This chapter contains sections titled: What's So Great About Sailing? Aristotle, Virtues, and Flourishing Is Sailing Virtuous? Is Sailing More Virtuous Than Other Pursuits? Conclusion.

BackgroundMoral case deliberation is one form of clinical ethics support, and there seems to be different ways of facilitating the dialogue.PurposeThis paper aimed to explore Swedish facilitators' experiences of their role in moral case deliberations.MethodThis study had a qualitative approach with explorative design. Semi-structured interviews with eleven MCD facilitators were conducted. Their experiences were analyzed using thematic analysis.ResultBeing a facilitator was understood through the metaphor of sailing: against the wind or with it. The role was likened to a sailor's (...) set of skills: to promote security and well-being of the crew, to help crew navigate their moral reflections, to sail a course into the wind against homogeneity, to accommodate the crew's needs and just sail with the wind, and to steer towards a harbour with authority and expertise. Balancing the disparate roles of being accommodative and challenging may create a free space for emotions and ideas, including self-reflection and con... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.4 (2000) 577-593 [Access article in PDF] Machina Ex Deo: William Harvey and the Meaning of Instrument Don Bates Introduction Since our clocks do consistently disclose each hour of the day and night--do they not seem to partake of another body (beyond the elements), and that more divine? But if, under the dominion and management of [our human] Art, such splendid things are (...) daily achieved beyond the powers of the objects themselves,... And if, in serving men they carry out such things as are to be marvelled at, what I ask, may we expect from them when they be instruments in the hand of God? These words come near the end of William Harvey's De generatione animalium. 1 As he does often in this work, he is arguing that it is possible for a material object to behave supra vires elementorum, i.e., in a manner that exceeds what can be explained merely from the qualities of the elements from which it is made. In fact, just before this, he argues that human craftsmanship enables the elements of air and water to make ships sail in opposite directions, fire to do one sort of thing in the kitchen, another in the shops of metal-workers, including the production of iron, which in its turn peacefully tills the soil or besieges the town in war. So if even human Art is capable of making something as wonderful as a clock out of the elements, how much more might God be able to do with them? [End Page 577]Not only is it entirely conceivable that the (divinely) artful manipulation of these same elements can account for the wonders of God's nature--such as the generation of a chick out of an egg--there is also no need to infer the existence of additional entities such as faculties, qualities, agents, and the like. All that is needed is the concept of "instrument." Today such things as his appeal to a clock, his reference to "art," and the word "instrument" itself, are liable to arouse in our minds a fairly mechanical sort of image. Therefore, we need to put this idea in its intellectual context, by looking at where Harvey's notion of instrument is coming from.First, our much more mechanical world view was just coming into being as Harvey (1578-1657) wrote these words. Although the philosophy of his younger contemporary, René Descartes (1596-1650) was not yet in full bloom (he died a year before Harvey's book appeared), Cartesianism was certainly on the explanatory horizon, 2 as was the work of another contemporary and contributor to the "new philosophy," Pierre Gassendi (1592-1655). 3 And, of course, Harvey had certainly known Francis Bacon (1561-1626). 4 Nevertheless, Harvey was a devout Aristotelian who was adamantly opposed to the efforts of these contemporaries to replace Aristotle. 5 Moreover, it was from the Aristotelian tradition, not from the new mechanics, that Harvey had derived the concept of instrument.If, broadly speaking, the "new philosophy" was about a universe that was built like a clock, then the "old" natural philosophies, whether dominated by Platonism, Aristotelianism, Christian theology, or some combination, were about a universe that was socially constructed. 6 Not only was man at the center, to a large extent the workings of the universe were envisioned in terms of social experience. The regularity, predictability, harmony, and wonder of natural phenomena seemed best explained in the language of reason, moral values, motives, responsibilities, hierarchies, laws (in the social sense), and the like, explanatory resources that, in the late ancient and medieval intellectual cultures of Europe, far outweighed either those that appealed to the passively material and the mechanical, or to the random and the chance.But very central to that social model of nature was the concept of instrument, which gave to it something of a mechanical twist. To see how this was so, we need to go back temporarily to the works of Aristotle, the influence of... (shrink)

This dissertation explores the notion of relevance as it appears in debates within the philosophy of art. ;Chapter one begins by exploring the extent to which notions of relevance inform many of the central debates within the philosophy of art. I distinguish some contexts in which questions about relevance arise and show that there are at least two importantly distinct notions of relevance that get referred to in the literature---a metaphysical notion and an epistemological notion. Chapter two addresses a recent (...) challenge posed by Mary Mothersill to the applicability of the concept of relevance in the aesthetic domain. I argue that Mothersill presents no good reasons to think relevance fails to apply in the artistic domain. Chapter three explores and criticizes the main candidate theories of aesthetic relevance. I argue that causal-psychological theories of aesthetic relevance suffer from two flaws: they fail to capture the normative aspect of relevance; and they unreasonably restrict the effects relevant information must have on audiences. The natural successor to psychological theories of aesthetic relevance---an ideal observer account---does a better job of capturing the normativity of relevance but suffers from the difficulty of determining what counts as an ideal observer in the artistic realm. Chapter four is devoted to exploring and criticizing the widespread view that artistic value is a form of instrumental value determined solely by the valuable experiences works of art can provide. I show that the arguments that purport to establish that the non-experiential effects of art are irrelevant to artistic value and evaluation are fatally flawed. The fifth and final chapter focuses on the connection between artistic value and relevance. I argue that both essentialist and anti-essentialist theories of artistic value fail to deal satisfactorily with the issue of relevance. I then argue for a pragmatic and relativist conception of relevance. This leads to a pragmatic and relativist conception of artistic evaluation. (shrink)

The technologies used to govern performance at universities consist of monitoring and comparative instruments. They are designed to affect and direct behaviour. In these academic environments of exposure, comparison and self-monitoring are deeply entangled with a vulnerable affective economy. This article explores how these data may affect our moods and how academic value could be curated by other means and with care. Drawing on feminist new materialist thinking and speculative feminist storytelling, the article takes this picture of the actual (...) as a point of departure for discussing ways of experimenting with affirmative critique of the current use of data. Through a smaller experiment with thirty PhD students, the article discusses how to speculatively curate academic value by other means that provide more liveable world(ing)s than data visuals measuring performance and that engage other sensorial and affective registers. (shrink)

The article discusses the relationship of the axiological foundations of modern bioethics with casual and even incidental effects of the activity of scholars in the late Middle Ages and the Renaissance. The author examine the ability of humanists to influence the formation of values system as well as the possibility of instrumentalizing these values in social practices. The study determines the entire causal complex that led to the formation of a special tradition of non-religious substantiation of values associated with the (...) teaching and study of ancient languages in the context of the functioning of political and legal institutions and cultural and historical traditions of European states. The author considers the origins and meaning of humanism and the gradual change of its content as well as the transformation of humanistic experience into a tool of constructing ideals and values and an element of social technology. A special place is given to the analysis of attempts to form meta-ethics and bioethics within the framework of the value system of post-Soviet Russian society and the role of humanistic ideas in this process. On the example of the development of modern European philosophical thought, the controversial and problematic nature of various interpretations of humanism is shown, and the thesis of the historical conditionality of the ideals of humanism and its connection with some certain paradigms of metaphysic is confirmed. The central theme of the article is the problem of the relationship between the historical and conceptual, conditional and unconditional, contextual and universal in the heritage of the late medieval humanism. Technologization paths and contexts for the interpretation of humanistic ideas in modern Russia are outlined. The paper determines the ways of harmonization of humanitarian values and the system of their social and legal legitimation. On the example of the educational policy of higher education in recent decades, achievements and failures in the process of forming a new value system are analyzed. This value system could be used as a basis for legislative practice and state policy that would allow determining the basis of modern bioethics, which is of great importance for the development of Russian society and further improvement of the moral and legal foundations of its existence. (shrink)

The concept of innovation defines our age. It fuels the global economy, promises a sustainable future, and stands at the heart of our interconnected society. On the one hand, the concept of innovation is widely presupposed in terms of the commercial value it generates. As claimed in the tradition of economic analysis, innovation is characterized by its competitive dynamics and primarily directed at developing marketable products and services. On the other hand, the reality of today’s global issues, such as (...) climate change and food security, urges innovation to generate societal value beyond mainstream economic incentive. To this end, the EU policy discourse has paved the way for Responsible Innovation. The core idea here is to steer innovation processes towards societally desirable outcomes, specifically in response to the ‘grand challenges’ of our time. Under the sway of ‘science with and for society’, the hypothesis is that innovation can only respond to the needs and ambitions of society by including all its actors throughout the process. However, while much effort is dedicated to governing innovation, little thought goes to what innovation itself means conceptually. What understanding of innovation underpins the framework of RI? What implications, if any, does this have for the ambition to achieve RI? These are important questions to raise as they enable critical reflection on the relation between responsibility and innovation, broadly speaking. Does the ‘R’ in RI entail an application of ethical keys to an already existing concept of innovation, or does it require us to rethink the concept of innovation altogether? After providing a general introduction in chapter 1 on the context of the dissertation and its main research objectives, chapter 2 shows how RI emerged from a longer history of efforts to incorporate ethical dimensions in new and emerging technologies, such as Technology Assessment and Science and Technology Studies. While similar to its precursors in prioritizing ethical concerns, RI clearly distinguishes itself by shifting from an ethics of constraints to an ethics of construction. The chapter continues to show that such an approach comes with an epistemic challenge, a political challenge, and a conceptual challenge. Through an extensive analysis of policy documents and academic literature, chapter 3 breaks open the concept of innovation in the RI discourse. Firstly, it demonstrates that the RI discourse tends to presuppose a techno-economic concept of innovation, as coined by the terms ‘technological innovation’ and ‘commercialized innovation’. Secondly, it provides a historical analysis to show that the concept of innovation was originally politically oriented and had little to do with the way in which it is commonly understood today. Thirdly, it discusses the implications of a techno-economic concept of innovation for achieving the ideal of RI and brings into question whether the political origins of innovation may inspire an alternative route. Chapter 4 engages with the philosophy of technology to assess the feasibility of RI at both an ontic and ontological level. While innovation at the ontic level refers to concrete innovative artefacts, innovation at the ontological level refers to the mode through which these artefacts are seen, understood, and created. At the ontic level, RI is shown to play a significant role in steering emerging technologies towards societally desirable outcomes. Even so, at the ontological level, the question is whether the ideal of RI is feasible insofar its scope is limited to governing a techno-economic concept of innovation. Parallel to Martin Heidegger’s view of technology as Enframing, this chapter denotes that in trying to govern a techno-economic concept of innovation, the RI discourse remains subject to its dominance. This in turn explains why, at the operational level, RI is often employed for mere strategic and instrumental purposes, while falling short on its promoted ambitions. Chapter 5 articulates an orientation shift from a techno-economic concept of innovation towards a political concept of innovation in the RI discourse. To this end, the chapter distinguishes between weak RI, which seeks to govern a techno-economic concept of innovation through an applied set of ethical dimensions; and strong RI, which seeks to conceive a political concept of innovation beyond techno-economic ideology and practice. Inspired by the work of Hannah Arendt, the chapter establishes a political concept of innovation that actualizes the human capacity for speech and action, inspires radical novelty, and empowers the public sphere. In doing so, the chapter concludes that strong RI is principally a plural undertaking which guards individual opinion from collective opinion; enables a physical and symbolic openness that genuinely activates citizenry; and stimulates performative speech. The final chapter, chapter 6, briefly recaps the main research objectives and takes stock of the insights gained. It concludes that the contribution of this dissertation does not reside in the concern with the techno-economic ideology of innovation as such – a concern which RI in fact already expressed when it first emerged – but more so in the ontological critique to the idea that this ideology can somehow be overpowered through governance and regulation. The rehabilitation of an ontological dimension in RI in turn provides a new perspective to the philosophy of technology, which over the years has taken a course away from ontological viewpoints. Moreover, the chapter elaborates on how a political concept of innovation adds depth to the foundational claims of RI. Based on these conclusions, the chapter reflects on a range of broader insights, particularly in relation to the philosophy of innovation and the ethics of socially disruptive technologies. In sum, this dissertation politicizes the RI discourse precisely in the way it was originally envisioned, that is, through conceptualizing innovation as a fundamentally political matter. In this view, politics is not merely an extension of RI but is itself the condition of RI; it is what enables innovation to genuinely serve the public good. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pragmatist Aesthetics and New Visions of the Contemporary Art Museum:The Tate Modern and the Baltic Centre for Contemporary ArtAngela Marsh (bio)John Dewey mandated the repositioning of our experience of art within the realm of the everyday, and recognized the importance of art objects principally with regard to how they operate within an experience as "carriers of meaning."1 In this quote from Art as Experience, Dewey illustrates the segue between (...) art and the perceiver, and his belief that within the profound art experience, lived dichotomies are healed:In art as an experience, actuality and possibility or ideality, the new and the old, objective material and personal response, the individual and the universal, surface and depth, sense and meaning, are integrated in an experience in which they are all transfigured from the significance that belongs to them when isolated in reflection.2Although the ephemeral nature of Dewey's definition of art-as-experience — hinged upon immediacy and the subjective heuristics of the perceiver — may seem difficult to capture and apply, the practicality of the concept, Richard Shusterman argues, lies in its "transformative potential," as a way to reconceive the place of art and its function in our world:Defining art as experience, I argue, also has value in widening the realmof art by challenging the rigid definition between art and action that is supported by definitions that define art as mimesis, poiesis, or the narrow practice as defined by the institutional art world. In other words, I argue that Dewey's definition of art as experience has a very fruitful transformational potential.3By defining art as experience, Dewey also sought to dissolve the binary structures of aesthetic rifts: art and life, high art and low art, body and mind, subject and object, self and world, emphasizing the holistic action in our engagement with art.4 But according to Dewey, the divisor of art from life and thus to blame for the aesthetic barrenness of our lived reality is the museum institution, as Shusterman describes: [End Page 91]The compartmentalization and spiritualization of art as an elevated "separate realm" set "upon a far-off pedestal," divorced from the materials and aims of other human effort, has removed art from the lives of most of us, and thus impoverished the aesthetic quality of our lives.(PA, 19)However, we must keep in mind that Art as Experience was published in 1934. Today, new approaches towards encounter and engagement within public museums are taking form and gaining momentum, with unprecedented directorial visions and mandates designed to nurture and make accessible art-based experiences among diverse audiences — where art and life can meet via multiple approaches. Theoretical synchronicities between pragmatist approaches to aesthetics and fruitful museum experiences can be suggested upon consideration of various innovative programs and approaches initiated at the Tate Modern in London and the Baltic Center for Contemporary Art in Gateshead. The overwhelming success of both venues could signify a reengagement of the general public with contemporary art, fed by "democratic," participatory approaches to exhibiting and programming art that make the museum more accessible to the various mixed publics it serves. In light of these new museological developments, Dewey's polemic oppositions between his conceptualizations of the museum experience and "art-as-experience" should be reexamined and possibly redefined.Dewey was entirely opposed to the concept of "art for art's sake." By exonerating art of any functional value — deeming it "fine" — art was elevated to a position separate from life, and thus rendered impotent to effect a lived aesthetic experience (which is how, Dewey would argue, the arts function most powerfully — as the purveyors of heightened experience). As Shusterman describes:The underlying motive for such attempts to purify art from any functionality was not to denigrate it as worthlessly useless, but to place its worth apart from and above the realm of instrumental value...and this freedom from use would be its defining and ennobling feature.(PA, 9)Dewey (and Shusterman) thus maintained that the very power construct that put the "fine" in art did so by removing the aspect of function from it. As previously stated, Dewey blamed museum institutions for removing art from its... (shrink)

Nature sports have been touted for their value “as ways of pursuing excellence and relating to the environment” (Krein 2014, 207). This value, however, is not widely available, in large part due to structural features that create barriers to access for all but able-bodied white men possessing substantial disposable income. In this paper, we will analyse four ‘isms’ that are prominent in nature sport: ableism, classism/elitism, racism, and sexism/heterosexism. Through an examination of nature sports like surfing, skiing, snowboarding, (...) and climbing, we argue that the current culture of nature sports contains institutionalized isms. If we are to create spaces for inclusion and authentic participation and experiences in nature sports, then change needs to occur. To that end, we will address counterculture(s) and programs that challenge the ism-saturated established norms of nature sports, removing barriers to access and opening value-laden opportunities for all. (shrink)

Violent extremism is often explicitly motivated by commitment to abstract ideals such as the nation or divine law – so-called “sacred” values that are relatively insensitive to material incentives and define our primary reference groups. Moreover, extreme pro-group behavior seems to intensify after social exclusion. This fMRI study explores underlying neural and behavioral relationships between sacred values, violent extremism, and social exclusion. Ethnographic fieldwork and psychological surveys were carried out among young men from a European Muslim community in neighborhoods in (...) and around Barcelona, Spain. Candidates for an fMRI experiment were selected from those who expressed willingness to engage in or facilitate, violence associated with jihadist causes. In the scanner, participants were assessed for their willingness to fight and die for in-group sacred values before and after an experimental manipulation using Cyberball, a toss ball game known to yield strong feelings of social exclusion. Results indicate that neural activity associated with sacred value processing in a sample vulnerable to recruitment into violent extremism shows marked activity in the left inferior frontal gyrus, a region previously associated with sacred values and rule retrieval. Participants also behaviorally expressed greater willingness to fight and die for sacred versus non-sacred values, consistent with previous studies of combatants and noncombatants. The social exclusion manipulation specifically affected non-sacred values, increasing their similarities with sacred values in terms of heightened left inferior frontal activity and greater expressed willingness to fight and die. These findings suggest that sacralization of values interacts with willingness to engage in extreme behavior in populations vulnerable to radicalization. In addition, social exclusion may be a relevant factor motivating violent extremism and consolidation of sacred values. If so, counteracting social exclusion and sacralization of values should figure into policies to prevent radicalization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Attitudes of Play by Gabor CsepregiPaul GaffneyCSEPREGI, Gabor. Attitudes of Play. Montreal: McGill-Queen’s University Press, 2022. 182 pp. Cloth, $120.00; paper, $32.95This delightful and illuminating book presents a thorough account of playfulness, its various manifestations and associations, and its indispensable role in the good life. Reading through the well-documented chapters, one recognizes how many thoughtful people have commented on the meaning of play, and yet, at the same (...) time, one recognizes the necessity for a full-scale, integrated discussion. The inspiration for the study is partly practical, as stated in the prologue: “I noticed that people who approach their daily tasks or [End Page 713] recreational pursuits with an attitude of play seem to lead a happier and fuller life.” But play as attitude also deserves theoretical study because it integrates, enhances, and to some extent opposes the instrumental character of human endeavor and thus reveals something fundamental about the human condition.A moral context is established early. We are told in chapter 1, “The Concept of Attitude,” that, unlike feelings and ideas, we are responsible for the attitudes that we adopt and, therefore, for the actions and emotions that they characteristically structure. An attitude is an authentic, embodied, and concrete engagement with the world, subject to “continual modifications” and so, presumably, not entirely under our control, but still largely a determination of human agency. In chapter 2, “Play as Attitude,” the author makes an important distinction between play as activity and play as attitude, the latter of which has been comparatively neglected. Play as attitude (playfulness) represents a mode of noninstrumentality— a “momentary holiday from work-related occupations”—that can transform almost any experience, at least temporarily. Playfulness thus represents an immediate engagement, a childlike attentiveness, which is precisely what provides its special value. Chapter 3, “Pathic Attitude,” develops this theme. Playfulness is reciprocal; in fact, we might say it is doubly playful: “In all play there is something with which we play and, in turn, plays with us.” An openness to the world, and a delight in its responsiveness, grounds the playful attitude. The experience is discoverable by young children and some animals as well.The following chapters elaborate on this basic outline. Chapter 4, “Ease,” explains how advanced players often lose themselves and “sink into a role,” a peak experience that is typically the product of training and habit. This enviable state would seem to be somewhat elusive, particularly for performers, which suggests that it is something of a moral achievement. The experience recalls what has been called in the philosophy of sport literature “flow performance,” which is, paradoxically, both more intense and yet effortless. Chapter 5, “Risk,” explores the adventurous nature of play, which inevitably involves uncertainty, luck, and risk. An attitude of play embraces, or at least accepts, the vagaries of good and bad luck; it comes with the risk of failure, embarrassment, and even physical injury. This chapter presents an important discussion about the tension between the spirit of playfulness and the ethos of modern sport, which tends increasingly to emphasize proficiency, rationalization, and commercialization. The modern obsession with preparation, perfection, and control leaves little room for a genuinely playful spirit, which ideally should animate sport. Indeed, the occasional experience of feeling lost, which the author, following Caillois, describes as “vertigo,” is an essential component of a full life. In chapter 6, “Humor,” we are told that although some playful activities are serious and demand concentration, they are often accompanied by a good-natured, lighthearted attitude. Humor seems to be inherently playful, a liberal and often irreverent exercise of the [End Page 714] imagination, which allows it to provide solace, inspiration, and transcendence: “Humor, then, is the capacity to see and apprehend things in their complexity, ambivalence, and paradoxical nature.” Chapter 7, “Gratuité,” underscores a major theme of the book—the importance of the useless or gratuitous in a fully meaningful life (gratuité and utilité are French for “useless” and “useful”). The author insightfully suggests that such moments might present themselves in seemingly disparate activities, such as play and liturgy: “Measured by the strict sense of the word, they are purposeless but still full... (shrink)

_Purpose._ The article aims, through a comparison of the modern identity as presented in Charles Taylor’s concept with the Postmodern era identities, to show the strengths and weaknesses of Charles Taylor’s position on preserving or prolonging the Modern era identity to our time, as well as to define the specifics of _liquid modernity_ compared to the New Age. _Theoretical basis._ Given the relevance of the topic of the human search for authentic existence in the modern world, the author analyzes Taylor’s (...) belief that the moral ideal of authentic identity emerged in the New Age. This ideal to contrast the idea of it in the previous periods is not set from the outside but is formed or created by a human himself. In addition, it is so powerful and productive that it must be fought for nowadays. After Taylor, since the existence of modern people tends to experience negative distortions associated with the focus on consumer individualism, instrumental thinking, and their loss of political freedom, the only possible way out is to turn to the ideal of authenticity of modern times. However, the article emphasizes that the modern studies of the Second Modernity (U. Beck) or liquid modernity (Z. Bauman) show a rather radical change in social reality, which, accordingly, requires new types of identity. _Originality._ The article argues that the identity formed in the New Age had signs of authenticity only owing to the socio-economic system of the time that formed a human as a self-acting being who determines his or her destiny. This person was characterized by such traits as individualism, self-sufficiency, self-reliance, victory, heroism, and so on. However, the article emphasizes that today the situation has changed radically, as the reality of the Postmodern era is characterized by the fact that instead of stable, clearly defined life forms and institutions we are dealing with changing, fluid, "liquid" (Z. Bauman) institutions and behaviours of people. Diversity, uncertainty, and pluralism are the hallmarks of this era that need to be taken into account in one way or another. Therefore, although Taylor’s arguments for defending the modern identity are logically invulnerable, they have the disadvantage of not taking into account the irreversibility of the changes that have taken place in modern reality. Therefore, the ideal of authenticity formed in the New Age may not be adequate in the times of pluralism and the development of other dimensions of identity. _Conclusions._ Taylor’s interpretation of modern authenticity was based on the idea of man as one who constantly constructs himself and is focused on the future, which we can imagine, plan and make some effort to achieve. This position of Taylor is criticized in the article. I substantiate the view that both the moral ideal and its components can change in the process of historical development. This becomes clear if we take into account the gap that manifested itself in the shift of value orientations during the transition from the Modern to the Postmodern era. Nowadays, we have a process of changing the basic conditions that determined the identity of a modern human, and the formation of new _basic conditions_ that are suggested as requiring identity redefinition in a post-industrial network society. (shrink)

It is rather intriguing that we will often try to persuade people of what we find beautiful, even though we do not believe that they may subsequently base their judgement of taste on our testimony. Typically, we think that the experience of beauty is such that we cannot leave it to others to be had. Moreover, we are often aware of the contingency of our own judgements’ foundation in our own experience. Nevertheless, we do think that certain aesthetic, evaluative conceptions (...) do relate to specific experiences in a non-trivial way, especially that of aesthetic excellence. Now certain analytical aestheticians ascribe truth values to aesthetic judgements of various kinds. Such ascription would evidently have a bearing on the problem of aesthetic experience’s relevance for evaluation, as we may in the end be better off neglecting the experiential altogether in virtue of treating aesthetic values in objectivist ways, as natural properties, or as reducible to such properties, descriptions of which will then indeed be true or false.1 However, I think that it is too early yet to bury subjectivism. So let us instead defend it and try to get a better grasp on its suppositions. In this we may profit from ideas advanced by David Wiggins, who neither denies the role played by objective properties, nor neglects the subjective import. According to him, aesthetic values are somehow kinds of relations, which are established by an elaborate process of criticism and refinement of perceptions of, and feelings toward specific natural properties.2 The argument in this paper suggests that the analysis of a paradigmatic pair regarding ‘aesthetic excellence’ provides us with inter-. (shrink)

This dissertation sets out Dewey's theory of society, as outlined in the lecture notes for his courses on social and political philosophy between 1923 and 1928. I argue that Dewey had tripartite theory of economic processes, political/legal structures and social-moral functions that focuses on the relationship between material/technological forces and the institutions established to direct them. ;The first section presents and then refutes the charge that pragmatic social thought reduces thought to sheer efficiency and is therefore unable to resist ideology. (...) The primary dispute was between the turn toward objectivist methodology in American social science, frequently attributed to Dewey's influence, and those who saw this turn as a decline into crude, instrumental reason. Unlike the objectivists, instrumentalism incorporated ideas of intersubjectivity, value, and reflexivity. He did not believe that democracy could be best served by a managerial elite who sharply divides facts from values and means from ends. ;The second section comprises the positive presentation of Dewey's social theory. Chapter three discusses economic processes. I set out the organic model that guides his early and late economic theory and how Dewey draws from J. A. Hobson's theory of underconsumption to organize a coherent set of specific economic proposals during the Great Depression. Chapter four presents Dewey's theory of political structures, laws, institutions and habits that shape the direction of material life. But these structures may come in time to restrain further economic and technological growth. The final chapter takes up the breakdown of traditional structures, the reconstruction of which Dewey believed to be the fundamental problem of modernity. There is a need for new customs and institutions that continue traditional ideals of liberalism while being grounded in modern material conditions. The need, Dewey believed, was for a social theory that would understand the interplay of forces and institutions and direct them toward a democratic culture. ;I end with an epilogue on uses of Dewey's thought within contemporary social theory. The cheerful pursuit of instrumental reason by the neo-pragmatists Richard Rorty, Stanley Fish and Richard Posner is contrasted with recent work in the communitarianism/liberalism debate. (shrink)

Are societies required to pursue continual economic growth as a matter of justice? In “The Value of Economic Growth”, Julie Rose considers three arguments in favor of the need for continual economic growth, each of which revolves around the instrumental value of economic growth for promoting an important good that is needed for a just society. In each case, Rose argues that there are mechanisms other than economic growth that could allow a society to deliver the relevant (...) goods, and thus meet the demands of justice with respect to those goods. I raise a set of issues for Rose’s argument that put pressure on the normative significance of her discussion. At the heart of these issues are ones about which possibilities Rose considers and which idealizations she makes. These issues tie into more general questions about the aims and methodology of normative work in social/political philosophy. Thus, in addition to being a contribution to the debate over the politics of economic growth, this paper can be understood partly as a case study in how reflection on these kinds of issues – ones about modality, idealization, and methodology – can matter to how we evaluate specific arguments in social/political philosophy. (shrink)

People often engage in “offline simulation”, considering what would happen if they performed certain actions in the future, or had performed different actions in the past. Prior research shows that these simulations are biased towards actions a person considers to be good—i.e., likely to pay off. We ask whether, and why, this bias might be adaptive. Through computational experiments we compare five agents who differ only in the way they engage in offline simulation, across a variety of different environment types. (...) Broadly speaking, our experiments reveal that simulating actions one already regards as good does in fact confer an advantage in downstream decision making, although this general pattern interacts with features of the environment in important ways. We contrast this bias with alternatives such as simulating actions whose outcomes are instead uncertain. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Chapter 5 aims to understand the contemporary philosophical climate in terms of a dominant philosophy, and argues that it is found in the ‘Agency Theory’, or ‘Practice Ideal’: the thesis that we are the creators of our own environment and values, that the realities which we meet with are the works of man. Craig argues that from about 1780, ‘activity’, ‘practice’ and similar concepts began to come to the fore, and provided new solutions of metaphysical and epistemological problems. The (...) idea was to some extent anticipated in writers of the eighteenth century: in Pascal’s famous wager on the existence of God the value of truth has receded, and considerations of what serves a certain purpose have come to regulate belief; Hume saw in our imagination, not in our reason, the governing, and essentially active, principle that supports our beliefs; finally Kant’s transcendental idealism not only provided the key concept of ‘the world as we experience it’ that incorporated both concepts and impressions, but amounted to the claim that the world of our experience is of our own making. But the real rise of the Agency Theory took place in the nineteenth century: Marx and Engels, rejecting both theistic and idealist metaphysics, set up a new ideal for man, who was to be the free architect and builder of his own social world, in virtue of his grasp of the laws governing society and the processes of social change; following Peirce, William James and other American Pragmatists argued that belief is primarily an instrument for the attainment of our goals, and that man is fully autonomous, his creations subject to no controls or standards other than those which he himself imposes; Nietzsche, the most vociferous champion of agency and creativity, affirmed the idea, and constructed his account of reality, truth, and knowledge, and his aspirations for man around it. (shrink)

The crisis of contemporary art is a paradigmatic example of the crisis of spiritual values in today's world. The main cause of this crisis, it is argued, lies in the spirit of modern sciences. These do not find their object as a ready given, but rather determine it themselves, from their own standpoint, and thus basically produce it. Due to enormous technological development, modern civilization has turned the whole world into the Eleatic One. In materializing the uniform spirit of technology (...) in our world the role of the new audio-visual media: cinema, radio, television, video and the internet, has been crucial. Technology has become a powerful instrument of modern power: it has enabled a concentration of power in the hands of technical, cultural and political administration, as well as automatically expanding mass production and consumption, and finally subordination of people to methodic education, control and manipulation. These are main features of the spirit of the contemporary technical civilization where technology is not understood as something technical but rather as a mode of existence, connected with science and industry. By changing the way in which human life is lived, and the way in which human community is ordered, the purpose and perception of the work of art has also changed. Beauty is not taken to be a result of subjective experience and something belonging to the object as such. The sphere of the aesthetic has become the ground for manifesting relativism and subjectivism in various forms. With the development of knowledge and human power, the contemporary world has begun to sink into nihilism, losing a sense for anything bearing the stamp of individuality. In such a world, everything, including the sphere of spiritual values, is reduced merely to what is useful and efficient.. Kriza savremene umetnosti predstavlja paradigmatican primer krize duhovnih vrednosti u savremenom svetu. Glavni uzrok te krize autor vidi u duhu modernih nauka za koje je karakteristicno da svoj predmet ne nalaze kao gotovu datost, vec ga same odredjuju sa svog stanovista i tako ga iz osnova proizvode. Zahvaljujuci ogromnom razvitku tehnike moderna civilizacija je ceo svet pretvorila u elejsko jedno. Kljucnu ulogu u realizaciji uniformnog duha tehnike u nasoj savremenosti imali su novi audio vizuelni mediji: film, radio, televizija, video i Internet. Tehnika je postala mocan instrument moderne vlasti: ona je omogucila koncentraciju moci u rukama tehnicke, kulturne i politicke uprave, masovnu proizvodnju i potrosnju koje se automatski sire, podcinjavanje ljudi metodskom skolovanju, kontroli i manipulaciji. To su najvaznija obelezja duha savremene tehnicke civilizacije u kojoj se tehnika ne shvata kao nesto tehnicko vec kao jedan nacin egzistencije povezan s naukom i industrijom. Promenom nacina vodjenja ljudskog zivota, nacina uredjenja ljudske zajednice, promenjena je svrha i percepcija umetnickog dela. Lepota se shvata kao plod subjektivnog dozivljaja i ne pripada predmetu kao takvom. Sfera estetskog postala je najsire podrucje za razlicite vrste ispoljavanja relativizma i subjektivizma. Razvojem saznanja i ljudske moci, savremeni svet poceo je da tone u no? nihilizma i da gubi smisao za sve sto ima pecat individualnosti. U takvom svetu sve se, pa i sfera duhovnih vrednosti, svodi samo na ono sto je korisno i delotvorno. (shrink)

The article discusses topical problems of social development, in which context modernity evolves as a challenge, and the emergence of new forms is accompanied by a reset of values. The post-Soviet society turns to national foundations, traditions, historical experience, ideals, and values tested in national culture. The Western-type consumer society, which is now dominant in the world, was previously perceived as promising, and its ideals and values were presented as a role model, but nowadays, in public opinion, that society is (...) not considered as a non-alternative model. The problems that arise during the implementation of the value orientations of the consumer society are becoming increasingly obvious. The universality of such a model of development for modernity is called into question, and evidence of its historical limitations appears. In addition, that type of organization of socio-economic and cultural life is not organic and does not imply continuity in the reset of values. Under the current conditions of global instability, connections and interactions emerge that form some new integrity. From a methodological point of view, it is important to analyze the mechanism and motives for choosing the future and the role of culture in that process. Obviously, in every time there is a need to define what modernity is and what is the role of values reset for that. Modernity does not arise as a completed project, but as a process of updating social reality, as a system of individual views on society and relations to the world; in emerging modernity, there is a growing diversity of values. The catalysts for transformations on the way to a new modernity are values that bring changes in life meanings under the influence of social life. Constantly emerging new risks and challenges demand the reset of values, which are tested on various levels of national culture and only after that become ideals for imitation and mass reproduction. (shrink)

Today, nurses are required to have knowledge and awareness concerning professional values as standards to provide safe and high-quality ethical care. Nurses’ perspective on professional values affects decision-making and patient care. Therefore, the present study aimed to investigate the importance of professional values from clinical nurses’ perspective. The present cross-sectional study was conducted in 2016 in four educational hospitals of Kerman University of Medical Sciences, Iran. Data were collected via the Persian version of Nursing Professional Values Scale-Revised by Weis and (...) Schank. Sampling was conducted through the use of stratified random sampling method and 250 clinical nurses participated in the study. Results indicated that the total score of the nurses’ professional values was high.. From nurses’ perspective items such as “Maintaining confidentiality of patients” and “Safeguarding patients’ right to privacy” had more importance; however, “Recognizing role of professional nursing associations in shaping healthcare policy” and “Participating in nursing research and/or implementing research findings appropriate to practice had less importance. A statistically significant relationship was observed between NPVS-R mean scores and nurses’ age, work experience as well as participation in professional ethical training. Although the total score related to the clinical nurses’ perspective on professional values was high, the importance of certain values was at a lower level. Owing to the emerging ethical challenges, it is indispensable to design educational programs in order to improve nurses’ awareness and understanding of the comprehensive importance of professional values. Furthermore, it is recommended that mixed methods studies should be conducted in order to design an instrument to evaluate the use of values in nursing practice. (shrink)

Some environmental ethicists believe that nature as whole has intrinsic value. One reason they do is because they are struck by the extent to which nature and natural processes give rise to so much that has intrinsic value. The underlying thought is that the value -producing work that nature performs, its instrumentality, imbues nature with a value that is more than merely instrumental. This inference, from instrumental value to a noninstrumental value, has (...) been criticized. After all, it seems to rely on the bizarre idea that a thing’s instrumental value could be a basis for it’s intrinsic value. This idea, however, is not as easy to dismiss as many might think. Review of the obvious arguments that might be deployed to defeat it shows that they have to be rejected, suggesting that a thing’s instrumental value could be, and arguably is, a basis for it’s intrinsic value. Defending this apparently bizarre idea provides a way of justifying the claim that nature as a whole has intrinsic value. (shrink)

This essay opens by considering the values that we encounter in our ordinary experience. The essay then leads the audience toward a deeper understanding of values: in terms of values being instrumental or intrinsic, subjective or objective, changing or permanent. The essay then turns to outlining how and in what ways values exist. At this point, the essay introduces the thought of Nicolai Hartmann, who argues that values exist as ideal beings, which have a permanent existence independent of (...) how the practical world is changing, and which have objective validity (although our judgments of values are usually subjective). Hartmann makes a central distinction between the two irreducible scales of values: according to their strength and according to their height. In the second part of the essay, the essay explains how we need both of these two scales to work together and how their work can be coordinated on the principle of “both X and Y,” rather than through the customary approach of “either X or Y.” In the concluding part, the essay illustrates how this complimentary relationship enables business and the humanities to join their resources, rather than to find themselves in constant opposition. (shrink)

Photo by Thought Catalog on Unsplash INTRODUCTION The coronavirus pandemic is a challenge to educators, policy makers, and ordinary people. In facing the threat from COVID-19, school systems and global institutions need “to address the essential matter of each human being and how they are interacting with, and affected by, a much wider set of biological and technical conditions.”[1] Educators must grapple with the societal issues that come with the intent of ensuring the safety of the public. To some, “these (...) are actually as important as the biological concerns of people.”[2] The current global crisis shows that “scientifically, socially, and politically the economy and technosphere are not just related, they are integral to a comprehensive response to major challenges.”[3] In developing these responses, scientists, government leaders, and policy makers need to consider the vulnerabilities of people, especially those in “thrown away” groups.[4] Jerome Ravetz explains that “microscopic viral predators cull our populations, as ever, but with a selection that is not natural but social and political.”[5] Educators must address the underlying vulnerabilities and evaluate the virus as a threat to academic experiences and access to a fair education. ANALYSIS • Critical Pedagogy By definition, the critical approach to teaching is about the problem-posing method of education developed by Paolo Freire. In his Pedagogy of the Oppressed, he proposed a paradigm shift away from the banking method of learning wherein teachers deposit knowledge into the minds of students. Critical pedagogy is an educational approach that challenges students to develop the ability to recognize and criticize dominating theories and evaluate them in their social context. Teachers press students to recognize oppression and try to remedy oppression in their culture.[6] Despite the lack of in-person interaction between the teacher and the students, the effort to use innovative teaching techniques like critical pedagogy should continue. Online learning is not just about the use of technology, although the internet is crucial in the delivery of content. Since human beings are creators of value, they determine the meaning and purpose of technology. In this way, the set of values people have will influence online learning. Teachers cannot be more concerned about outcomes than about the process itself. The process is crucial since the ability of the student to think critically is developed in the exchange between the student and the teacher. The teacher cannot simply dump loads of information (deposit knowledge) but must pose problems to test the analytical and critical skills of students.[7] Education is about how people humanize the world. Policy makers miss the point when they focus on the delivery but do not pay attention to the substantive aspect of learning, which is human empowerment. Education is meant to expand the freedom of people. Education should be seen as an integrative activity. Learning is a formative process that aims to develop the human person. Without the face-to-face encounter between teacher and students, the challenge is finding ways to make learning an effective means to mold the values of young people. • Online Critical Pedagogy & the Role of Technology Physical distance appears to be an impediment in realizing the ideals of learning. The lack of contact between the teacher and the students may prevent a more meaningful interaction since online instruction is impersonal. It can be argued that there is no alternative to some classroom activities, especially laboratory experiments in science courses. The total classroom environment naturally influences the behavior of students when it comes to academic work: the look in the eyes of the professor, the caring ways of a teacher, or the pressure while taking exams contribute to an experience that only a classroom setting can provide. If implemented properly, technology can facilitate the personal relationships between teachers and students while providing meaningful experiences. With the current need for online learning during the COVID-19 pandemic, gadgets are indispensable. Some would even consider gadgets an extension of the human body. A mobile phone is not just any instrument; it has evolved into a novel way of being in the world. Our gadgets are a means of seeing how the outside world unfolds. Modern technological tools allow the interface of people in many fields of experience in a globalized environment. Computers and other digital devices extend the meaning and value of human freedom. For example, a laptop provided to a poor child can redefine the meaning of and what the future might hold for that child. The device is crucial to the whole learning process. Modern tools are critical to self-discovery and greater freedom. The values that people embrace will matter in the new normal. The internet has provided a new democratic space that empowers groups and individuals to express themselves and to understand the world.[8] In an online class, students and teachers alike need to analyze big picture questions and layers of information. For example, the student in an ethics or philosophy class can reflect on the realities of life. With the proper guidance, online education should help define the meaning of moral commitment and human responsibility. CONCLUSION Before the pandemic, policy makers had been pursuing the goals of a globalized economy. They had been fashioning and promoting programs that cater to the interests of a consumer-driven world that has deprived the poor of opportunity. When the pandemic struck, globalization suddenly came to a halt and people realized the things that truly matter in life – family, love, and life itself. The new normal must now emphasize the role of education as a source of inner strength that can empower the person to live well reinforcing values based on a social consciousness. Critical pedagogy is possible under the new normal. The distance between the teacher and student does not make the educational process less real and in the absence of a vaccine, online learning is the safest strategy. Governments cannot freeze an entire school year since education is the only way out from poverty for millions. The COVID-19 pandemic provides a reason to re-imagine teaching using technology to encourage all students to question systems of oppression or greed, as the persistent pursuit of the truth is what education is all about. [1] Hartsell, Layne, Krabbe, Alexander, & Pastreich, Emmanuel. “Covid-19, Global Justice, and a New Biopolitics of the Anthropocene.” Social Ethics Society Journal of Applied Philosophy 6, no. 2 (2020), 3. [2] Ravetz, Jerome. “Science for a Proper Recovery: Post-Normal, not New Normal.” Issues in Science and Technology [Internet] July 15, 2020. https://issues.org/post-normal-science-for-pandemic-recovery/ [3] Hartsell, et al. “Covid-19, Global Justice, and a New Biopolitics of the Anthropocene,” 6. [4] Ravetz, “Science for a Proper Recovery: Post-Normal, not New Normal.” [5] Ibid. [6] Freire, Paolo. Pedagogy of the Oppressed. (New York: Continuum Books, 1993). [7] Freire writes that in such a situation “instead of communicating, the teacher issues communiqués and makes deposits which the students patiently receive, memorize, and repeat.” See his Pedagogy of the Oppressed. [8] Bakardjieva, Maria. Internet Society. (London: Sage Publications, 2005). (shrink)

John Dewey’s theory of value provides a strong alternative to traditional intrinsic value theory that can better address the need for a wide distribution of environmental values. Grounded in his theories of experience and inquiry, Dewey understands values as concrete practices acquired through the interaction of the human organism with its surroundings. Dividing value into acts of immediate valuation and acts of evaluation, Dewey shows that all values start out as desires and through reflective criticism eventuate in (...) value practices. Value inquiry is the practice of responding to problems in the world for which our established value practices are unable to respond adequately. This model of value is shown to be a much needed improvement over intrinsic value theory insofar as it is inclusive of human desire, limiting the capacity to value to human beings, avoids much of the metaphysical and ethical conflict in the biocentrism/ecocentrism debate, as well as rejects the artificial distinction between instrumental and intrinsic value. The case for Dewey’s theory of value is further strengthened by how closely Aldo Leopold’s experience-based practice of value in A Sand County Almanac parallels Dewey’s theory of value, especially with respect to the importance of desire, science, and education. (shrink)

This paper begins with an exposition of the model of work rooted in Catholic social teaching and goes on to establish that it is through our work that we become the person who we potentially can be. The author upholds the servant leadership model advocated by Robert K. Greenleaf as an antidote to the dysfunctional trends in American life and business characterized by rampant individualism. While focusing its approach on the education of business students the paper presents two critical ideas (...) from the underlying theology of Catholic social teaching—the concept of person and that of a universal call to holiness. Courage, moderation, justice, charity; science, knowledge and wisdom; and competence and prudence are highlighted as the elements of education for true leadership. Finally, the author underlines the increasing importance of understanding contextual and environmental issues relating to business which ought to provide a framework and conceptual foundation for an education that is much more than a set of tools and techniques. (shrink)

Theatre has been used in psychological intervention and as a metaphor for social life, tendencies that affect the self, highlighting how influential theatrical performance can be for individuals. Their limitations – in terms of the empowerment of the self and its authenticity, respectively - can be overcome by treating theatrical performance as a leisure experience, which considers that freedom and satisfaction play a central role in a more comprehensive understanding and development of the self. With this in mind, we present (...) the conceptual and empirical bases of the leisure experience as an alternative conception of theatrical performance. To do so, we organised a 20-hour theatre exercise workshop with 16 university students (15 women, one man), aged between 18 and 21 years old (M = 19.06 years; SD = 1.06). Qualitative instruments used were: the Time Budget Technique (questionnaire about the activities carried out in the workshop, valued in relation to two items: perceptions of freedom and satisfaction); the Twenty-Statement Test (where people list characteristics of themselves – self-descriptions – related in this case to the theatrical exercises); and, as a third instrument, a combination of the other two – specifying which exercises were more closely related to the self-descriptions. The results showed that group discussion was the activity with the highest perception of freedom, followed by obstacle exercises; as regards the perception of satisfaction, the highest value was observed in the relaxations. In the case of the self-descriptions, the acquisition of practical and intellectual skills was significant, as well as emotional outlook and the expression of self-esteem. In sum, this empirical support - using qualitative instruments that invite an exploration of the self - revealed, on the one hand, which specific characteristics of the self are manifested by doing theatrical exercises and, on the other hand, which exercises – when experienced as leisure – have a more decisive impact on the self. Thus, this paper shows what aspects must be taken into account when deciding which activities to include in a psychosocial intervention addressed to the development of the self from the standpoint of theatrical performance as a leisure activity. (shrink)

The COVID-19 disease has caused thousands of deaths worldwide and required the rapid and drastic adoption of various protective measures as main resources in the fight to reduce the spread of the disease. In the present study we aimed to identify socio cognitive factors that may influence adherence to protective measures toward COVID-19 in a Spanish sample. This longitudinal study analyzes the predictive value of perceived severity and vulnerability of infection, self-efficacy, direct exposure to the virus, and instrumental (...) focused coping style for adhering to infection protection behaviors during the first months of the COVID-19 pandemic. It also tests sex and age differences in these factors and changes over time. A two-wave longitudinal study was conducted in March and April 2020 starting the day after a strict national lockdown was decreed in Spain. A path analysis was used to test direct and indirect effects between vulnerability and the adherence to protective behaviors. Results suggest that individuals' perceived severity and vulnerability to COVID-19 and instrumental coping strategies are related to the use of more protective behaviors. This coping strategy mediates the effect of perceived vulnerability on engaging in protective behaviors, and this effect depends on direct exposure to COVID-19 and perceived self-efficacy moderators. Results suggest that recognizing one's own abilities to engage in instrumental actions may facilitate adherence to protective measures in people who had not been directly exposed to COVID-19. Therefore, adopting instrumental coping strategies to manage an individual's perceived vulnerability to infection may positively impact the adherence to protective behaviors, especially during the onset of an unexpected threat and when there is no prior direct experience with the situation. (shrink)

This study analyzes the ideals of responsibility and accountability, asking such questions as when it is legitimate to blame top officials of an organization for mistakes made by personnel below them in the bureaucratic hierarchy; when things go wrong in a large and complex organization like the Canadian Forces, who is responsible and accountable; and whether a plea of ignorance is a good excuse. The study also analyzes the doctrine of ministerial responsibility in both the British and Canadian parliamentary traditions, (...) asking whether it is realistic to expect that a government minister should be held responsible for everything that goes wrong in his/her department. Finally, traditional military values are examined, considering the kinds of attitudes and values expected from Canada's armed forces and the differences between the military and civilian sectors. (shrink)

There are thirteen essays in this collection. Sophisticated disquisitions on rather disparate topics, they contain a number of statements which are obscure to me and, I wager, to many readers, including metaphysicians. There is space here to note only a few of the several recurrent themes in Miller’s essays. First and foremost is the notion of the primacy of action. The affirmation of values, he says, is not a "matter of logic but of action," and "values become real only in (...) the deed"—values being prior to mere facts. Miller’s action-philosophy entails an exaltation of will over intellect. For instance, he says that "the pursuit of truth is itself a gesture of will." Another recurrent theme is the human inescapability of history—of time, process, transitoriness, corruptibility. What Miller calls "ahistorical sublimity" is purchased at too high a price-the price of a "radical impersonality" with an "apparent irrelevance to action and values." Miller’s view of freedom can be called intellectualist: "It is," he says, "in the ‘revision’ of truth that freedom is found." He refers not to "static" truth in the impersonal mode of physics but to dynamic truth in the mode of personal creativity. For "creative adventure," by action and experiment, he holds, is the mark of freedom. The entire "midworld" of artifacts, including arts, sciences, and languages, is the province of "responsible freedom." This whole area should be marked by "skepticism" as well as freedom, because skepticism is man’s best weapon against "absolutist pretensions," Miller persuasively argues. Furthermore, he stresses the point that there is no fact within our ken which is not linguistically expressible, so that "responsible humanism" is inconceivable without responsible use of language. The desideratum, as Miller says, is "controlled receptivity" regarding the employment of all linguistic signs and instruments. For "nature," the common object of all our knowledge, embraces not only facts but artifacts as well, including languages. He says that only "purposeful artifacts"-especially languages—put us in touch with actuality and history. History alone, he argues, leads into philosophy. "Ahistoric ideals," present everywhere in classical thought, stand in the way of this wedding of history and philosophy. A happy wedding for, according to Miller, there is no human knowledge that is not historical; everything human is dated. Miller is an action-philosopher because he is a history-philosopher. He contends that there is no freedom for us outside of history. He hails skepticism regarding "ahistoric ideals" as a kind of "negative absolutism." And he says that such skepticism is an "experience, not a theory," and that it makes "metaphysics of the transcendent" possible. He does not explain what that metaphysics is. Apparently, his "skepticism" is the awareness of the limited character of all philosophies. If so, it is, for Miller, our chief safeguard against the use of bloated language in the service of the ahistoric ideal.—J.F.A. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ought We to Require Emotional Capacity as Part of Decisional Competence?Paul S. Appelbaum* (bio)AbstractThe preceding commentary by Louis Charland suggests that traditional cognitive views of decision-making competence err in not taking into account patients’ emotional capacities. Examined closely, however, Charland’s argument fails to escape the cognitive bias that he condemns. However, there may be stronger arguments for broadening the focus of competence assessment to include emotional capacities, centering on (...) the ways in which emotions aid humans in processing information. Before emotional capacities are added to the list of functions essential for decisional competence, though, the feasibility and utility of such a reorientation must be demonstrated.To what extent ought persons’ capacities to experience emotion be taken into account when determining whether they should be deemed competent to make their own decisions? In the previous article, Louis Charland (1998) argues that traditional models of decision-making competence—of which the MacArthur Competence Treatment Study is a typical example—are mistaken in focusing narrowly on persons’ cognitive abilities to the neglect of emotional factors. In contrast, he suggests, constructs of competence ought explicitly to require a capacity to experience emotions, which he believes is central to meaningful decision making, before deeming persons competent.Charland, as he acknowledges, is not the first to suggest that the presence of some degree of emotional capacity is a necessary element of competence, but his argument is among the most elaborate to date and is certainly worth closer examination. Looked at carefully, however, Charland’s argument does not make quite the case for the determination of emotional capacity in competence assessment that he claims for it. Indeed, as I demonstrate below, Charland may share the same “pernicious [End Page 377] cognitive bias” that he ascribes to more traditional approaches. However, despite what I identify as the problems in Charland’s argument, others have raised more disturbing questions about the lack of attention to emotional issues in competence assessment. Thus, I am not ready to reject entirely the possibility that determinations of decisional competence ought to consider emotional factors. I conclude by outlining the questions that remain to be answered to identify more clearly the potential benefits of such an approach.The Construct of Decision-Making CompetenceSome preliminary comments about the nature of the dominant construct of decision-making competence may provide a useful frame for my response to Charland’s paper. Contemporary ideas of competence are tied inextricably to the ideal of self-determination in modern Western societies. Such societies are committed to respect for individual choice, both as a good in its own right and on the grounds that each person knows best what choices will maximize his or her own welfare. In general, therefore, states will not intervene to prevent persons from acting on their decisions, even when the choices they make—like the decision to smoke or to refuse potentially life-saving medical care—may objectively be thought to be detrimental to them.In some cases, however, the presumption that people will act in their own interests, as well as the notion that there is something intrinsically valuable in respecting their choices, fails (Buchanan and Brock 1989). When people’s minds are so disordered that they cannot be said to be making meaningful choices, other values come into play. Such people are called “incompetent.” When persons reach that point, the state’s interest in protecting its citizens becomes primary and someone else must make decisions on their behalf. Note that the size of this group must be sharply limited, lest a liberal society’s commitment to self-determination be undermined: There is no more profound infringement of the rights of citizens than the determination that they are incompetent. Thus, the criteria for incompetence must be selected in a deliberately narrow fashion—alternately, one might say that the standards for competence are made intentionally broad—so that all but a tiny percentage of citizens will be permitted to make decisions on their own.In the Anglo-American world, the process of formulating criteria of competence by and large has been left to the common law courts. Over the course of centuries they have identified the capacities that are, in... (shrink)

We are taught by history and our life experience that many people, of different denominations and various races, naturally and spontaneously seek for an ideal for their lives and an absolute value, which could provide meaning for their existence. This search is very often caused by a kind of longing for something mysterious. And man's aiming at an ideal and his identification with it to some extent is natural. Man, therefore, in his earthly journey can pause to (...) look at some value in a special way, regard it as his ideal fulfilling his expectations, to live for this value in a way, organise his life around it and take advantages of this value. (shrink)

This volume reveals the wisdom we can learn from sailing, a sport that pits human skills against the elements, tests the mettle and is a rich source of valuable lessons in life. Unravels the philosophical mysteries behind one of the oldest organized human activities Features contributions from philosophers and academics as well as from sailors themselves Enriches appreciation of the sport by probing its meaning and value Brings to life the many applications of philosophy to sailing (...) and the profound lessons it can teach us A thought-provoking read for sailors and philosophers alike. (shrink)

This article reports on research that examines newly qualified UK nurses’ experiences of implementing their ideals and values in contemporary nursing practice. Findings are presented from questionnaire and interview data from a longitudinal interpretive study of nurses’ trajectories over time. On qualification nurses emerged with a coherent and strong set of espoused ideals around delivering high quality, patient‐centred, holistic and evidence‐based care. These were consistent with the current UK nursing mandate and had been transmitted and reinforced throughout their ‘prequalification’ programmes. (...) The existence of professional and organisational constraints influenced their ability to implement these ideals and values once in practice. Data analysis revealed that within 2 years in practice the newly qualified nurses could be categorised as sustained idealists, compromised idealists, or crushed idealists. The majority experienced frustration and some level of ‘burnout’ as a consequence of their ideals and values being thwarted. This led to disillusionment, ‘job‐hopping’ and, in some cases, a decision to leave the profession. These data are explored and discussed to inform the question of whether the current nursing mandate is sustainable. (shrink)

The nautical environment has been challenging for women. However, interviewing experienced female sailors, we noticed that despite the adversity they face, they consider the experience of sailing as something profoundly impactful and powerful in their lives. This research discusses the power of the aesthetic experience of sailing for women, thus adding to the gender discussion. In order to do so, we make use of a theoretical framework that addresses the relationship between being and the materiality of the (...) world. In describing these aesthetic experiences lived in the body, Bachelard’s phenomenology of the image stands out. By productive imagination and poetic images found in the field research and characterized as powerful by the sailors, the social construction of gender and the images between adventure and delicacy appears. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Paradox of Disability: Responses to Jean Vanier and L’Arche Communities from Theology and the Sciences ed. by Hans S. ReindersAdam ClarkThe Paradox of Disability: Responses to Jean Vanier and L’Arche Communities from Theology and the Sciences Edited by Hans S. Reinders Grand Rapids, MI: Eerdmans, 2010. 191pp. $18.00Jean Vanier introduces this collection of essays with a concise articulation of the themes that define L’Arche communities: those with (...) impairments “cry out” for loving service, yet love involves the receptivity by which those without obvious impairments learn to claim their own good amid a vulnerability that [End Page 205] appears to be its negation. Subsequent essays expand upon these themes, drawing on a range of theological and social-scientific perspectives. Most could serve as introductions for undergraduate or graduate classes. The volume also invites disability scholars to examine whether and how this “Vanier school” has succeeded in its attempt to reimagine and serve both those with and those without obvious impairments.For Vanier’s “school,” such reimagining entails perceiving those with impairments as “teachers.” Executing this, however, is difficult. Xavier Le Pichon, for example, argues that “the disabled” help us recover positive views of dependency in “childhood innocence” and “aged suffering” (since they embody both stages). Focusing on the suffering that human beings experience before death, he claims that paleo-anthropological evidence suggests that societies evolved as their care of the disabled taught them to accept suffering. His argument, however, risks strongly identifying persons with their impairments, thus reinforcing the social construction of “disability” as a marginalizing category in discourse and policy.Moreover, this difficulty is not limited to associations with disvalue. Hans Reinders draws on Søren Kierkegaard and Hans Ulrich in a comparison of the severely disabled to the “teachers” of Matthew 6: the birds and lilies. The disabled, he argues, embody a positive image of “humanity” characterized by dependence on God and a lack of competition with others. Such an image of grace “frees” one from a political economy that drives toward rational mastery of self and world. Yet, do the severely impaired always experience and manifest such dependence? If not, are they not being used to create a “human” image for others in which they, in fact, do not appear?Kevin Reimer’s essay contains similar difficulties. For him, the instructive values are “trust” and “gracious openness.” Citing studies that demonstrate how these values sustain communities—even absent rational agreement—he argues that they should replace rationality as the chief marker of moral maturity (as exemplified, e.g., in Lawrence Kohlberg’s stages of moral development). Like Reinders, Reimer clearly wants those with cognitive impairments to be appreciated as teachers of values that displace the rationalist ones that deprecate them. However, like Reinder’s argument, this easily slides toward defining “humanity” under a certain ideal form, thereby still implicitly devaluing those who do not embody that ideal form. Also, one finds here the danger of romanticizing that is often identified with Vanier: one only sees the form and not the real person.William Gaventa and Brian Brock, however, provide a counterresponse, the first pivotal turn in the book. Gaventa argues that the discovery of another’s value as “teacher” occurs only when one has already acknowledged her as a person (104). In other words, any “form” taught must come only after one has encountered a “person,” which is understood as a complete image of human [End Page 206] value. Here Vanier’s argument for mutual receptivity becomes a fundamental anthropology that grounds an ethic. Love must serve both persons—the teacher with impairments and the learning respondent—along distinct lines of practical action (107). In addition, Gaventa argues that persons need sources of support that are both familial and private, on the one hand, and institutional and public, on the other—thus transcending the usual splits between conservatives and liberals.Brock develops a similar anthropological ethic drawing on Martin Luther. Being human together simply means “becoming neighbors” through the absolute (Christological) imputation of personal value. Brock criticizes practices that negate this neighborly bond. In particular, he rejects the view, often endorsed by genetic counselors, that bearing potentially impaired... (shrink)

Introduction. Analyzing the popularity of television series in the XXI century makes it possible to conclude that this format of video production has changed significantly in comparison with the second half of the XX century: the fascinating (seductive, enchanting) function in it dominates over the narrative-entertaining one. At the same time, not only the individual performer becomes the instrument of fascination, but the entire specially created visual environment of the series. This situation makes it possible for a researcher, on the (...) one hand, to identify the most significant emotional and psychological needs of modern society and thereby clarify some of the philosophical and anthropological aspects of today’s culture. On the other hand, it makes it possible to classify serial production on the basis of hedonistic values, that is, to identify the basic models by which the fascinating environments of popular serials are created. One of such models, the existential one, becomes the subject of special attention in the article. The purpose of the study is to present the existential model as one of five generative models of the screen spectacle on the basis of analyzing visual cues from the 2020 television series (Tales from the Loop. Amazon Studio, Fox 21 Television Studios, USA, 2020); to consider «Tales from the Loop» as a screen model that gives a viewer the experience of philosophical and anthropological reflection. Methods: In the course of the study, the authors use general scientific methods of analysis and synthesis; the method of phenomenological reduction, which makes it possible to record the sensually perceived qualities of object-spatial screen images; a hermeneutic method that makes it possible, on the basis of visible sign structures, to reveal the deep intentions of a visual image. The scientific novelty lies in the fact that we consider the television series as an anthropological phenomenon, not only reflecting the interests, aspirations and values of the society, but also modeling the society through a deep suggestive (fascinating) influence. A typology of such environments is created, corresponding to basic hedonistic needs and reflecting the degree of demand for certain states of pleasure in modern society. The method of creating a visual environment that draws a viewer into a state of philosophical reflection, which in this case is interpreted as a way to achieve «the fulfillment of being» (Aristippus), is specially clarified. Results. In the course of the analysis, the authors applied to television production a hedonistic-ontological typology of a visual image, which includes five generative models; a targeted analysis of the popularity of the most influential television series of the 2000s – 2020s was carried out, taking into account the level and causes of spectator fascination; as exemplified by the television series «Stories from the Loop» and in the course of the analysis of its visual components, it becomes clear how the modern series succeeds in involving a viewer in a state of philosophical reflection. Conclusions. The philosophical and anthropological analysis of the modern television series shows that the entertainment and narrative functions that are relevant for the twentieth century have been replaced by the function of fascination, a deep influence on a viewer at a suggestive level. In this case, the purpose of fascination is to involve a viewer not only in hedonistic states of pleasure, but also in states of faith or philosophical reflection. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Christian Ethics and Commonsense Morality: An Intuitionist Account by Kevin JungAleksandar S. SantracChristian Ethics and Commonsense Morality: An Intuitionist Account Kevin Jung NEW YORK AND LONDON: ROUTLEDGE, 2014. 202 PP. $145.00In Christian Ethics and Commonsense Morality: An Intuitionist Account, Kevin Jung boldly constructs and defends a commonsense morality of intuition as a plausible ethical theory against both postmodern constructivist ethical systems and narrow objectivist theories. Following the antifoundationalist (...) ethical methods of postmodern approaches to reality and morality in chapter 1 and a moderate defense of realism in chapter 2, Jung attempts to save both objectivity and de-feasibility of moral realistic accounts, offering some modern reinterpretations of moral realism in chapters 3 and 4. All these forms of Wittgensteinian conceptions of realism unsatisfactorily lead to infinite regress in justifying claims because they are grounded only in the wishes, interests, and sentiments of the individual culture and society (60).After a brief introduction to the unique role of emotions in ethical theories, his investigation leads to reconciliation between objectivist naturalistic ethics [End Page 192] and theological forms of ethical theories. Theological ethicists can remain committed to intuitionism (objectivist and naturalistic forms of common morality) refined by particular religious expressions of morality (112). Intuitionism, broadly defined in chapter 7, is described as "initial appearances" (118); moral truths, according to Jung's intuitionist account, are "mediately self-evident" (128), not "immediately," because it still requires careful reflection and cognitive searching for objectivist grounds of morality. Jung's affirmation of the plausibility of intuitionism seems to be a final blow to all forms of postmodern and skeptical accounts of antifoundationalist forms of ethical theories; he successfully defends an intuitionist account of morality against its naturalist and religious critics.The last chapter offers three types of relationship between commonsense morality and Christian morality. The identity model reduces Christian morality to commonsense morality. The two-tier model considers Christian morality to be a superior form of morality with instrumental value of commonsense morality. And, finally, integration, Jung's favorite model, considers commonsense morality as neither identical nor subordinate but central to Christian morality (163). With this he affirms that Christian morality is unique not because of differences in moral beliefs but because "it is fully committed to recognizing the oneness of humanity and the universally accessible nature of basic moral truths for all human beings" (166). Jung's reflection is exceptionally insightful. Building the case as a good lawyer, he leads us to the defenseless nature of constructivist postmodern moral theories and their revisions as well as to a commitment of Christian morality to the objective commonsense morality. On this view, even heroic moral acts based on obedience to God (such as Christian sacrificial love) might be compatible with commonsense morality. It is surprising, however, that Jung never consulted or quoted Bernard Gert's account of the common morality, especially when discussing differences between moral duty and ideals (167). Additionally, Jung's argument that Christian morality is unexceptional since moral knowledge can be obtained through multiple sources in which God also reveals his will (178) does not sufficiently probe into the distinctiveness of God's sometimes radical demands of Jews/Christians (e.g., Abraham's sacrifice of Isaac), which come not from intuitionist accounts of objective natural reason or common sense but from faith. Christian saints are not heroes of general moral example but heroes of faith, a qualitatively different realm of human experience. Still, audiences interested in all aspects of ethics will greatly benefit from this superb engagement with recent discussions. [End Page 193]Aleksandar S. SantracWashington Adventist UniversityCopyright © 2017 Society of Christian Ethics... (shrink)

This volume reveals the wisdom we can learn from sailing, a sport that pits human skills against the elements, tests the mettle and is a rich source of valuable lessons in life. Unravels the philosophical mysteries behind one of the oldest organized human activities Features contributions from philosophers and academics as well as from sailors themselves Enriches appreciation of the sport by probing its meaning and value Brings to life the many applications of philosophy to sailing (...) and the profound lessons it can teach us A thought-provoking read for sailors and philosophers alike. (shrink)

In this book, I will discuss three main topics: the roots and aims of scientific knowledge, scientific knowledge in society, and science and values I understand scientific knowledge as being a planned and continuous production of the general and common knowledge of scientific communities. I begin my discussion with a brief analysis of the main differences between sciences, on the one hand, and everyday experience, philosophies, religions, and ideologies, on the other. I define the concept of science as a set (...) of family resemblances (in Wittgenstein's sense). The sciences can be distinguished along three lines, in terms of the difference between empirical and non-empirical sciences, differences in degrees of theoretical and methodological structure among individual sciences and scientific disciplines. Scientific knowledge is based upon some grounds, paradigmatic knowledge bases. Scientific knowledge is founded on a unified paradigmatic knowledge base. The latter includes fundamental theories, basic facts, generally accepted empirical regularities (laws), scientific research methods, scientific explanations, and established relations to other sciences. Scientific knowledge in general is defined well in classical terms by the definition that knowledge is a true and rationally-justified belief. In this connection, scientific truth is relative, depending on the given paradigmatic knowledge base and on the precision and accessibility of the measurements and observations involved. In the book's first part, I consider the production and testing of scientific hypotheses, scientific explanations, the structure of scientific theories, and the problem of scientific realism. I consider explanation an integral part of a wider nexus of heuristic and theoretical activities in science like giving reasons, understanding, clarification, and founding. Continuous production of scientific explanations is a necessary condition for the systematic reproduction of scientific knowledge. Accordingly, it does not suffice to describe them in terms of the logical structure of the arguments on which they are based, but rather, scientific explanations ought to be given complete with an epistemic and pragmatic context of the explanation. I consider especially deductive-nomological, inductive-statistical, dispositional, teleological-functional, and genetic explanations. I emphasize the ever-increasing importance of explanations by analogy and by model. Orthogonal to these distinctions lies the distinction between causal and epistemic explanation. Epistemic explanations relate scientific discoveries to epistemic progress, and causal explanations are these epistemic explanations that relate scientific discoveries to reality too. Causal explanations inform us that certain changes occur in the world as agents of other changes, or rather, that certain changes are real consequences of other changes. Thus, by having explanations of causes, we can intervene in the world to induce by design certain changes in some course of phenomena. I consider scientific theories as logically and epistemically ordered wholeness of scientific knowledge in a realm of research that enables us to construct useful models of reality. After the discussion of different 'statement' views on theories and different interpretations of the theory-experience relation, I introduce the 'model' theoretical (non-statement) views on theories, especially the structural theory of science. The model views on theories transcend the realism-antirealism dualism by introducing models between theory and reality. Therefore, the question of scientific realism is not merely whether and, if so, which element(s), of scientific theories represent reality, but rather which conditions suffice to infer from a theory that one of its models truly expresses reality. In other words, under which conditions do models of a theory represent models of reality? Generally, models are just as much images of reality in a theory as they are images of a theory in reality. The actual problem of scientific realism doesn't originate in the observable-unobservable distinction (even if this distinction is otherwise theoretically loaded), but rather in ontological quandaries, of the sort especially encountered in modern physical theories such as quantum mechanics, relativity theory, and cosmological theories, although they are known to arise in other sciences as well. Scientific theories may be real, even if they describe nothing about the world. However, such theories can be given this status only if their formal, mathematical postulates exhibit some formal homology between reality and mathematical forms. The very fact that it is possible to describe reality with the help of mathematics even in cases, where every (representational, conceptual) language and thought fall short, would indicate that even mathematics itself is, in some sense, a part of reality, although 'outside' of the empirical world. It follows we have to distinguish the non-empirical reality and the empirical world. Formal objectivity and non-arbitrariness of theories do not emerge from either our language or thoughts, or from the world of facts, causes, and effects, but rather from non-empirical reality, which frames the world as some kind of objective transcendental condition for the possibility of the existence of the world, thoughts, and language. In the second part of the book, I consider the incorporation of scientific work and scientific knowledge into modern society and its relations to values and ethics. Production of scientific knowledge goes on as a parallel distributed process of a special kind of social (shared) cognition. The central part of this cognition is the presentation of parts of the world by scientific (theoretical) models which are warranted by the shared and public practice of justification, and in reflective acting in the world as it would. I consider various formal concepts of collective propositional knowledge (distributed, mutual, common knowledge). Scientific knowledge is an achievement to be ascribed to a scientific community or, indirectly, to all those who apply or expand it, rather than to individuals per se. It presents the continuous and partially planned production of non-trivial common knowledge of the research communities in modern societies. However, besides common knowledge, shared dispositional knowledge (knowledge how of scientific teams) and shared knowledge by acquiring (knowledge of fundamental similarities and differences in scientific teams) are parts of the real body of scientific knowledge. Scientific common knowledge implies the projection into idealized universal knowledge of all real or potentially rational and well-informed individuals. The respect of scientific knowledge thus presents the norm of rationality. Science as the intensively shared and socially distributed kind of cognition enters into modern society as a special kind of work (general work), as a productive force (social invention drive), and as a form of capital (human, social, cultural, informational, etc.). However any of these categories can adequately represent the socio-economical role of science in modern societies, and we are still waiting for a more adequate general concept that would theoretically cover the 'scientification' of modern societies. My thesis is that the most important general effect of scientification is (and will be) the growth of social processes that structurally resemble parallel distributed shared social cognition of science, and not so much the rise of the use of scientific knowledge and scientifically based information in all kinds of production. Scientification of modern societies inevitably includes a much stronger need for moral and social responsibility of scientists for their work and its effects in their local society and the global world. This need comes in contradiction with the quite large accepted idea (and even the 'norm') on value-free research. I discuss to some degree different arguments for the absence of non-epistemic values and ethical reasoning from science and find them non-convincing. The sound idea of value-free research lies in the need for the absence of categorical value statements from scientific explanations and theoretical deductions. Values and ethical judgment have, and sometimes they even have to play an important role in another part of research and its application in science or outside it. Not the value-loudness of research is a danger for science but its blind, non-reflective use. It leads to the ideologization and politicization of science. A similar danger lies in the purely value-neutrality of research. It leads to the instrumentalization of science to the technical or bureaucratic means for 'any' aims. (shrink)

In this paper I will present some important ideas about the relation between religious experience and metaphysics in Alfred North Whitehead’s philosophy. This endeavor is significant for the topic from two points of view: firstly, Whitehead’s thinking is among the most comprehensive and widely extended from the 20th Century, the applications of his ‘speculative scheme’ covering issues from ecology, physics and the foundations of mathematics, to art and religion; secondly, the concept of ‘God’, with a meaning ascribed to it by (...) Whitehead in relation both with the history of philosophy and with his own ideas, plays a key-role in Process and Reality, his most important treatise. For Whitehead, religion is linked, broadly speaking, to the most intimate inner evolution of a human person. Although this assertion may seem trivial, in the context of his thinking, which defines terms such as ‘process’, ‘value’ or ‘satisfaction’ as essentially bounded with the evolution of any actual being, to associate a kind of experience, the religious one, to the fact itself of inner becoming conveys to this experience a fundamentally profound and inalienable metaphysical character. It is this character and ‘definiteness’ which I will describe and analyze. (shrink)

The strong correlation between people’s socioeconomic position and health within high income countries is a well-documented fact. A person’s occupation, income and education level tell us a lot about that person’s prospects on a long and healthy life, such that we can speak of a ‘social gradient in health’, or a ‘socioeconomic health gap’. This association is often perceived to be unjust. Therefore, it is generally thought that governments should aim to reduce socioeconomic health inequalities. However, this idea needs ethical (...) justification, for it is not evident if and why exactly these inequalities are unjust. For instance, are inequalities in health unjust per se? Or because the underlying socioeconomic inequalities are unjust? And does justice require equal health levels, or a minimum level of health? What complicates the issue, is that the width of the health gap, or the steepness of the social gradient, depends on what health measures are used. Overall, the more subjective the measure, the greater the inequalities appear to be. But are all these measures equally morally relevant? This dissertation aims to give a better understanding of these philosophical questions. It does so by investigating the question of what we should understand by health in the first part, after which it addresses the question of how to evaluate socioeconomic health inequalities in the light of justice. The introduction begins with a description of the phenomenon of socioeconomic health inequalities, and how it has been addressed by politicians, epidemiologists and philosophers in the past and today. The chapter continues by formulating the central question of the dissertation – that of which health inequalities should be focused in the light of a concern with social justice. It explicates how this dissertation contributes to answering that question, by discussing the potential relation between the conceptualisation of health and justice evaluations, and by discussing which questions are addressed in each of the following chapters. The chapter 2 addresses the question of how health is conceptualised in the philosophical and public heath literature, and how theoretical concepts of health differ. It proposes to approach health concepts as a Wittgensteinian family of thick concepts and argues that while theories on health generally argue in favour of one specific concept, a comparison of concepts shows that we may need different concepts of health given the variety of health practices. By explicating the differences between five concepts of health, this chapter argues that each captures aspects of health that all seem relevant when we talk and think about health. Classifying these concepts based on their distinctions reveals them as members of a conceptual family: each of the discussed concepts differs from the others in at least one respect and resembles the others in several respects. Moreover, the discussion of the concepts shows that ‘health’ always both describes a condition and values that condition at the same time. Having both descriptive and evaluative dimensions, we can see health concepts as ‘thick concepts’. Given this evaluative dimension, it is important to reflect on the question of what understanding of health guides specific practices. Moreover, the distinctions revealed by the classification can serve as a conceptual toolbox for reflection on the assumptions and purposes of health practices. How such reflection could work is illustrated by a brief exploration of what health aspects are focused upon in three specific health practices. Chapter 3 presents a study into the question of how health is conceptualised by ordinary citizens and to what extent conceptualisations of health differ between socioeconomic groups. By making use of the method of concept mapping, this study analyses how different socioeconomic groups formulate their own answers regarding the question ‘what does health mean to you?’. It presents concept maps of health for three different socioeconomic groups living in the city of Utrecht that reveal that all groups have a multidimensional understanding of health. An interpretation of the concept maps reveals nuanced differences between groups. The multiple aspects of health were also ranked by importance. It appears that each group assigned most importance to mental health. All in all, the study shows that people in lower socioeconomic groups are more likely to show a conceptualisation of health that refers to 1) the absence of health threats, 2) a person within his/her circumstances, 3) the value of functional notions, and 4) an accepting attitude towards life. Chapter 4 addresses the question of what the theoretical and empirical study to concepts of health could imply for health equity practices. It does so by exploring further the suggestions made in chapters 2 and 3. Regarding the question of which health aspects should guide health equity policies, this chapter discusses the question of whether we should primarily look at subjective or objective health measures, and whether a universal or relative standard of health should be central. While justice-related concerns of impartiality and equal treatment may seem to favour an objective perspective and a universal health standard, it appears that we have good reason to account for the subjective perspective as well. It is also argued that a concern for recognition and participatory parity gives room for relative health standards. Th room for relative health standards confronts us with the question of how to deal with mechanisms like adaptive preferences that the concept maps reveal. It proposes a way out, by arguing for society-relative health standards. Chapter 5 examines the question of whether inequalities in health should be evaluated ‘directly’, thus independently of a distribution of their social determinants. It proposes a sufficientarian perspective, such that the central question of evaluation is that of whether everyone is – or can be – healthy enough. By discussing two sufficientarian approaches to health and social justice – by Powers & Faden and by Nussbaum – this chapter distinguishes two ways of setting a threshold level for health. Both approaches appear to provide an unsatisfactory basis for justice evaluations and lead us away from direct evaluation if we try to settle health minima that are less arbitrary. In anticipation to chapters 6 and 7, it is argued that the perspective of sufficient health for relational equality escapes this arbitrariness: compared to that of a decent human life, it better helps to answer both the question of what socioeconomic health inequalities a society is due to avoid, and the question of when socioeconomic health inequalities are unjust considering their consequences. Chapter 6 discusses to what extent Daniels’s theory of health justice provides a satisfactory answer to the question of what health inequalities a society is due to avoid. Daniels proposes an indirect evaluative approach by arguing that we should evaluate socioeconomic health inequalities in the light of Rawls’s principles of justice as fairness. That is, if socioeconomic inequalities are in accordance with fair equality of opportunity and with the difference principle, the corresponding health inequalities would be just. It is shown that the suggestion that Rawls’s principles regulate the social determinants of health neglects that not all social determinants of health belong to society’s basic structure as conceived of by Rawls and are thereby not subjected to the principles of justice. To acknowledge the social mechanisms leading to socioeconomic health inequalities in their full complexity, it is argued that we should broaden our understanding of society’s structure in accordance with Young’s notion of social structural processes. This renders the question of what health inequalities a society is due to avoid into a question of what we can expect from the side of the various actors that uphold the social structures that produce socioeconomic health inequalities. Lastly, it is discussed how a shift to Young’s theory completes the shift to non-ideal theorising that seem already initiated by Daniels, and that with this, the distinction between direct and indirect evaluation dissolves. Chapter 7 discusses to what extent equality in health is of instrumental value for a society of free and equals. It thus takes up the idea proposed in chapter 5, that an evaluation of the consequences of health inequalities is also due. Taking relational equality as an evaluative framework reveals three ways in which inequalities in life expectancy threaten this ideal. That is, via unequal risks to stigmatisation, unequal risks to unemployment and the risk of unequal pension enjoyments. It is thereby shown that these risks are especially great for those lower down the socioeconomic strata. It thus concludes that equality in health is of instrumental value to relational equality. The chapter continues to argue that our instrumental approach opens a new perspective: to mitigate the identified injustices by changing society, rather than by reducing inequalities in health. This is argued to be an advantage in the light of the realistic assumption that of the socioeconomic health inequalities will persist. The paper thus offers a complementary approach to both the evaluation and the mitigation of the injustice of socioeconomic inequalities in health. The discussion chapter summarises the central findings of the analyses of health concepts and discusses questions regarding the philosophical and practical merits of comparing theoretical health concepts, the need for developing new health measures or concepts and the importance or nonsense of studying citizen’s views on health. Repeating this for the dissertation’s second part, the central findings of the chapters on justice evaluation are summarised and followed by a discussion of questions and issues that have remained unaddressed so far. Here, central points of discussion are my take on rules of distribution, the distinction of direct and indirect evaluation, the role of ideal and non-ideal theory, the idea of relational equality, and personal responsibility for health. The chapter concludes by noting that also in the light of justice evaluations, all commonly used health measures are relevant for justice. Therefore, my recommendations for policy and further research entail that inequalities in each of these measures deserve attention by both policymakers and researchers. Specifically, policymakers and researchers should give attention to how exactly each of these health inequalities come about, in such a way that a discussion about the question of who can be assigned responsibility to alleviate them is well-informed; and both should give attention to the effects of health inequalities on the opportunities for people to live on equal standing, in such a way that when these opportunities are diminished, actions can be considered to aim to restore relational equality. (shrink)

Background: Troubled conscience among nurses and other healthcare workers represents a significant contributor to healthcare worker moral distress, burnout and attrition. While research in this area has examined critical care in hospitals, less knowledge has been obtained from long-term care contexts such as nursing homes, despite widely recognised challenges with regard to vulnerable patients, increasing workload and maintaining workforce sustainability among nurses. Objective: The aim of this study was to illuminate and interpret the meaning of the lived experience of troubled (...) conscience among registered nurses (RNs) working in nursing homes. Research design: This qualitative research employed narrative interviews with eight nurses to obtain essential meanings of their lived experiences of troubled conscience. The interview texts were analysed using a phenomenological hermeneutic approach. Ethical considerations: Participation was voluntary, informed and was conducted with written consent. The Norwegian Centre for Research Data approved the data processing of personal data. Findings: The analysis uncovered two themes: (1) troubled conscience means abandoning ideals, with the subthemes: failing dependent patients; being disloyal to colleagues; being inadequate in the performance of work tasks and (2) troubled conscience means facing realities, with the subthemes: accepting being part of the system; responding to barriers. Discussion: Troubled conscience meant experiencing continuous and simmering tension between one’s ideals and realities and feeling a drive to preserve accountability and one’s moral integrity. Endangered ideals were often under cross-pressure and included humanistic values, professional values, working life values and the values of the organisation. Conclusion: Nurses’ troubled conscience refers to a struggle, but also a force that plays out at various levels and arenas in long-term care. Openness and dialogue about how professional values and the welfare state’s intentions can be realised within the given framework are important for individual nurses’ occupational health as well as the quality of care provided to patients. (shrink)

In this paper I argue that Nietzsche should be understood as a “thorough-going nihilist”. Rather than broaching two general projects of destroying current values and constructing new ones, I argue that Nietzsche should be understood only as a destroyer of values. I do this by looking at Nietzsche’s views on nihilism and the role played by Nietzsche’s cyclical view of time, or his doctrine of the eternal recurrence of the same. I provide a typology of nihilisms, as they are found (...) in Nietzsche—negative, reactive and radical—through a close reading of an unpublished fragment in his later notebooks, remnants of which are scattered throughout his published work. I show how the progression between the different stages of nihilism are a “necessary consequence of the ideals entertained hitherto” , with the eternal recurrence of the same playing a vital role in this progression. The last stage of nihilism—radical nihilism—is ambiguous between a life-denying, or passive, nihilism and a life-affirming, or active, one; but, I argue, both kinds of nihilism preclude a construction of new values. But there is an inherent tension within Nietzsche’s account of nihilism insofar as it relies on the eternal recurrence of the same. This tension is brought out nicely by Löwith and partially resolved by Klossowski. There are at least two meanings of the eternal recurrence of the same. In one sense, the cosmological reading, it is intended to make sense of the idea that time is infinite and matter is finite by claiming that every possible combination of matter will recur infinite times. In the other sense, the anthropological reading, it is a kind of thought experiment, analogous to Kant’s categorical imperative: “live in every moment so that you could will that moment back again over and over” . There is a tension between these readings insofar as one must will to live in such a way that they will do it again, over and over , but also that what they do will make no difference, for what one decides to do has been done innumerable times. I argue that this tension can only be resolved by considering Nietzsche as aiming at “goal-lessness as such” and placing him as an active nihilist. (shrink)

Beginning with a discussion of why value neutrality on the part of the genetics counselor does not necessarily preserve autonomy of the counselee, the idea that social values unavoidably underlie the articulation of risks and benefits of genetic testing is made explicit. Despite the best efforts of a counselor to convey value neutral facts, risk assessment by the counselee and family is done according to normative analysis, experience with illness, and definitions of health. Each of these factors must (...) be known by the genetic counselor in order to relate those facts which she acknowledges as relevant to the decisions that will be made by those people seeking the genetic information. (shrink)

My dissertation is about the scope and limits of practical rationality. Specifically, it is intended as a critical essay on instrumental rationality; it will also include some suggestions on how to go beyond instrumental rationality. ;The instrumental conception of rationality expresses a recurrent theme in modern contemporary philosophy. This theme made its first formidable appearance in the work of Hobbes, and since then it has dominated most of the debates about the objectivity of moral values, personal values, (...) and ideals. Depending on their aspirations, the participants of these debates have either accepted the instrumental theme or wanted to expose its shortcomings. ;The instrumental theme is identified with two complementary theses. According to the first thesis, humans are identified as desire-maximizers who are motivated to act only by their actual desires, inclinations, and dispositions. Under this conception, even morality is perceived as being a set of prudential precepts reducible to the agent's concern with the satisfaction of his desires . ;According to the second thesis, rational deliberation has only the limited function of selecting effective means to satisfying one's desires. That is, rational deliberation does not involve the furnishing of the practical agent with new desires and goals, nor are his desires and goals susceptible to rational appraisal. The rationality of a person is a direct function of his capacity to select proper means for satisfying his desires: the more efficient the means, the more rational the person's conduct. The skeptical thrust of the second thesis amounts to the denial of intrinsic value to any desire or goal. ;My critical discussion of the instrumental conception is intended to show two things. First, the ultimate goal of humans cannot be identified solely with the satisfaction of desires; and second, reason is capable of doing more than just selecting efficient means for satisfying one's desires. The idea guiding my critical discussion of the instrumental conception is that personal values and ideals are susceptible to rational appraisal--an appraisal that contributes essentially to the conception of what it means to be rational. Indeed, this kind of appraisal is what carries us beyond instrumentalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Ideal of Shared Decision Making Between Physicians and PatientsDan W. Brock (bio)IntroductionShared treatment decision making, with its division of labor between physician and patient, is a common ideal in medical ethics for the physician-patient relationship.1 Most simply put, the physician's role is to use his or her training, knowledge, and experience to provide the patient with facts about the diagnosis and about the prognoses without treatment (...) and with alternative treatments. The patient's role in this division of labor is to provide the values—his or her own conception of the good—with which to evaluate these alternatives, and to select the one that is best for himself or herself. As a rough guide to practice, this is a reasonable conception; most of the time it is likely to produce sound treatment decisions. However, as an ideal it is too simplistic, and is subject to several challenges that I will explore in this paper.Some challenges relate to the physician's role. This facts/values division of labor seems to assume that the physician can and should provide the facts about treatment alternatives in a value-neutral form. But some have questioned whether the sciences on which medicine is based are, or can be, value free. Moreover, the concepts of health and disease, and of the normal and pathological, are held by many to be value laden. And even if it is possible for physicians to provide only value-neutral facts to the patient, should the physicians' role be restricted in this way?Other challenges that I will present in the paper are to the patient's role [End Page 28] as provider of the values for the evaluation of the different treatment alternatives. One defense of this role is based on the claim that physicians are not in a position to know reliably what is in a patient's best interests (Buchanan, forthcoming). I believe at least as influential—even if often not explicitly stated—is an extreme subjectivism about values that assumes that the patient's own ultimate values, which define his or her own conception of the good, are incorrigible. By incorrigible, I mean they cannot be mistaken. In the standard case in which treatment is pursued for the patient's benefit, this extreme subjectivism is thought to support the patient's values guiding treatment decision making and treatment. I will explore this incorrigibility claim and will argue that on each of the main philosophical conceptions of the good for persons it is indefensible and should not be the basis for shared treatment decision making.Underlying this view of the physician-patient division of labor are assumptions and beliefs about the nature and relation of facts and values, and science and ethics, that are largely the legacy of a logical positivism that has long since been rejected by most philosophers. It is time that these unstable foundations for our normative ideal of the physician-patient relation were finally removed and replaced with more defensible underpinnings.Two Models of the Physician-Patient RelationshipPositivists insisted on a relatively sharp distinction between descriptive or empirical claims and science, on the one hand, and evaluative claims and ethics, on the other.2 Descriptive statements and the claims of science were to be true or false according to whether they in fact correctly described and explained the world. By remaining properly descriptive or empirical, science could, at least in principle, be entirely value neutral or value free.In its more extreme versions, positivism held that ethical judgments lacked cognitive content, but were instead expressions of emotions or attitudes, and as such could be neither true nor false, correct or mistaken. Because no evaluative statements were held to be logically entailed by any descriptive or empirical statements, moral reasoning was thought to be properly understood not as reasoning but as attempts at nonrational persuasion.3 Many drew from this an extreme subjectivism in ethics along the lines of what I have called above the incorrigibility thesis—there is no meaningful sense in which an individual's ultimate values defining his or her own conception of the good life could be mistaken, false, or unfounded.These... (shrink)

Publics trust experts for personal and pro-social reasons. Scientists are among the experts publics trust most, and so, epistemic trust is routinely afforded to them. The call for epistemic trust to be more socially situated in order to account for the impact of science on society and public welfare is at the forefront of enhanced epistemic trust. I argue that the value-free ideal for science challenges establishing enhanced epistemic trust by preventing the inclusion of non-epistemic values throughout the (...) evaluation of evidence and communication of these values. By selectively silencing non-epistemic values, the ideal cannot take into account publics’ social and moral responses to inductive risk, which are instrumental for defining and determining public welfare. Furthermore, by emphasising epistemic values almost exclusively in science education and communication, the value-free ideal is presented to publics in such a way that it becomes a social indicator of trust. I show this through examination of the importance of values in decisions to trust, and conclude that values (and restrictions on them) can be used by lay publics to help decide which experts to trust. (shrink)

IntroductionIn May 2006, the small group of doctoral students working on ecophilosophy at the Higher Institute of Philosophy at K.U.Leuven invited the Dutch environmental philosopher Martin Drenthen to a workshop to discuss his writings on the concept of wilderness, its metaphysical and moral meaning, and the challenge social constructivism poses for ecophilosophy and environmental protection. Drenthen’s publications on these topics had already been the subject of intense discussions in the months preceding the workshop. His presentation on the workshop and the (...) three critical responses by Wim Bollen, Glenn Deliège, and Richard Kover are published here in a thoroughly revised form on the basis of further and ongoing discussions about the issues involved. Three further contributions to the discussion are added: one by Nathan Edward Kowalski, a young Canadian philosopher who studied in Leuven and wrote his as yet unpublished dissertation on “Evil in Nature,” a second one by Kingsley Goodwin who is currently writing a dissertation on deep ecology at University College in Dublin and, finally, my own unsystematic thoughts inspired by Martin Drenthen’s provocative and stimulating hermeneutics of our postmodern understanding of nature and wilderness, as well as the diverse critical responses to Drenthen’s views by the other contributors. I owe gratitude to all of them for enriching my own ecophilosophical thought and enlarging its horizon although as my fragmentary reflections show at the cost of yet greater uncertainty and more questions about the possibilities of arguing for a radical environmentalist position. Such a position would somehow connect or ground our moral obligation to preserve genuine non-human otherness, wild and free nature, in the non-human meaning of such nature and in our essential need to be in direct and concrete contact with that field of wild non-human meaning because we ourselves belong to nature, because we are not only and purely civilized but are also and most fundamentally wild and free. Three fundamental questions need to be distinguished: the question about our moral obligations regarding nature and its preservation, the metaphysical question about the nature of nature or the meaning of nature, and the question of the metaphysical grounding of our morals in general, and of our moral obligation regarding nature in particular, in the nature or meaning of nature. The complex intertwinement between these three questions is at the heart of Martin Drenthen’s reflections.The authors contributing to the present discussion approach the various issues from markedly different philosophical backgrounds and concerns: critical theory, anthropology, analytic philosophy, phenomenology, hermeneutics, and deep ecology are all to some degree or other brought to bear on the question of what wilderness means for us, why we are fascinated by it and what it actually and in the first place is.Another interesting difference between the five respondents to Martin Drenthen’s wilderness-philosophy relates to the place from which they write: while the Canadians Richard Kover and Nathan Edward Kowalski have wilderness of some sort still close at hand, the Belgians Wim Bollen and Glenn Deliège write from a place which has been thoroughly domesticated, cultivated, and industrialised for a long time. Martin Drenthen himself, of course, writes from the same kind of place as these last two, which explains why he only refers to the wilderness that he has read about in novels, seen in movies, or experienced as recreated in the reserves of the Netherlands. The Irish Kingsley Goodwin writes perhaps from a third, intermediate place that is not wild anymore but still much more natural than Belgium or the Netherlands are.The differences in philosophical approach and concern combined with the difference of place generate a rich tapestry of perspectives and voices wrestling with the fundamental questions of our perceived homelessness and alienation from nature, our cultural discontent, our longing for and need for radical alterity, of immanence and transcendence, of who we are and where we belong, and more concretely of whether there is more to ground our efforts to preserve nature than enlightened self-interest and subjective preference. Martin Drenthen deserves praise for inaugurating this fruitful discussion with his intriguing and highly paradoxical effort to hybridize a postmodern deconstruction of the idea and ideal of wilderness as unspoilt and true nature on the one hand with a new metaphysics of wilderness on the other. Arne Naess, who is generally regarded as the founding father of deep ecology, pointed out the positive and stimulating role that vagueness in the expression of ideas can play in political and philosophical debate. Such general and vague but highly suggestive expressions as ‘all life is one’ are not empty at all, as is often claimed; they are rather full of possibilities of ‘precisation’ and differentiation. Drenthen’s wilderness-philosophy is certainly not vague to the degree of ‘all life is one,’ but his expositions are similarly pregnant with a wealth of further questions, precisations, distinctions, and conceptual clarifications. Good examples of different kinds are to be found in the contributions of Nathan Edward Kowalski and Richard Kover. Kowalski points out that Drenthen’s notions of culture and wilderness need to be made more precise by distinguishing them from the notions of civilization and wildness such that wild cultures become a conceptual possibility. Richard Kover takes the lead from Drenthen’s question about the reason for our postmodern fascination for wilderness to confront it with our primordial fascination in terms of the dependence in the evolution of our subjectivity and our consciousness on the focused perceptual attention on wild forms.Glenn Deliège situates Martin Drenthen’s wilderness-philosophy in its original context of the Dutch debate on the preservation of nature, in particular on the new wilderness paradigm. According to this paradigm, the nature to be preserved should be true and pure, truly natural and wild nature, that is nature outside of and free from the cultivating and domesticating influence of humans. In the Netherlands, however, such nature no longer exists; it can only be preserved after it has first been artificially recreated. Deliège gives an informative summary account of the highly charged three-cornered debate between the adepts of this wilderness-paradigm, the proponents of the more traditional form of conservation of remnants of the typical European landscapes created by pre-industrial farming practices and the modern technocratic functionalists. This debate makes obvious that there are quite different views of the nature of nature and its value. Enter social constructivism: the contested nature of nature is nothing more than a social construct, an idea in a collective mind. The contestation itself is a struggle for authority and power between different such social constructs, any claim to scientific objectivity and objective truth for one’s image of nature is an arrogation of a truth which doesn’t exist and is potentially oppressive by silencing other views. Nature then is up for the grabs of politics, political negotiation, and compromise between various interest groups who all want to get some benefit from nature, some use-value.The problem with Drenthen’s effort to articulate a normative concept of nature which cannot be deconstructed in this way is the extreme formality and emptiness of his metaphysical concept of wilderness as that which is always ‘beyond’, always ‘more’ and which can never be exhausted by any image and construction of nature. Any more concrete determination is mere appearance; the thing in itself is a border concept of that which in fact cannot be grasped conceptually. Glenn Deliège is critical of this formality and emptiness from which it will be impossible to derive any concrete guidance for our conservation practices. He then goes on to defend the Arcadian tradition of our appreciation of nature as giving us a historically well-grounded orientation for those practices. Of course that Arcadian tradition is obviously a cultural construction but that doesn’t make it completely arbitrary and contingent since it is itself ultimately grounded in and open to modification by our concrete sensuous experiences of nature.Deliège here raises the very important issue of the relation between our concrete perceptual and bodily experiences in and with nature and our concepts and metaphysical images of nature. Drenthen himself approaches this issue from the hermeneutical perspective of our need to make sense of our experiences and to articulate their meaning. His confrontation with social constructivism and his effort to salvage something from its relativizing acid lead him, however, into the direction of a highly abstract and empty concept of wilderness.Richard Kover shows that perception is, indeed, the key to a radical critique of social constructivism. He does this with the help of the ecological anthropology of Paul Shepard, the structuralist anthropology of Claude Levi-Strauss and the phenomenology of Maurice Merleau-Ponty. It needs to be said here that Kover takes his leave from an unpublished paper by Martin Drenthen with the title “How to appropriate wilderness appropriately?” – the paper is accessible though on Drenthen’s web-site - in which Drenthen comments and reflects upon three contemporary wilderness-tales, one of them being Werner Herzog’s much-discussed documentary on Timothy Treadwell, an American environmentalist drop-out who lived thirteen summers among wild grizzlies in the Alaskan wilderness before being killed together with his girlfriend by a grizzly bear.Kover tries to show that we are not imprisoned in the mirror-cabinet of our mind or of our human sociality. To make his case, he starts from Paul Shepard’s thoughtful observation that the evolutionary emergence of the mind did not remove us from the natural world but actually connected us deeper with it. Through our mind we evolved more fully into it because our mind is primordially in our senses and in the ability to articulate a perceptual world. The natural world in the form of the system of natural species and their relations is the primary model for perceptual discriminations, for the fundamental discovery of order with its twin-aspects of distinction and discontinuity on the one side and relations and continuity on the other side. Our cognition is essentially perceptually based, our subjectivity is primordially informed by our inherence in the sensible world. Perceptual cognition is inherently intentional and relational, it is not an autonomous mental construction, it is rather in the world and informed by that which is perceived. The other is always intertwined with the subject. We are always already hooked up with the world, with the others, before we start reflecting, thinking, and conceptualizing. This is one of the major themes in Shepard’s work: what this insight means with regard to our relations to non-human otherness, in particular to our perceptual encounter with wild animals. In our encounter with non-human otherness, we are confronted with an essentially ambiguous sense of both affinity and disjuncture. Wild animals demonstrate to us that we are not homeless or alien to this world, that we fundamentally belong to it and are part of it. Their difference, however, shows us that there are different perspectives and ways of being in the world. “Thus the encounter with non-human others inform humans that we are both of the world and simultaneously not the world and there are horizons of significance beyond our own perspective.”Nathan Edward Kowalski comes to a similar conclusion when he situates our morality in the larger moral order of wild nature. According to Kowalski it is indeed a moral order though not our own, an Other to our morality but not simply a negative one. It is, as Drenthen says, a highly paradoxical amoral morality. But what can it mean to speak of morality here? For Kowalski it means that the issue is not merely the theoretical recognition and acknowledgment of axiological transcendence, of non-human values out there, but whether we will appropriately conform to and comport ourselves towards that axiological transcendence so that we can find a human homeland in wild nature instead of turning it into a wasteland. The question then is, how to fit our own human morality into this larger order and greater reality, to subordinate it to that greater reality as a part of it and encompassed but not denied by it so that we can be moral and natural at the same time, tender carnivores hunting the sacred game. Indigenous people follow a moral protocol in their relationship with non-human others which acknowledge and respects their autonomy, their alterity, and the sacred mystery of their different ways of being. They are not befriended but some of them are hunted and eaten – as an exchange in the gift-economy of nature.The problem of the homelessness and alienation from nature is discussed by Wim Bollen from the radically different vantage point of critical theory. In Adorno’s and Horkheimer’s Dialectic of Enlightenment the human story unfolds as a tragic effort to liberate ourselves from nature and to become fully human through rational control when in the end this effort turns against ourselves and instead of liberation and human flourishing we get social domination and repression of our natural needs. The frustrations and mutilations imposed upon us by a repressive civilization give rise to the regressive desire for a return to a natural existence. Referring to the myth of Odysseus and Circe as interpreted by Adorno and Horkheimer, Wim Bollen equates such a natural existence with animal life. In the light of contemporary knowledge about primitive existence, however, this equation is highly problematic. Palaeolithic foragers were already fully human in all respects. A life without civilization need not be an animal-existence.According to Adorno/Horkheimer, our subjectivity and autonomy have to be wrested from animal-nature through an exertive struggle that cannot but proceed by a threefold strategy of domination: the domination of non-human otherness, of human others, and of our own inner nature. The siren song of nature consists in the temptation to give up that struggle for the promise of an unreflective, non-alienated natural existence without toil.When Odysseus’ men give in to Circe’s seduction they are, however, not transformed into wild animals but into swine. According to Bollen this signifies that we cannot re-wild ourselves, that we remain imprisoned in civilization, either as master-subjects or as domesticated animals. Bollen, by the way, like Drenthen, does not distinguish conceptually between civilization and culture. Since re-wilding for Bollen means the impossibility of returning to animal-existence, which is actually the impossibility of becoming another species since biologically we are animals already, to be imprisoned in civilisation means nothing else than to be imprisoned in our humanity. The fact that we cannot become wild animals again – according to Paul Shepard, however, we are still wild animals – is indeed, as Bollen stresses, a trivial form of alienation. A more meaningful concept of alienation which can be put to critical use must refer to a culturally and historically determined frustration and deficit inside the cultural order that is to be overcome not by an impossible regression but by progressive politics leading beyond the three intertwined forms of domination. Not back to nature but forward towards a reconciliation of culture with nature! Such a reconciliation would neither collapse culture into the immanence of nature nor submerge nature into the transcendence of culture. According with the three forms of domination it would be a three-dimensional form of reconciliation.Odysseus’ men did not got what they thought were promised them: the complete liberation from the burden of being autonomous subjects, of being civilized, but they got something worthwhile, namely a certain from of pleasure, a limited and provisional relief and escape. Bollen sees a critical potential in these piggish pleasures after all and consequently even in the siren song of nature since these pleasures were only experienced because Odysseus’ men gave in to it. But one has to give in to this siren song critically if it is to unfold its liberating potential. The problem with pleasure though in bourgeois society is that it is necessarily betrayed, instrumentalized and sold.Kingsley Goodwin’s paper starts by defending deep ecology against the charge of asserting a naïve and dogmatic metaphysics of nature. For convenience sake, but not quite unproblematically, he identifies deep ecology with the environmental thought of Arne Naess. A metaphysics of nature for Naess is always part of a personal worldview. Worldviews which are partly inspired by ecology Naess calls ecosophies. Naess always stresses the personal character of such a worldview and the irreducible plurality of them. It used to be a common misunderstanding of the platform of deep ecology which Naess conceived together with George Sessions that it expressed in a condensed form the metaphysical beliefs of deep ecology. Naess’ intention, however, was to try to articulate in a general fashion the basic viewpoints on which the supporters of the deep ecology movement agreed. It would be possible then to derive these viewpoints from quite different worldviews. In light of this, I think, that Goodwin’s characterisation of the platform as “pragmatic and activist” is not quite appropriate.Goodwin goes on to compare Drenthen’s conception of wilderness and wildness with the similar position developed by Neil Evernden in his book The Social Creation of Nature. He like Naess in his personal ecosophy stresses the crucial role of perceptual experience of wild otherness to find an antidote to the relativity and contingency of our interpretations of nature. Evernden refers to studies on child development to argue for a non-dualistic and relational conception of the self, similar to Naess’ relational ontology. According to Goodwin, Drenthen, in spite of his hermeneutical approach remains too much indebted to the Western subject/object-dualism. The object, in this case wild nature, is pure otherness.With regard to a compost heap, Goodwin shows that we are not separated from nature by an inseparable gulf, that nature is close at hand, and that we can experience and explore it, appreciate the complex play of identity and difference it consists of, the exchanges and transformations and that we can identify with the organisms involved in these exchanges.*The proceeding remarks only highlight some of the prominent themes and considerations in the various contributions to this topical issue of Ethical Perspectives. Hopefully the reader will feel invited and enticed to read the articles themselves, starting, preferably of course, with the essay by Martin Drenthen, who sparked off this lively discussion on the moral meaning of wild nature. I am honoured and pleased to be able to introduce these rich explorations by such talented young environmental philosophers who are eager to develop environmental philosophy further and lead it into new directions. They all have to wrestle with and find answers to the challenge postmodern deconstruction and social constructivism pose for environmental philosophy. In the face of that challenge, it is even more difficult than it already was to provide solid and convincing arguments for the defence of wild and free nature beyond merely pragmatic arguments in terms of its utilitarian value for us. The reason for that defence is not clear-cut and proves to be just as evasive as the moral meaning of nature itself. But neither that reason nor that meaning are mere phantoms and mirages that vanish when we approach them and try to grasp them. They are more substantial, even if they will never have the solidity of a mathematical proof or a scientific measurement. Their locale is the lifeworld which from the point of view of scientific and logical precision and clarity is a messy place where subject and object, reason and heart, fact and value, experience and thought and, yes, nature and culture cannot be clearly separated. This has important consequences for environmental philosophy and its methodology. Conceptual analysis and logical argumentation have to become sensitive to the richness of experience in the lifeworld and to the diverse efforts of its articulation: i.e., they have to open themselves up and maybe even to subordinate themselves to phenomenological and hermeneutical approaches. For me personally this is one of the most important conclusions I draw from the discussion presented here. (shrink)

The act of remaking one's history into a heritage, a conscientiously crafted narrative placed over the past, is a thriving industry in almost every postcolonial culture. This is surprising, given the tainted role of heritage in so much of colonialism's history. Yet the postcolonial state, like its European predecessor of the eighteenth and nineteenth centuries, deploys heritage institutions and instruments, museums, courts of law, and universities to empower itself with unity, longevity, exaltation of value, origin, and destiny. Bringing the (...) eye of a philosopher, the pen of an essayist, and the experience of a public intellectual to the study of heritage, Daniel Herwitz reveals the febrile pitch at which heritage is staked. In this absorbing book, he travels to South Africa and unpacks its controversial and robust confrontations with the colonial and apartheid past. He visits India and reads in its modern art the gesture of a newly minted heritage idealizing the precolonial world as the source of Indian modernity. He traverses the United States and finds in its heritage of incessant invention, small town exceptionalism, and settler destiny a key to contemporary American media-driven politics. Showing how destabilizing, ambivalent, and potentially dangerous heritage is as a producer of contemporary social, aesthetic, and political realities, Herwitz captures its perfect embodiment of the struggle to seize culture and society at moments of profound social change. (shrink)