Dan Cavedon-Taylor

Martin Luther King Jr. claimed that “the salvation of the world lies in the hands of the maladjusted”. I elaborate on King’s claim by focusing on the way in which we treat and understand ‘maladjustment’ that is responsive to severe trauma (e.g. PTSD that is a result of military combat or rape). Mental healthcare and our social attitudes about mental illness and disorder will prevent us from recognizing real injustice that symptoms of mental illness can be appropriately responding to, unless we recognize that many emotional states (and not just beliefs!) that constitute those symptoms are warranted by the circumstances they are responsive to. I argue that there is a failure to distinguish between PTSD symptoms that are warranted emotional responses to trauma and those that are not. This results in us focusing our attention on “fixing” the agent internally, but not on fixing the world. It is only by centering questions of warrant that we will be able to understand and expose the relationship between agents’ internal mental states and their oppression. But we also need to ask when someone’s emotional response is unwarranted by their experience (as in the case of someone who develops PTSD after a non-traumatic event). If we fail to do this—as, I claim, both our mental healthcare and the broader social world fail to do—we treat warranted and unwarranted emotions as on a par. This undermines the epistemic judgment of the agent who has warranted PTSD symptoms, resulting in her failing to trust her evaluation of whether her emotional response to her own trauma is warranted by that trauma, and thus failing to recognize her own oppression.

The recent proliferation of deepfakes and other digitally produced deceptive representations has revived the debate on the epistemic robustness of photography and other mechanically produced images. Authors such as Rini (2020) and Fallis (2021) claim that the proliferation of deepfakes pose a serious threat to the reliability and the epistemic value of photographs and videos. In particular, Fallis adopts a Skyrmsian account of how signals carry information (Skyrms, 2010) to argue that the existence of deepfakes significantly reduces the information that images carry about the world, which undermines their reliability as a source of evidence. In this paper, we focus on Fallis’ version of the challenge, but our results can be generalized to address similar pessimistic views such as Rini’s. More generally, we offer an account of the epistemic robustness of photography and videos that allows us to understand these systems of representation as continuous with other means of information transmission we find in nature. This account will then give us the necessary tools to put Fallis’ claims into perspective: using a richer approach to animal signaling based on the signaling model of communication (Maynard-Smith and Harper, 2003), we will claim that, while it might be true that deepfake technology increases the probability of obtaining false positives, the dimension of the epistemic threat involved might still be negligible.

When we evaluate artworks, we often point to what an artist could have done or what a work could have been in order to say something about the work as it actually is. Call this counterfactual reasoning in art criticism. On my account, counterfactual claims about artworks involve comparative aesthetic judgments between actual artworks and hypothetical variations of those works. The practice of imagining what an artwork could have been is critically useful because it can help us understand how artworks achieve specific aesthetic effects. I conclude by responding to an objection to my account on the basis that it violates the widely accepted acquaintance principle in aesthetics, on which aesthetic judgments must be based on firsthand perceptual encounters with their objects.

Deepfakes are algorithmically modified video and audio recordings that project one person’s appearance on to that of another, creating an apparent recording of an event that never took place. Many scholars and journalists have begun attending to the political risks of deepfake deception. Here we investigate other ways in which deepfakes have the potential to cause deeper harms than have been appreciated. First, we consider a form of objectification that occurs in deepfaked ‘frankenporn’ that digitally fuses the parts of different women to create pliable characters incapable of giving consent to their depiction. Next, we develop the idea of ‘illocutionary wronging’, in which an individual is forced to engage in speech acts they would prefer to avoid in order to deny or correct the misleading evidence of a publicized deepfake. Finally, we consider the risk that deepfakes may facilitate campaigns of ‘panoptic gaslighting’, where many systematically altered recordings of a single person's life undermine their memory, eroding their sense of self and ability to engage with others. Taken together, these harms illustrate the roles that social epistemology and technological vulnerabilities play in human ethical life.

Two varieties of aesthetic virtue are distinguished. Trait virtues are features of the agent’s character, and reflect an overarching concern for aesthetic goods such as beauty and novelty, while faculty virtues are excellences of artistic execution that permit the agent to succeed in her chosen domain. The distinction makes possible a fuller account of why art matters to us—it matters not only insofar as it is aesthetically good, but also in its capacity as an achievement that is creditable to an individual, and as a reflection or embodiment of virtuous motives.