentialist equation of one to the other is loosened as the texts and the films situate apples, oranges and lemons as organic things in the world. Neither Cixous nor Lertxundi, then, eradicate the distance between human and non-human on the ground of the feminine: fruit is not entwined with women—but women do look, from time to time, at fruit. As if photosynthetically towards the sun, both Cixous and Lertxundi turn from the self towards the world, taken by the beauty and the light of fruit. In an addition to recent ecofeminist philosophy (Donna Haraway, Luce Irigaray) and also to recent feminist film-philosophy on attention (by way of Iris Murdoch, Simone Weil), I refer throughout the article to Kaja Silverman’s philosophy of ‘world spectatorship’ (2000) as I outline the way Cixous and Lertxundi each post-deconstructively combine a language of desire—feminine appetite, curiosity and pleasure—with a language of things to affirm, with women’s eyes on a simple piece of fruit, the world anew. Full article

The past few decades have seen a turn to the empirical in applied ethics. This article makes two contributions to debates on this turn: one with regard to methodology and the other with regard to scope. First, it considers empirical bioethics, which arose out of a protest against abstract theorizing in moral philosophy and a call for more sensitivity to lived experience. Though by now an established field, methodological discussions are still centred around the question of how empirical research can inform normative analysis. This article proposes an answer to this question that is based on Iris Murdoch’s criticism of the fact/value distinction and Cora Diamond’s concept of reflective empiricism. Second, the discussion takes as a point of departure a study on genome-edited farmed salmon that uses qualitative research interviews and focus groups. Although there are several animal ethics studies based in empirical data, there are few works on the methodological challenges raised by empirical ethics in this area. The article contributes to these discussions by arguing that reflective empiricism can constitute a methodological approach to animal ethics. Full article

One purported benefit of technology is that it gives humans greater control over how they live their lives. Various technologies are used to protect humans from what are perceived to be the capricious whims of indifferent natural forces. Additionally, technology is used to create circumstances and opportunities that are believed to be preferable because they are more subject to human control. In large measure, the lives of late moderns are effectively constructed and asserted as artifacts of what they will themselves to be. This control is seen prominently at the beginning and end of life. Technology is employed to overcome infertility, prevent illness, disability, and undesirable traits, to select desirable traits and increasingly enhance them. At the end of life, late moderns have a far greater range of options at their disposal than past generations: they can choose to delay death, control pain, or end their lives at the time and with the means of their choosing. The greater control that technology offers helps humans to survive and even flourish, but it comes at a price. One such cost is that it tends to reduce humans to being little more than a will confined within a body. The body is thereby effectively perceived to be an impediment to the will that should be overcome. Is this troubling? Yes. I argue that the purported control technology offers often serves as a distraction or blind spot that may prevent humans from understanding and consenting to their good. In making this argument I draw upon the Christian doctrine of the incarnation as a way of disclosing the creaturely good of finitude against which the will should conform rather than attempting to overcome. I also draw upon Iris Murdoch’s and Simone Weil’s concept of “unselfing” as a way of conforming the will with this good. I revisit issues related to the beginning and end of life to draw-out some of the implications of my argument. Full article

Art plays a significant role in Iris Murdoch’s moral philosophy, a major part of which may be interpreted as a proposal for the revision of religious belief. In this paper, I identify within Murdoch’s philosophical writings five distinct but related ways in which great art can assist moral/religious belief and practice: art can reveal to us “the world as we were never able so clearly to see it before”; this revelatory capacity provides us with evidence for the existence of the Good, a metaphor for a transcendent reality of which God was also a symbol; art is a “hall of reflection” in which “everything under the sun can be examined and considered”; art provides us with an analogue for the way in which we should try to perceive our world; and art enables us to transcend our selfish concerns. I consider three possible objections: that Murdoch’s theory is not applicable to all forms of art; that the meaning of works of art is often ambiguous; and that there is disagreement about what constitutes a great work of art. I argue that none of these objections are decisive, and that all forms of art have at least the potential to furnish us with important tools for developing the insight required to live a moral/religious life. Full article