The Invisibility of Disability: Using Dance to Shake from Bioethics the Idea of ‘Broken Bodies’

Complex social and ethical problems are often most effectively solved by engaging them at the messy and uncomfortable intersections of disciplines and practices, a notion that grounds the InVisible Difference project, which seeks to extend thinking and alter practice around the making, status, ownership, and value of work by contemporary dance choreographers by examining choreographic work through the lenses of law, bioethics, dance scholarship, and the practice of dance by differently‐abled dancers. This article offers a critical thesis on how bioethics has come to occupy a marginal and marginalizing role in questions about the differently‐abled body. In doing so, it has rendered the disabled community largely invisible to and in bioethics. It then defends the claim that bioethics – as a social undertaking pursued collaboratively by individuals from different disciplines – must take much better notice of the body and the embodied individual if it is to better achieve its ends, which include constructing a moral and just society. Finally, this article considers how the arts, and specifically dance (and here dance by differently‐abled dancers), provides us with rich evidence about the body and our ability to respond positively to normally ‘othered’ bodies. It concludes that greater attention to empirical evidence like that being generated in InVisible Difference will help to expand the reach and significance of bioethics, and thereby its relevance to (and consciousness of) important questions about the status of bodies and bodily differences, which must be considered as central to its ambitions.     

Teaching global bioethics

We live in a world with enormous disparities in health. The life expectancy in Japan is 80 years; in Malawi, 40 years. The under-five mortality in Norway is 4/1000; in Sierra Leone, 316/1000. The situation is actually worse than these figures suggest because average rates tend to mask inequalities within a country. Several presidents of the IAB have urged bioethicists to attend to global disparities and to broaden the scope of bioethics. For the last six years I have tried to do just that. In this paper, I report and reflect on my attempts to teach bioethics in ways that address global health and justice. I then discuss ways to address key ethical issues in global health: the problem of inequalities; the nature of the duty to assist; the importance of the duty not to harm; the difference between a cosmopolitan and a political view of justice. I also discuss how teaching about global health may help to shift the emphasis in bioethics--from sensational cases to everyday matters, from autonomy and justice, and from access to healthcare to the social determinants of health. At the end of my paper, I reflect on questions that I have not resolved: how to delineate the scope of bioethics, whether my approach over-politicises bioethics, and how to understand the responsibilities of bioethicists.     

For what purpose the arts? An analysis of the mission statements of urban arts high schools in Canada and the United States

While general arts programs have declined in many schools across the United States and Canada, the number of specialized art programs in public secondary schools has swelled since the 1980s. While this increase is often celebrated by arts educators, questions about the justification of specialized arts programs are rarely raised, and their value is often taken for granted. In this article, we examine the mission statements of eighty-four specialized arts programs across two countries to examine the ideas, values, and commitments that are expressed in these public statements. In addition to a close thematic analysis, we describe how these mission statements reflect different conceptions of the role of the arts in education and consider the ways in which arguments that seek to broaden access to the arts are combined with the goal of serving a narrow subset of the student population. We argue that analyzing mission statements provides a clearer picture of the ideas that shape these programs, and that in order to foster an informed public conversation about the purpose and value of an education in the arts, educators committed to the arts must engage in this serious discussion.     

The arts in Brazilian public schools: Analysis of an art education experience in Mato Grosso State,Brazil

This article examines the relation between official policy on art education in Brazilian basic education and what is actually taught and done in public school teaching in Mato Grosso, Brazil. Making use of interpretative analysis, I directly observed art classes in schools selected in the state of Mato Grosso. I also analyzed the laws, guidelines, parameters, and other official documents related to art education in Brazilian primary and secondary schools and compared them to the observed practices in the selected schools. Specifically in Mato Grosso, there is a gap between the theoretical guidelines of these documents and what is taught and done in public schools. Conceptions of the discipline of art education in official documents are not in line with the practices of this discipline in the researched elementary schools, a discord that may contribute to art being misunderstood as a lesser discipline. Using the results of this research, I intend to seek effective ways to discuss the arts in the curriculum of primary and secondary schools and highlight their importance in school curricula. My objective is not only that these results benefit public schools by encouraging the expansion of concrete and effective public policies for the quality and improvement of primary and secondary school education and the training of arts teachers, but also that these results will assist researchers studying arts education by showing how to extend that study beyond the academic walls.     

Coevolutionary aesthetics in human and biotic artworlds

This work proposes a coevolutionary theory of aesthetics that encompasses both biotic and human arts. Anthropocentric perspectives in aesthetics prevent the recognition of the ontological complexity of the aesthetics of nature, and the aesthetic agency of many non-human organisms. The process of evaluative coevolution is shared by all biotic advertisements. I propose that art consists of a form of communication that coevolves with its own evaluation. Art and art history are population phenomena. I expand Arthur Danto’s Artworld concept to any aesthetic population of producers and evaluators. Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art. Coevolutionary aesthetic theory provides a heuristic account of aesthetic change in both human and biotic artworlds, including the coevolutionary origin of aesthetic properties and aesthetic value within artworlds. Restructuring aesthetics, art criticism, and art history without human beings at the organizing centers of these disciplines stimulate new progress in our understanding of art, and the unique human contributions to aesthetics and aesthetic diversity.     

Art as "Presented Scenario" for Children (Use of Theatrical Pedagogical Methods in Art Assignments with Children Aged 3-10 Years)

The theme "Children and art" contains many riddles and questions. In these times of crisis in the one-sided rationalist orientation of our educational system, many look to art for a solution. Unfortunately, however, only a few have as yet succeeded in overcoming the inertia of the logical approach to comprehending the surrounding world. This applies not only to the natural sciences but also to the domain of bringing children in contact with the arts. Representational art and music have especially suffered. Theater, thanks to its ludic nature, suffers less. The pedagogy of art continues to employ an informational approach, although now dull and dry information about the life and activities of artists, composers, and writers and the names of works of art are being replaced by information about figurative-emotional content of a very general nature. Special art schools teach the crafts particular to each art form. But the most basic aspect, that without which art could not exist, which defines art as play, namely, its sensuous reflection of the world, remains unexplored. In particular, this aspect consists of: (1) creativity, the imaginative, ludic transformation of impressions of the real world; and (2) the personal element in what is expressed.     

Bioethics and Its Gatekeepers: Does Institutional Racism Exist in Leading Bioethics Journals?

Who are the gatekeepers in bioethics? Does editorial bias or institutional racism exist in leading bioethics journals? We analyzed the composition of the editorial boards of 14 leading bioethics journals by country. Categorizing these countries according to their Human Development Index (HDI), we discovered that approximately 95 percent of editorial board members are based in (very) high-HDI countries, less than 4 percent are from medium-HDI countries, and fewer than 1.5 percent are from low-HDI countries. Eight out of 14 leading bioethics journals have no editorial board members from a medium- or low-HDI country. Eleven bioethics journals have no board members from low-HDI countries. This severe underrepresentation of bioethics scholars from developing countries on editorial boards suggests that bioethics may be affected by institutional racism, raising significant questions about the ethics of bioethics in a global context.     

The need for systematic reviews of reasons

There are many ethical decisions in the practice of health research and care, and in the creation of policy and guidelines. We argue that those charged with making such decisions need a new genre of review. The new genre is an application of the systematic review, which was developed over decades to inform medical decision-makers about what the totality of studies that investigate links between smoking and cancer, for example, implies about whether smoking causes cancer. We argue that there is a need for similarly inclusive and rigorous reviews of reason-based bioethics, which uses reasoning to address ethical questions. After presenting a brief history of the systematic review, we reject the only existing model for writing a systematic review of reason-based bioethics, which holds that such a review should address an ethical question. We argue that such a systematic review may mislead decision-makers when a literature is incomplete, or when there are mutually incompatible but individually reasonable answers to the ethical question. Furthermore, such a review can be written without identifying all the reasons given when the ethical questions are discussed, their alleged implications for the ethical question, and the attitudes taken to the reasons. The reviews we propose address instead the empirical question of which reasons have been given when addressing a specified ethical question, and present such detailed information on the reasons. We argue that this information is likely to improve decision-making, both directly and indirectly, and also the academic literature. We explain the limitations of our alternative model for systematic reviews.     

A method of Reflexive Balancing in a Pragmatic,Interdisciplinary and Reflexive Bioethics

In recent years there has been a wealth of literature arguing the need for empirical and interdisciplinary approaches to bioethics, based on the premise that an empirically informed ethical analysis is more grounded, contextually sensitive and therefore more relevant to clinical practice than an ‘abstract’ philosophical analysis. Bioethics has (arguably) always been an interdisciplinary field, and the rise of ‘empirical’ (bio)ethics need not be seen as an attempt to give a new name to the longstanding practice of interdisciplinary collaboration, but can perhaps best be understood as a substantive attempt to engage with the nature of that interdisciplinarity and to articulate the relationship between the many different disciplines (some of them empirical) that contribute to the field. It can also be described as an endeavour to explain how different disciplinary approaches can be integrated to effectively answer normative questions in bioethics, and fundamental to that endeavour is the need to think about how a robust methodology can be articulated that successfully marries apparently divergent epistemological and metaethical perspectives with method. This paper proposes ‘Reflexive Bioethics’ (RB) as a methodology for interdisciplinary and empirical bioethics, which utilizes a method of ‘Reflexive Balancing’ (RBL). RBL has been developed in response to criticisms of various forms of reflective equilibrium, and is built upon a pragmatic characterization of Bioethics and a ‘quasi‐moral foundationalism’, which allows RBL to avoid some of the difficulties associated with RE and yet retain the flexible egalitarianism that makes it intuitively appealing to many.     

Abstraction and art

In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man-machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.     

The presence and influence of religion in American bioethics

From the inception of the relatively short history of American bioethics in the mid-to-late 1960s, the place of religion in this field has been complex and controversial. It has also been a subject of more than casual interest and concern to bioethicists, and to an array of medical and non-medical groups in U.S. society for whom the activities and issues in which bioethics is engaged have ongoing import. The questions and the tensions linked to the status and influence of religion in the sphere of bioethics have ramifications that extend beyond bioethics and biomedicine into matters involving the relationship of religion to the institutional structure of American society--most particularly its political, legal foundations, and realm of public affairs--and to its cultural attributes and tradition. It is within this larger perspective that we will consider the association between American bioethics and religion. Our analysis includes two case studies: (1) how, in the early years of bioethics, a pioneering organization in the field dealt with the "redefinition of death" in its discussions and in a major medical journal publication; and (2) the way in which the most recently appointed federal bioethics commission, the National Bioethics Advisory Commission, involved religion in its work on cloning and stem cell research.     

Patterns of minority and majority identification in a multicultural society

There has been increasing investigation of the national and ethnic identification of minority populations in Western societies and how far they raise questions about the success or failure of multicultural societies. Much of the political and academic discussion has, however, been premised on two assumptions. First, that ethnic minority and national identification are mutually exclusive, and, second, that national identification forms an overarching majority identity that represents consensus values. In this paper, using a large-scale nationally representative UK survey with a varied set of identity questions, and drawing on an extension of Berry's acculturation framework, we empirically test these two assumptions. We find that, among minorities, strong British national and minority identities often coincide and are not on an opposing axis. We also find that adherence to a British national identity shows cleavages within the white majority population. We further identify variation in these patterns by generation and political orientation.     

Guatemala Conquers America

This article raises questions about the breadth and depth of content-area expertise in initial licensure programs for art teachers, K–12. An analysis of some of the promises made in the name of art education suggests that art teachers need a high level of expertise and deep understanding of art in order to deliver on these promises. To consider the odds of teacher preparation reflecting that depth, a study of art teacher preparation in the state of Maryland is used as an example of what may be the case in that state and may also reflect preparation elsewhere. Course requirements in the content area of art for all of Maryland's state-approved and nationally accredited programs for undergraduate and graduate certification are reported. The article concludes by posing ten questions to institutions of higher education, national accreditation agencies, and national leadership concerned with policy in art education.     

Systems Bioethics and Stem Cell Biology

The complexities of modern science are not adequately reflected in many bioethical discussions. This is especially problematic in highly contested cases where there is significant pressure to generate clinical applications fast, as in stem cell research. In those cases a more integrated approach to bioethics, which we call systems bioethics, can provide a useful framework to address ethical and policy issues. Much as systems biology brings together different experimental and methodological approaches in an integrative way, systems bioethics integrates aspects of the history and philosophy of science, social and political theory, and normative analysis with the science in question. In this paper we outline how a careful analysis of the science of stem cell research can help to refocus the discussions related to the clinical applications of stem cells. We show how inaccurate or inadequate scientific assumptions help to create a set of unrealistic expectations and badly inform ethical deliberations and policy development. Systems bioethics offers resources for moving beyond the current impasse.     

When the political becomes personal: Reflecting on disability bioethics

A discussion of the connection between activism and academia in bioethics, highlighting the author’s own trajectory, exploring the extent to which academics have an obliation to be ‘judges’ rather than ‘barristers’ (as explored by Jonathan Haidt) and asking questions about the relationship of disability to positions in bioethics.     

Anthropologies of art

This paper discusses how different conceptions of the idea of ‘anthropology’ entail different views of the ‘anthropology of art’. The prevailing notion of anthropology as the Western study of small-scale non-Western societies leads to a conception of the anthropology of art as dealing with the visual arts of these societies or cultures. Anthropology is sometimes also interpreted as referring to a particular approach that is applicable in examining sociocultural phenomena in whatever culture, including its art forms. Both conceptions of anthropology may be considered subsidiary to a more encompassing view of anthropology as the multidisciplinary study of humankind. Following this view, the anthropology of art becomes the comprehensive examination of art in human existence. As such it would coincide with World Art Studies, conceived as the global and multidisciplinary study of the visual arts.     

From applied ethics to empirical ethics to contextual ethics

Bioethics became applied ethics when it was assimilated to moral philosophy. Because deduction is the rationality of moral philosophy, subsuming facts under moral principles to deduce conclusions about what ought to be done became the prescribed reasoning of bioethics, and bioethics became a theory comprised of moral principles. Bioethicists now realize that applied ethics is too abstract and spare to apprehend the specificity, particularity, complexity and contingency of real moral issues. Empirical ethics and contextual ethics are needed to incorporate these features into morality, not just bioethics. The relevant facts and features of problems have to be identified, investigated and framed coherently, and potential resolutions have to be constructed and assessed. Moreover, these tasks are pursued and melded within manifold contexts, for example, families, work and health care systems, as well as societal, economic, legal and political backgrounds and encompassing worldviews. This naturalist orientation and both empirical ethics and contextual ethics require judgment, but how can judgment be rational? Rationality, fortunately, is more expansive than deductive reasoning. Judgment is rational when it emanates from a rational process of deliberation, and a process of deliberation is rational when it uses the resources of non‐formal reason: observation, creative construction, formal and informal reasoning methods and systematic critical assessment. Empirical ethics and contextual ethics recognize that finite, fallible human beings live in complex, dynamic, contingent worlds, and they foster creative, critical deliberation and employ non‐formal reason to make rational moral judgments.     

An Integrated Unit

In this article, the author analyzes Arthur Efland's Art and Cognition, which advocates study of the visual arts for its cognitive benefits. The author argues that Efland's cognitive premises are largely sound but that his specific recommendations often belie the general principles he espouses. Efland focuses on the interpretation of baffling works that deliberately flout traditional views of what constitutes a work of art. He thereby ignores his own emphasis on the role of categorization in human cognition. Moreover, although he stresses the cognitive importance of individual goals and intentions, Efland favors sociopolitical interpretations. Such interpretations disregard contradictory evidence of the artist's likely intentions and downplay the personal value of art. The author views Efland's emphasis on visual metaphor as inconsistent with his recognition that the visual arts possess a distinctive immediacy and directness.