Aidan McGlynn

@aidanmcglynn.bsky.social

Glaswegian philosopher based at the University of Edinburgh, mostly working on issues in epistemology and feminist philosophy. Co-editor of Hypatia, research associate at ACEPS, University of Johannesburg. He/him. https://sites.google.com/site/aidanmcglynn

I just saw a tagline for 'H is for Hawk' that simply says "time doesn't heal, it re-arranges", and I don't remember the last time, if it's ever happened before, that a tagline for a film had such impact

“The archaeology of grief is not ordered. It is more like earth under a spade, turning up things you had forgotten. Surprising things come to light: not simply memories, but states of mind, emotions, older ways of seeing the world.” - H is for Hawk

Although painted in oils, Berthe Morisot's 'Hanging the Laundry out to Dry,' (1878) shows characteristics of her earlier watercolours with which she was able to create a translucent atmosphere and feathery touch, which contribute to the freshness in her paintings.

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'Fruit in a blue delft bowl.' (1880) The Finnish painter Maria Wiik is an obscure artist even though her name is known through her friend Helene Schjerfbeck. In 1878 the art critic Carl Gustaf Estlander judged her work as 'downright excellent.'

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Listen to Todd Blanche—Trump’s nominee for AG—tell faith leaders that the Justice Dept is working with the White House to stop the shipping of abortion pills into banned states. “We will have victory, victory will be soon, and it will be permanent,” he said.

Last month I received the devastating news of the death of my former PhD student Alexander Greenberg. I taught him at UCL, at Cambridge, & he worked with me on the 'New Directions' project in Cambridge from 2015-17. He was a lovely man, wonderful company, & a fine philosopher. He was loved by many.

I don't know if anyone on here follows Maggie Weber's videos, but her 'fixing my millennial brain' series has been amazing - it looks at how various women were body- and fat-shamed during the period she was growing up, and how the fashion industry distorted perceptions of these things.

A Glimpse of Notre-Dame in the Late Afternoon (1902) comes from Matisse's dark period—yet it's built almost entirely from blue. From a window above the Seine, he dissolves cathedral, river, and sky into one field of colored light, edging toward Fauvism.

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When Sorolla painted 'Niña en mar plateado,' in 1909, it was amongst the most luminous and freely handled works he had produced. In 1906, the newspaper 'La Nación' had written: 'Sorolla is one of the glories of Valencia...one of the glories of modern Spain.'

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Since people might be thinking about topics and texts for teaching next year, I thought I'd post the bit of the preface of my recent book 'Epistemic Injustice: An Introduction' about who it's for and how to use it. (Alt-text is spread over this image and the one in the next post)

Let me say a few words about who this book is for, and how to get the most out of it. I have intentionally tried to make this book as accessible as I can, and so I have tried to write it without presupposing that the reader is already familiar with the jargon, theories, and methodologies of academic philosophy and epistemology. Each chapter includes an annotated list of further readings where I make suggestions about where an interested reader might follow up on various issues covered in that chapter, and there is a glossary at the end of the book which gives the reader struggling to keep track of the various labels a place to quickly check their understanding (though precisely what is meant by many of the terms listed is part of what’s under contention in the chapters).
Despite these steps, I don’t think I have wholly succeeded in making all of the topics and chapters accessible to all readers; some of the discussions remain unavoidably complex, and I have kept them in only because I judged them too central and significant for the topic of this book to leave out. What I have done is try to restrict the most difficult material to later chapters in each part of this book. This means that the text builds up to the more difficult chapters, in a way that hopefully keeps as many readers as possible on board, but it also means that readers can choose how deeply they want to engage with a particular topic. Chapters 10 and 11 are probably the most difficult in the whole book.