The Ethics Of Affect

Based on ongoing fieldwork in the Akihabara neighborhood of Tokyo, specifically a targeted subproject from 2014 to 2015, this book explores how and to what effect lines are drawn by producers, players and critics of bishōjo games. Focusing on interactions with manga/anime-style characters, these adult computer games often feature explicit sex acts. Noting that the bishōjo, or "cute girl characters," in these games can appear quite young, legal actions have been taken in a number of countries to categorize and prohibit the content as child abuse material. In response to the risk of manga/anime images encouraging underage sexualization, lawmakers are moved to regulate them in the same way as photographs or film; triggered by images, the line between fiction and reality is erased, or redrawn to collapse forms together. While Japanese politicians continue to debate a similar course, sustained engagement with bishōjo game producers, players and critics sheds light on alternative movement. Manga/anime-style characters trigger an affective response in interactions with their creators and users, who draw and negotiate lines between fiction and reality. Interacting with characters and one another, bishōjo gamers draw lines between what is fictional and what is "real," even as the characters are real in their own right and relations with them are extended beyond games; some even see the characters as significant others and refer to them using intimate terms of commitment such as "my wife." This book argues for understanding the everyday practice of insisting on lines, or drawing a line between humans and nonhumans and orienting oneself toward the drawn lines of the latter, as demonstrating an emergent form of ethics. Occurring individually and socially in both private and public spaces, the response to fictional characters not only discourages harming human beings, but also supports life in more-than-human worlds. For many in contemporary Japan and beyond, interactions and relations with fictional and real others are nothing short of lifelines.

Based on ongoing fieldwork in the Akihabara neighborhood of Tokyo, specifically a targeted subproject from 2014 to 2015, this book explores how and to what effect lines are drawn by producers, players and critics of bishōjo games. Focusing on interactions with manga/anime-style characters, these adult computer games often feature explicit sex acts. Noting that the bishōjo, or “cute girl characters,” in these games can appear quite young, legal actions have been taken in a number of countries to categorize and prohibit the content as child abuse material. In response to the risk of manga/anime images encouraging underage sexualization, lawmakers are moved to regulate them in the same way as photographs or film; triggered by images, the line between fiction and reality is erased, or redrawn to collapse forms together. While Japanese politicians continue to debate a similar course, sustained engagement with bishōjo game producers, players and critics sheds light on alternative movement. Manga/anime-style characters trigger an affective response in interactions with their creators and users, who draw and negotiate lines between fiction and reality. Interacting with characters and one another, bishōjo gamers draw lines between what is fictional and what is “real,” even as the characters are real in their own right and relations with them are extended beyond games; some even see the characters as significant others and refer to them using intimate terms of commitment such as “my wife.” This book argues for understanding the everyday practice of insisting on lines, or drawing a line between humans and nonhumans and orienting oneself toward the drawn lines of the latter, as demonstrating an emergent form of ethics. Occurring individually and socially in both private and public spaces, the response to fictional characters not only discourages harming human beings, but also supports life in more-than-human worlds. For many in contemporary Japan and beyond, interactions and relations with fictional and real others are nothing short of lifelines.

Based on ongoing fieldwork in the Akihabara neighborhood of Tokyo, specifically a targeted subproject from 2014 to 2015, this book explores how and to what effect lines are drawn by producers, players and critics of bishōjo games. Focusing on interactions with manga/anime-style characters, these adult computer games often feature explicit sex acts. Noting that the bishōjo, or “cute girl characters,” in these games can appear quite young, legal actions have been taken in a number of countries to categorize and prohibit the content as child abuse material. In response to the risk of manga/anime images encouraging underage sexualization, lawmakers are moved to regulate them in the same way as photographs or film; triggered by images, the line between fiction and reality is erased, or redrawn to collapse forms together. While Japanese politicians continue to debate a similar course, sustained engagement with bishōjo game producers, players and critics sheds light on alternative movement. Manga/anime-style characters trigger an affective response in interactions with their creators and users, who draw and negotiate lines between fiction and reality. Interacting with characters and one another, bishōjo gamers draw lines between what is fictional and what is “real,” even as the characters are real in their own right and relations with them are extended beyond games; some even see the characters as significant others and refer to them using intimate terms of commitment such as “my wife.” This book argues for understanding the everyday practice of insisting on lines, or drawing a line between humans and nonhumans and orienting oneself toward the drawn lines of the latter, as demonstrating an emergent form of ethics. Occurring individually and socially in both private and public spaces, the response to fictional characters not only discourages harming human beings, but also supports life in more-than-human worlds. For many in contemporary Japan and beyond, interactions and relations with fictional and real others are nothing short of lifelines.

'A comprehensive and important collection that includes essays by some of the leading figures in the field. ...Essential reading for anyone interested in risk assessment.' Professor Kristin Shrader-Frechette, University of Notre Dame 'The editors are to be congratulated for bringing together a distinguished international group of theorists to reflect on the issues. This volume will be sure to raise the level of debate while at the same time showing the importance of philosophical reflection in approaches to the problems of the age.' Professor Jonathan Wolff, University College London This volume brings together top authors from the fields of risk, philosophy, social sciences and psychology to address the issue of how we should decide how far technological risks are morally acceptable or not. The underlying principles are examined, along with methodological challenges, public involvement and instruments for democratization. A strong theoretical basis is complemented by a range of case studies from some of the most contentious areas, including medical ethics and GM crops. This book is a vital new resource for researchers, students and anyone concerned that traditional approaches to risk management don't adequately address ethical considerations.

Ethics and Affects in the Fiction of Alice Munro explores the representation of embodied ethics and affects in Alice Munro’s writing. The collection illustrates how Munro’s short stories powerfully intersect with important theoretical trends in literary studies, including affect studies, ethical criticism, age studies, disability studies, animal studies, and posthumanism. These essays offer us an Alice Munro who is not the kindly Canadian icon reinforcing small-town verities who was celebrated and perpetuated in acts of national pedagogy with her Nobel Prize win; they ponder, instead, an edgier, messier Munro whose fictions of affective and ethical perplexities disturb rather than comfort. In Munro’s fiction, unruly embodiments and affects interfere with normative identity and humanist conventions of the human based on reason and rationality, destabilizing prevailing gender and sexual politics, ethical responsibilities, and affective economies. As these essays make clear, Munro’s fiction reminds us of the consequences of everyday affects and the extraordinary ordinariness of the ethical encounters we engage again and again.

Autonomous cars, drones, and electronic surveillance systems are examples of technologies that raise serious ethical issues. In this analytic investigation, Martin Peterson articulates and defends five moral principles for addressing ethical issues related to new and existing technologies: the cost-benefit principle, the precautionary principle, the sustainability principle, the autonomy principle, and the fairness principle. It is primarily the method developed by Peterson for articulating and analyzing the five principles that is novel. He argues that geometric concepts such as points, lines, and planes can be put to work for clarifying the structure and scope of these and other moral principles. This geometric account is based on the Aristotelian dictum that like cases should be treated alike, meaning that the degree of similarity between different cases can be represented as a distance in moral space. The more similar a pair of cases are from a moral point of view, the closer is their location in moral space. A case that lies closer in moral space to a paradigm case for some principle p than to any paradigm for any other principle should be analyzed by applying principle p. The book also presents empirical results from a series of experimental studies in which experts (philosophers) and laypeople (engineering students) have been asked to apply the geometric method to fifteen real-world cases. The empirical findings indicate that experts and laypeople do in fact apply geometrically construed moral principles in roughly, but not exactly, the manner advocates of the geometric method believe they ought to be applied.

New York Post Best Book of 2016 We often think of our capacity to experience the suffering of others as the ultimate source of goodness. Many of our wisest policy-makers, activists, scientists, and philosophers agree that the only problem with empathy is that we don’t have enough of it. Nothing could be farther from the truth, argues Yale researcher Paul Bloom. In AGAINST EMPATHY, Bloom reveals empathy to be one of the leading motivators of inequality and immorality in society. Far from helping us to improve the lives of others, empathy is a capricious and irrational emotion that appeals to our narrow prejudices. It muddles our judgment and, ironically, often leads to cruelty. We are at our best when we are smart enough not to rely on it, but to draw instead upon a more distanced compassion. Basing his argument on groundbreaking scientific findings, Bloom makes the case that some of the worst decisions made by individuals and nations—who to give money to, when to go to war, how to respond to climate change, and who to imprison—are too often motivated by honest, yet misplaced, emotions. With precision and wit, he demonstrates how empathy distorts our judgment in every aspect of our lives, from philanthropy and charity to the justice system; from medical care and education to parenting and marriage. Without empathy, Bloom insists, our decisions would be clearer, fairer, and—yes—ultimately more moral. Brilliantly argued, urgent and humane, AGAINST EMPATHY shows us that, when it comes to both major policy decisions and the choices we make in our everyday lives, limiting our impulse toward empathy is often the most compassionate choice we can make.

This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators’ affective and emotional engagement with film, which can function as a moral ground for one’s connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first volumes to open up a dialogue among these diverse methodologies. Contributors bring to the fore some of the assumptions implicitly shared between these theories and forge a new relationship between them in order to explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films