In this paper I shall consider two related avenues of argument that have been used to make the case for the inconsistency of mathematics: firstly, Gödel’s paradox which leads to a contradiction within mathematics and, secondly, the incompatibility of completeness and consistency established by Gödel’s incompleteness theorems. By bringing in considerations from the philosophy of mathematical practice on informal proofs, I suggest that we should add to the two axes of completeness and consistency a third axis of formality and informality. (...) I use this perspective to respond to the arguments for the inconsistency of mathematics made by Beall and Priest, presenting problems with the assumptions needed concerning formalisation, the unity of informal mathematics and the relation between the formal and informal. (shrink)

Adult number representations can belong to either of two types. One is discrete, language-specific, and culturally-derived; the other is analog and language-independent. Quantitative evidence is presented to demonstrate that analog number representations are adult-like in young children. Five- to 7-year-olds accurately estimated rapidly presented groups of 5--11 items. Groups were presented in random order and random arrangements controlling for overall area. Children's data were qualitatively, and to some degree quantitatively, similar to adult data with one exception: the ratio of the (...) standard deviation of estimates to mean estimates decreased with age. (shrink)

A set A is m-reducible to B if and only if there is a polynomial-time computable function f such that, for all x, x∈ A if and only if f ∈ B. Two sets are: 1-equivalent if and only if each is m-reducible to the other by one-one reductions; p-invertible equivalent if and only if each is m-reducible to the other by one-one, polynomial-time invertible reductions; and p-isomorphic if and only if there is an m-reduction from one set to the (...) other that is one-one, onto, and polynomial-time invertible. In this paper we show the following characterization. Theorem The following are equivalent: P = PSPACE. Every two 1-equivalent sets are p-isomorphic. Every two p-invertible equivalent sets are p-isomorphic. (shrink)

This thesis is about the nature of proofs in mathematics as it is practiced, contrasting the informal proofs found in practice with formal proofs in formal systems. In the first chapter I present a new argument against the Formalist-Reductionist view that informal proofs are justified as rigorous and correct by corresponding to formal counterparts. The second chapter builds on this to reject arguments from Gödel's paradox and incompleteness theorems to the claim that mathematics is inherently inconsistent, basing my objections on (...) the complexities of the process of formalisation. Chapter 3 looks into the relationship between proofs and the development of the mathematical concepts that feature in them. I deploy Waismann's notion of open texture in the case of mathematical concepts, and discuss both Lakatos and Kneebone's dialectical philosophies of mathematics. I then argue that we can apply work from conceptual engineering to the relationship between formal and informal mathematics. The fourth chapter argues for the importance of mathematical knowledge-how and emphasises the primary role of the activity of proving in securing mathematical knowledge. In the final chapter I develop an account of mathematical knowledge based on virtue epistemology, which I argue provides a better view of proofs and mathematical rigour. (shrink)

ABSTRACTIn this paper I investigate how conceptual engineering applies to mathematical concepts in particular. I begin with a discussion of Waismann’s notion of open texture, and compare it to Shapiro’s modern usage of the term. Next I set out the position taken by Lakatos which sees mathematical concepts as dynamic and open to improvement and development, arguing that Waismann’s open texture applies to mathematical concepts too. With the perspective of mathematics as open-textured, I make the case that this allows us (...) to deploy the tools of conceptual engineering in mathematics. I will examine Cappelen’s recent argument that there are no conceptual safe spaces and consider whether mathematics constitutes a counterexample. I argue that it does not, drawing on Haslanger’s distinction between manifest and operative concepts, and applying this in a novel way to set-theoretic foundations. I then set out some of the questions that need to be engaged with to establish mathematics as involving a kind of conceptual engineering. I finish with a case study of how the tools of conceptual engineering will give us a way to progress in the debate between advocates of the Universe view and the Multiverse view in set theory. (shrink)

The attribution of perceptually based aesthetic properties to a garden should be indexed to whether that attribution is (1) to the ever-changing dynamic garden or (2) to some phenomenal capture of the garden in one’s experience, frozen like a photograph. Perceptually based aesthetic properties are used to identify objects, to compare them to others, to evaluate them, and to describe them as we seek to interpret or find meaning in them. This set of activities requires aesthetic properties that do not (...) change, or at least not much, if any degree of normativity is to be maintained. But those aesthetic properties that are derived from our immediate sensations of a garden only describe a garden at a certain time, under certain conditions, in certain states—all of which change constantly. Both descriptions are useful, and perhaps necessary, for appreciating gardens. (shrink)

What sorts of epistemic virtues are required for effective mathematical practice? Should these be virtues of individual or collective agents? What sorts of corresponding epistemic vices might interfere with mathematical practice? How do these virtues and vices of mathematics relate to the virtue-theoretic terminology used by philosophers? We engage in these foundational questions, and explore how the richness of mathematical practices is enhanced by thinking in terms of virtues and vices, and how the philosophical picture is challenged by the complexity (...) of the case of mathematics. For example, within different social and interpersonal conditions, a trait often classified as a vice might be epistemically productive and vice versa. We illustrate that this occurs in mathematics by discussing Gerovitch’s historical study of the aggressive adversarialism of the Gelfand seminar in post-war Moscow. From this we conclude that virtue epistemologies of mathematics should avoid pre-emptive judgments about the sorts of epistemic character traits that ought to be promoted and criticised. (shrink)

Immanuel Kant and his work occupied a space at the crossroads of several important movements in philosophy. In this essay, I look at two important crossroads in aesthetics. First, the subjective turn in aesthetics, when the focus on aesthetic objects was rebalanced with the focus on the subject’s experience of such objects, the weight shifting from the objective to the subjective. Second, after many years and many theories advancing the view that universality of judgment could be achieved, at least in (...) part, through adoption of the appropriate perspective – or attitude – when considering a particular aesthetic object, Kant offers us perhaps the most sophisticated view of disinterestedness of any, and as he does so he solidifies that tradition, bringing it to its culmination, and ushers in the beginning of its end. (shrink)

Derivationists, those wishing to explain the correctness and rigour of informal proofs in terms of associated formal proofs, are generally held to be supported by the success of the project of translating informal proofs into computer-checkable formal counterparts. I argue, however, that this project is a false friend for the derivationists because there are too many different associated formal proofs for each informal proof, leading to a serious worry of overgeneration. I press this worry primarily against Azzouni's derivation-indicator account, but (...) conclude that overgeneration is a major obstacle to a successful account of informal proofs in this direction. (shrink)

...It is clear that there exists in the history of ethics the problem that naturalist systems of ethics frequently fall prey to the entailment of behavioral determinism. If this occurs, it robs the ethic of doing any real work. Instead of proscribing correct and incorrect action, or allowing those considering the situation and activity to meaningfully assign praise or blame, the naive naturalist ethic functions only as a psychological thesis: that one will behave according to whatever psychological or mechanical program (...) one is informed by.The question of this paper was whether Aristotle's system falls prey to such a difficulty given his reliance on the individual's established character as one of the bases upon which ethical decisions are made. (shrink)

It seems to be the case that when we look at a flower in the way that the scientist does, we see the flower in one way, but when we look at the flower in a way as to view it as a thing of beauty, charm, elegance, we see it in a different way; we see it as an aesthetic object. Viewing the flower in such a way as to see it, or any object, as an aesthetic object, is (...) to be in the aesthetic attitude. What this work means to do is to formulate necessary and sufficient conditions for adoption of the aesthetic attitude. ;Analytically and traditionally, the aesthetic attitude is an attitude or state-of-perceiving that is entered into by an agent which serves to make the agent receptive to the having of an aesthetic experience, and transform the object of the agent's attention from an object-in-the-world into an aesthetic object. ;The aesthetic attitude has figured prominently in aesthetics from the Enlightenment until the present. Its most important formulations are disinterestedness , Psychical Distance , Aldrich's Impressionistic Viewing, Scruton's Empiricistic Account, and the naturalistic work of John Dewey and Monroe Beardsley. I conclude that a naturalistic formulation of the aesthetic attitude is correct. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why Was There So Much Ugly Art in the Twentieth Century?David E.W. Fenner (bio)Two of the most common challenges that teachers of aesthetics have to face in their classrooms today are, first, the presumption that since "beauty is in the eye of the beholder" and "there's no disputing taste," every aesthetic judgment is as good as every other one. The second is that the content from which aesthetics (...) courses commonly draw for examples and for the impetus for contemporary philosophy of art theory — and by this I mean art from Post-Impressionism to the present — is made up of "stuff I could have done when I was four years old." The substance behind these two challenges — that aesthetic judgment is highly or perhaps exclusively subjective and that twentieth-century art does not demonstrate care of technique, or that it is simply ugly1 — are intimately connected. This connection is the focus of this essay. The answer to the question, "why was there so much ugly art in the twentieth century?" may be that the tradition of showing beauty to be a highly or purely subjective phenomenon renders beauty apparently less valuable than if it were objective in character, and so we have, in the twentieth century, a move away from the production in art of beauty to that which is simply "artistic" or "artistically important." I want to come at this thesis not through a discussion about either the location or the reality of aesthetic properties. Instead, I want to focus on the "ugly art."Students in aesthetics courses tend to take one of three positions regarding modern art, and by "modern art," I mean art from Post-Impressionism to the present, including Pop Art, Dada, Surrealism, Abstract Expressionism, and the rest: 1. They deny the value of it, together with claims about their artistic abilities during their kindergarten years. 2. Because they know something of the history and progression of twentieth-century art, or because they have an experiential basis for approaching modern art conceptually, they actually appreciate and value it. 3. They think they ought to value it (the way so many of us feel when buying our very first tickets to the [End Page 13] opera), and they do their level best to act in accord with what they see as their aesthetic obligation. Those of the first camp will probably voice their positions early in aesthetics courses, and at that point the challenge for the teacher is raised.Teachers in aesthetics courses, when faced with this challenge, tend, I think, to take one of three positions in response: 1. They use the authority of their office to stifle the discussion, hoping that students of the first camp will over the course of time and exposure at least move to being students of the third camp. 2. They embrace the complaint, discuss it, give it due regard (after all, those teachers probably read Tom Wolfe's The Painted Word themselves), but leave the final decision about the merit of modern art open and unsettled. I presume this is the majority position, at least in philosophical courses of aesthetics. 3. They seek to impart to students — through exposure, discussion, and the eloquence they can muster of descriptions of their own positive, valuable experiences with modern art — some sense of its merit. In this essay, I will sketch out yet another way to deal with the challenge, one that focuses on the history of aesthetics itself.The HistoryThe history of aesthetic judgment — that is, with the correctness of particular aesthetic judgments — begins with Aristotle.2 He said that an object is aesthetically good — or, actually, beautiful — if it is ordered, symmetrical, and definite, and if it demonstrates each of these virtues to a high degree.3 This analysis we call "formal," because it focuses on the presence in the object of certain aesthetic properties, ones that have to do with the form (as distinguished from the content) of the object. The more basic the cited aesthetic properties, the better, because the strength of the power of one's judgment, along with the power of evidence that can be cited in support of that judgment... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 39-50 MuseSearchJournalsThis JournalContents[Access article in PDF]The Acquisitive AttitudeDavid E. W. FennerAt my university, a small regional university in the south, I teach many "general education" courses in philosophy. The majority of freshmen and sophomores who populate these courses have never seen a dance performance, an opera, a symphony, or a stage play. Many have never been to an art gallery. At this (...) small university we have an active gallery; 1 besides the student and faculty shows each year, we can count on at least a half dozen other exhibitions, either single-artist shows or thematic compilations. Except when prepping for an upcoming show, the gallery is never closed. This means there are ample occasions for me to take my general education students for a visit to the gallery. In preparing them for our little field trip, I try to find a balance between two things. On the one hand, I want to leave the occasion open-ended to promote whatever sorts of personal experiences they may have in connection with viewing the artworks; the idea that they may come out of the gallery thinking this was yet one more meaningless academic exercise they had to endure makes me physically ill (so great is my passion for this opportunity to introduce them to their first art gallery experience). On the other hand, without any structure, many students will walk through the space at a brisk pace and exit quickly. This again would be a serious failure. Therefore, I give them an assignment for their visit, one that is meant to spotlight their potential enjoyment of the gallery while at the same time engaging them critically. The assignment is simple: "choose your favorite piece and be prepared to give some reasons for why this piece is better than the rest; and choose your least favorite piece and be prepared to offer some reasons for why this piece is worse than the rest." The reasons that I get back, in support of both of their judgments, frequently turn on traditional things like the representational quality of the (mimetic) work, the emotional content—either expressed or inspired—and formal considerations like balance and elegance. The conflation between identifying artistic [End Page 39] merit and their own, perhaps fairly naive, reactions is something I do not worry about at this level. This conflation may be warranted in certain theories of artistic worth—and it is something I am sympathetic to—but the real point is to encourage in the students a connection between enjoyment of the experience of viewing art and viewing it with a critical eye. If I can introduce just that one concept, the field trip has been a success. I can build on that later.I take a "critical thinking" approach to art criticism. I believe that the evaluative aspects of art criticism essentially have to do with advancing claims for which arguments and evidence can be offered. If critical thinking means seeking out and being able to advance reasons for the adoption or holding of a position, and this requires the logical skills involved with correct argument formulation and the epistemic skills involved with quality evidence gathering, then art criticism is essentially critical thinking applied to a certain content: art. Art evaluation happens in two arenas. First, there are issues of context and issues of subjectivity (Where did this work come from? Who did it? How does this work relate to other works and other times? How does this work connect to values other than purely aesthetic—or, better, artistic—ones, such as moral ones?). The effects of these sorts of considerations are relative to the viewer, her access and attention to information about the work, and the experience of viewing. The second arena is the one internal to the work itself. This is the formalist arena. Advancing a claim concerning the work's possession of a certain aesthetic feature generally takes the form of evidencing that possession on the basis of the work's possession of certain nonaesthetic, or... (shrink)

" Although a historical organization is employed wherever a particular movement unfolds from earlier movements, the text's main organization is not motivated by ...

Speculatively, it is suggested that variola virus, the cause of smallpox, evolved from an orthopoxvirus of animals of the central African rain forests (possibly now represented by Tatera poxvirus), some thousands of years ago, and first became established as a virus specific for human beings in the dense populations of the Nile valley perhaps five thousand years ago. By the end of the first millennium of the Christian era, it had spread to all the densely populated parts of the Eurasian (...) continent and along the Mediterranean fringe of north Africa. It became established in Europe during the times of the Crusades. The great voyages of European colonization carried smallpox to the Americas and to Africa south of the Sahara. Transported across the Atlantic by Europeans and their African slaves, it played a major role in the conquest of Mexico and Peru and the European settlement of north America. Variolation, an effective preventive inoculation, was devised as early as the tenth century. In 1798 this practice was supplanted by Jenner's cowpox vaccine. In 1967, when the disease was still endemic in 31 countries and caused ten to fifteen million cases and about two million deaths annually, the World Health Organization embarked on a programme that was to see the disease eradicated globally just over ten years later, and the world was formally declared to be free of smallpox in May 1980. Smallpox is unique — a specifically human disease that emerged from some animal reservoir, spread to become a worldwide, severe and almost universal affliction, and finally underwent the reverse process to emergence, namely global eradication. (shrink)

At least within the last century, artists have produced works that seem to have something missing. Salvatore Garau’s sculpture Sono is (apparently) composed of empty space; the original drawing at the heart of Robert Rauschenberg’s Erased de Kooning Drawing is essentially gone; Rauschenberg’s White Paintings are primarily just white canvases. In this paper, I examine this ‘something missing’ – which I call an ‘aesthetic absence’. These absences are aesthetically relevant to the identities, meaning, and value of the works of art (...) where audiences find such absences, but such relevance can only fully be ascertained and assessed once the absence is resolved, and this resolution comes through an act of interpretation. (shrink)

This paper considers the way that disposal of art—that is, removing it from one’s ownership or guardianship—might rightly be pursued. It is also about what appropriate disposal of art may mean for theories of the value of art. Students of art and aesthetics benefit from such tests as they determine which of the various theories of artistic value have lasting merit. Disposing of art is a particularly good test for educating theory choice as it is pragmatic; it is the equivalent (...) of determining the quality of a theory of normative ethics by looking at its practical implications. (shrink)

During the cold war, Frank Fenner and Francis Ratcliffe studied mathematically the coevolution of host resistance and parasite virulence when myxomatosis was unleashed on Australia’s rabbit population. Later, Robert May called Fenner the “real hero” of disease ecology for his mathematical modeling of the epidemic. While Ratcliffe came from a tradition of animal ecology, Fenner developed an ecological orientation in World War II through his work on malaria control —that is, through studies of tropical medicine. This makes (...) Fenner at least a partial exception to other senior disease ecologists in the region, most of whom learned their ecology from examining responses to agricultural challenges and animal husbandry problems in settler colonial society. Here I consider the local ecologies of knowledge in southeastern Australia during this period, and describe the particular cold-war intellectual niche that Fenner and Ratcliffe inhabited. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Index to Volume Fifty-SixArticlesBernier, Bernard, National Communion: Watsuji Tetsurō's Conception of Ethics, Power, and the Japanese Imperial State, 1 : 84-105Between Principle and Situation: Contrasting Styles in the Japanese and Korean Traditions of Moral Culture, Chai-sik Chung, 2 : 253-280Buxton, Nicholas, The Crow and the Coconut: Accident, Coincidence, and Causation in the Yogavāiṣṭha, 3 : 392-408Chan, Sin Yee, The Confucian Notion of Jing (Respect), Sin Yee Chan, 2 : (...) 229-252Chong, Kim-chong, Zhuangzi and the Nature of Metaphor, 3 : 370-391Chung, Chai-sik, Between Principle and Situation: Contrasting Styles in the Japanese and Korean Traditions of Moral Culture, 2 : 253-280The Confucian Ideal of Harmony, Chenyang Li, 4 : 583-603The Confucian Notion of Jing.(Respect), Sin Yee Chan, 2 : 229-252The Conventional Status of Reflexive Awareness: What's at Stake in a Tibetan Debate? Jay L. Garfield, 2 : 201-228The Crisis of Knowledge in Islam (I): The Case of al-'āmirī, Paul L. Heck, 1 : 106-135The Crow and the Coconut: Accident, Coincidence, and Causation in the Yogavāiṣṭha, Nicholas Buxton, 3 : 392-408De Reu, Wim, Right Words Seem Wrong: Neglected Paradoxes in Early Chinese Philosophical Texts, 2 : 281-300The Desire You Are Required to Get Rid of: A Functionalist Analysis of Desire in the Bhaga-vadgītā, Christopher Framarin, 4 : 604-617Framarin, Christopher, The Desire You Are Required to Get Rid of: A Functionalist Analysis of Desire in the Bhagavadgītā, 4 : 604-617Garfield, Jay L., The Conventional Status of Reflexive Awareness: What's at Stake in a Tibetan Debate? 2 : 201-228Heck, Paul L., The Crisis of Knowledge in Islam (I): The Case of al-'ā mirī, 1 : 106-135Heidegger's Comportment toward East-West Dialogue, Lin Ma and Jaap van Brakel, 4 : 519-566Ho, Chien-hsing, Saying the Unsayable, 3 : 409-427Kantor, Hans-Rudolf, Ontological Indeterminacy and Its Soteriological Relevance: An Assessment of Mou Zongsan's (1909-1995) Interpretation of Zhiyi's (538-597) Tiantai Buddhism, 1 : 16-68Lai, Karyn, Li in the Analects: Training in Moral Competence and the Question of Flexibility, 1 : 69-83Li, Chenyang, The Confucian Ideal of Harmony, 4 : 583-603Li in the Analects: Training in Moral Competence and the Question of Flexibility, Karyn Lai, 1 : 69-83Ma, Lin, and Jaap van Brakel, Heidegger's Comportment toward East-West Dialogue, 4 : 519-566National Communion: Watsuji Tetsurō's Conception of Ethics, Power, and the Japanese Imperial State, Bernard Bernier, 1 : 84-105Ontological Indeterminacy and Its Soteriological Relevance: An Assessment of Mou Zongsan's (1909-1995) Interpretation of Zhiyi's (538- 597) Tiantai Buddhism, Hans-Rudolf Kantor, 1 : 16-68Right Words Seem Wrong: Neglected Paradoxes in Early Chinese Philosophical Texts, Wim De Reu, 2 : 281-300The Role of Time in the Structure of Chinese Logic, Jinmei Yuan, 1 : 136-152Sakya Pandita and the Status of Concepts, Jonathan Stoltz, 4 : 567-582Saying the Unsayable, Chien-hsing Ho, 3 : 409-427Schiltz, Elizabeth, Two Chariots: The Justification of the Best Life in the Katha Upanishad and Plato's Phaedrus, 3 : 451-468Spackman, John, The Tiantai Roots of Dōgen's Philosophy of Language and Thought, 3 : 428-450Stevenson, Frank W., Zhuangzi's Dao as Background Noise, 2 : 301-331Stoltz, Jonathan, Sakya Pandita and the Status of Concepts, 4 : 567-582The Tiantai Roots of Dōgen's Philosophy of Language and Thought, John Spackman, 3 : 428-450 [End Page 709]Two Chariots: The Justification of the Best Life in the Katha Upanishad and Plato's Phaedrus, Elizabeth Schiltz, 3 : 451-468van Brakel, Jaap, and Lin Ma, Heidegger's Comportment toward East-West Dialogue, 4 : 519-566Yuan, Jinmei, The Role of Time in the Structure of Chinese Logic, 1 : 136-152Zhuangzi and the Nature of Metaphor, Kim-chong Chong, 3 : 370-391Zhuangzi's Dao as Background Noise, Frank W. Stevenson, 2 : 301-331Book NotesFenner, David E. W., Introducing Aesthetics (note by James McRae), 3 : 515-516Introducing Aesthetics, by David E. W. Fenner (note by James McRae), 3 : 515-516McRae, James, a book... (shrink)

Reflecting on his scientific career toward the end of his life, the French-educated medical researcher René Dubos presented his flowering as an ecological thinker as a story of linear progression—the inevitable product of the intellectual seeds planted in his youth. But how much store should we set by Dubos’s account of his ecological journey? Resisting retrospective biographical readings, this paper seeks to relate the development of Dubos’s ecological ideas to his experimental practices and his career as a laboratory researcher. In (...) particular, I focus on Dubos’s studies of tuberculosis at the Rockefeller Institute in the period 1944–1956—studies which began with an inquiry into the tubercle bacillus and the physiochemical determinants of virulence, but which soon encompassed a wider investigation of the influence of environmental forces and host–parasite interactions on susceptibility and resistance to infection in animal models. At the same time, through a close reading of Dubos’s scientific papers and correspondence, I show how he both drew on and distinguished his ecological ideas from those of other medical researchers such as Theobald Smith, Frank Macfarlane Burnet, and Frank Fenner. However, whereas Burnet and Fenner tended to view ecological interactions at the level of populations, Dubos focused on the interface of hosts and parasites in the physiological environments of individuals. The result was that although Dubos never fully engaged with the science of ecology, he was able to incorporate ecological ideas into his thought and practices, and relate them to his holistic views on health and the natural harmony of man and his environment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Aesthetics of Representation:Dramatic Texts and Dramatic EngagementKathleen Gallagher (bio)Staking the TerritoryThere are several ways in which aesthetic discourses might be positioned in the field of drama education. While some might locate "aesthetics" in the cognitive or interpretive realm of learning, and others the affective or philosophical realm, I have chosen to speak of the discourses of aesthetics as they relate to both cognitive and embodied responses to the (...) (extra)ordinary events of a drama classroom. I am already unsatisfied with the recognizable distinctions implied in this binary, but I persist in the hope that the relationship between these learning functions will become clear as I proceed with what I have termed the sociology of aesthetics in drama practice. In drama, we attempt—collectively—to represent our lives through art as we come to know the world and our sensuous responses to it.Fenner's brief history of aesthetic experience and aesthetic analysis will further help stake the territory about which we are speaking in a drama classroom.1 Calling aesthetic experiences the "raw data" that aesthetics is meant to explain, he helpfully distinguishes between Kantian understandings of the conditions of aesthetic judgment and the emergence of those thinkers in the seventeenth and eighteenth centuries who began to focus on the psychology of aesthetic experience. Following these thinkers and further developments in the early part of the twentieth century, the work of John Dewey explored the psychological nature of what he called "an experience" in the field of education more generally.2 This article will also privilege the notion of aesthetic experience but will, more specifically, focus on an exploration of ideas borne out of aesthetic experiences that cultivate sociological questions about representation and the nature of cognitive and embodied engagement in classroom drama. Key to my view of dramatic representation is the notion of a provoked imagination. [End Page 82]In the nineteenth century, Archibald Allison claimed that it was the imagination that was responsible for what we term "aesthetic experiences."3 Earlier philosophers of aesthetics had determined that the mere presence of beauty could create an aesthetic experience, but Allison insisted upon the "exercises of the imagination" in his understanding of aesthetic experiences. Contemporary writers in the field of arts education have also favored this more active conception of aesthetic responses, such as the formidable Madeleine Grumet and Maxine Greene. They and others will be cited here in support of a conception of "aesthetic experiences" in the drama classroom as active, selective, and highly framed experiences.Dramatic Texts and Aesthetic Knowing: Framing the ExperiencesOne can hardly discuss the idea of aesthetic exploration without first engaging with the rather unwieldy idea of "creativity." Radford, citing Margaret Boden, puts forward a very helpful notion of creativity as "conceptual space."4 This "conceptual space" is what I will refer to as "the frame" carefully placed around dramatic learning, usually by a highly skilled teacher. Frequently because of this frame, something entirely forgettable to students is shaped into something worth considering. The "frame," therefore, consists of both careful pedagogical planning and, in many cases, a piece of text that ignites the conceptual space and inspires a deliberate probing. This deliberate probing, or what Radford might call creative thought, invites co-creators to "play at the boundaries of sense."5 Bruner speaks about the "creative act" as bringing about a "shock of recognition,"6 or what Radford equally describes as something speaking to something "within us." This idea is particularly helpful in deconstructing what is often at work in a collaborative piece of improvised drama activity in a classroom of young people.To this end, I would like to offer three brief episodes as examples of textual and improvised drama engagement that speak to Bruner's and Radford's ideas of "recognition," or resonance with "something within us," and to my own understanding of how ideas of representation or mimesis are operating in moments of aesthetic knowing for young people. The other principle at work, seemingly at odds with these ideas, is the notion of distance or alienation from an event, in effect a dis-identification. What I would especially hope to demonstrate in the following brief, empirical... (shrink)

This chapter focuses on one of the common fallacies in Western philosophy, 'intentional fallacy (IF)'. The IF is an odd kind of fallacy. Rather than being a fallacy focused on logic and argumentation, it is a fallacy that focuses on art, relating to how we judge art and engage in literary criticism. The IF focuses on the fact that we often think that there is one right interpretation of a work of art. According to David Fenner, the IF “states (...) that we do not need to know, nor can we on most occasions, what was in the mind of the artist in order to interpret the art work”. So, it seems unreasonable to use the artist's intention as the most important way to understand a work of art as the artist's intention is often unavailable. The IF is an error in art interpretation that causes us to realize important things about art. (shrink)

A breathtaking detective story, this book charts the adventure of Whitehead's ideas in a remarkably detailed and careful reconstruction of his metaphysical views.

Parkinson schreibt, es sei nicht klar, daß Alexander selbst von Geburt an Merkmale oder Zeichen des Ortes seines zukünftigen Todes in sich getragen haben müsse, weil der vollständige Begriff von Alexander den Begriff des in Babylon Sterbens enthält. Die vorliegende Interpretation des Prinzips der Vorherbestimmtheit der Geschichte verdeutlicht dies mit Hilfe der bildlichen Ausdrücke, Pläne und Dispositionen und mit Hilfe einer aristotelischen Unterscheidung zwischen "going to be" und "will be" , fur welche ein formaler chronologischer Apparat ausgearbeitet ist. Die Arbeit (...) gibt ebenfalls Einblick in den Gedanken, daB die Gegenwart schwanger mit der Zukunft ist, und antwortet auf Reschers Kritik, daß Leibniz' Metaphysik von Grund auf statisch sei. (shrink)

Reflecting on his scientific career toward the end of his life, the French-educated medical researcher René Dubos presented his flowering as an ecological thinker as a story of linear progression—the inevitable product of the intellectual seeds planted in his youth. But how much store should we set by Dubos’s account of his ecological journey? Resisting retrospective biographical readings, this paper seeks to relate the development of Dubos’s ecological ideas to his experimental practices and his career as a laboratory researcher. In (...) particular, I focus on Dubos’s studies of tuberculosis at the Rockefeller Institute in the period 1944–1956—studies which began with an inquiry into the tubercle bacillus and the physiochemical determinants of virulence, but which soon encompassed a wider investigation of the influence of environmental forces and host–parasite interactions on susceptibility and resistance to infection in animal models. At the same time, through a close reading of Dubos’s scientific papers and correspondence, I show how he both drew on and distinguished his ecological ideas from those of other medical researchers such as Theobald Smith, Frank Macfarlane Burnet, and Frank Fenner. However, whereas Burnet and Fenner tended to view ecological interactions at the level of populations, Dubos focused on the interface of hosts and parasites in the physiological environments of individuals. The result was that although Dubos never fully engaged with the science of ecology, he was able to incorporate ecological ideas into his thought and practices, and relate them to his holistic views on health and the natural harmony of man and his environment. (shrink)

This is the first scholarly study of Atlas Shrugged, covering in detail the historical, literary, and philosophical aspects of Ayn Rand's magnum opus. Topics explored in depth include the history behind the novel's creation, publication, and reception; its nature as a romantic novel; and its presentation of a radical new philosophy.

Hegel attempts both to give evil its metaphysical due and to give it intelligibility within a processive idealistic system. To accomplish these ends, he consistently employs the contrast between the natural and the free act of the subject and the contrast between the particular and the universal. He places these contrasts within the situation of an original and presupposed unity of spirit that itself is the ground of the mediation required for thinking freedom, for evil, and for ultimate reconciliation. He (...) argues for evil’s ultimate intelligibility in terms of its necessity as a consequent moment in the development of spirit from its ground; he resolves problems of evil’s penultimate irrationality in terms of its unstable contradictory elements in spirit’s history which is not yet fully concrete, a simultaneity of “ought to be” and “ought not to be” in the sense that the instability must be surpassed but not that it should never have been. The aims of this paper will be to summarize and evaluate Hegel’s efforts to give evil both significance and intelligibility within his system and to estimate if a system of progressive idealism contributes a philosophically new dimension to the problem of evil in a universe. (shrink)