This is a lightly copy-edited version of the paper given by Bill Ross (1964–2022) at the “Michel Serres and the Social” Colloquium held at Queens’ College, Cambridge, in June 2022. The editor has maintained the language of “paper” rather than “article” throughout. The paper addresses the respective stances of Michel Serres and Jean-François Lyotard to the prospect of the end of the world. Considering this end in relation to technology, evolution, and information throws into relief how each thinker (...) regards its significance for humankind, its connection with the Earth, and what succeeds such an end. For Lyotard, the story is ultimately one of the inhuman, a possible version of the human continued elsewhere in the universe but where the characteristics we associate with humanity are threatened – or worse – by the necessity of adapting to a different environment. By contrast, Serres is shown to regard the prospect of the end as an impetus to renew our contract with the Earth. (shrink)

Surgical devices are often marketed before there is good evidence of their safety and effectiveness. Our paper discusses the ethical issues associated with the early marketing and use of new surgical devices from the perspectives of the six groups most concerned. Health Canada, which is responsible for licensing new surgical devices, should amend their requirements to include rigorous clinical trials that provide data on effectiveness and safety for each new product before it is marketed. Industry should comply with all Health (...) Canada requirements to obtain licenses for new products. Until Health Canada requires effectiveness and safety data, industry should cooperate with physicians in appropriate studies before releasing new products and should make balanced presentations of all the available evidence. Surgeons should, before using a new surgical device, assess the evidence on its effectiveness and safety and ensure they are properly trained and competent in using the device. Surgeons should provide their patients with an evaluation of the available evidence and inform them about possible complications and the surgeon's level of experience with the new device. Patients, who should be given an honest evaluation of the available evidence, possible complications, and the surgeon's experience, should be encouraged to evaluate the evidence and information to their own satisfaction to ensure that fully informed consent is given. Health institutions, responsible for regulating practice within their walls, should review new devices for safety, effectiveness, and economic impacts, before allowing their use. They should also limit the use of new surgical devices to surgeons trained and competent in the new technology. Professional societies should provide guidance on the early adoption of new surgical devices and technologies. We urge all those involved in the development, licensing, and use of new surgical devices to aim for higher ethical standards to protect the health and safety of patients requiring surgery. The lowest acceptable ethical standard would require device manufacturers to provide surgeons with accurate and timely information on the efficacy and safety of their products, allowing surgeons and patients to evaluate the evidence (and the significance of information not yet available) before surgery. (shrink)

The US food regime maintained some degree of stability in terms of prices and production levels for commodities in the world economy. This food regime, resting on supply management policy, began to falter in the early 1970s. In the late-1980s and 1990s, notable changes occurred in the world economy regarding agriculture as the food regime became more market-oriented. The end of the twentieth century saw the breakdown of many institutions, organizations, and international agreements that had tried to stabilize prices and (...) production from 1945 to 1975. This paper examines this period of change and explores the effects on five commodities: cocoa, coffee, corn, soybeans, and wheat. These commodities offer important points of comparison. First, while cocoa, coffee, and wheat were regulated by international organizations and agreements, corn and soybeans were not. Second, the US dominated the international corn and soybean markets, but the cocoa, coffee, and wheat markets were much more competitive. And third, corn, soybeans, and wheat were commodities largely produced in the core of the world economy, while cocoa and coffee were produced in the periphery. Thus, comparing the effect of the fall of the US food regime on these commodities reveals the importance of previous regulation, the level of market competition, and geographic origin in the world economy. (shrink)

Joan Tronto’s new paradigm of caring democracy bases citizenship on the need to ensure that all people receive and provide care equitably. But how exactly are citizens motivated to take up these caring responsibilities? The writings of Alcoholics Anonymous (AA) co-founder William ‘Bill’ Wilson provide one answer: he pathologizes the alcoholic – dooming him to inevitable relapse and death – to compel AA members to accept shared vulnerability and mutual care as the bedrock of sobriety and AA society. Wilson (...) returns repeatedly to the threat of death to convince AA members to carry out their newfound caring and democratic responsibilities. We use Wilson’s thinking, as well as Michel Foucault’s work on biopower, to forward the concept of biocaring democracy, in which the acceptance of shared pathology compels people to care for each other but also limits their democratic responsibilities. More broadly, our analysis suggests how hinging democracy to shared vulnerability may constrain the radical possibilities that Tronto envisions. (shrink)

I take it for granted that sense experiential states provide reasons for empirical beliefs; indeed this claim forms the first premise of my central argument for (CC). 1 The subsequent stages of the argument are intended to establish that a person has such a reason for believing something about the way things are in the world around him only if he is in some mental state or other with a conceptual content: a conceptual state. Thus, given that sense experiential states (...) do provide reasons for empirical beliefs, they must have conceptual content. (shrink)

Oxford Studies in Metaphysics is dedicated to the timely publication of new work in metaphysics, broadly construed. These volumes provide a forum for the best new work in this flourishing field. They offer a broad view of the subject, featuring not only the traditionally central topics such as existence, identity, modality, time, and causation, but also the rich clusters of metaphysical questions in neighbouring fields, such as philosophy of mind and philosophy of science. This book is the eighth volume in (...) the series. It contains essays by Cian Dorr and John Hawthorne, Maya Eddon, Shamik Dasgupta, Bill Dunaway, Cody Gilmore, Ted Sider, Aaron Cotnoir, Katherine Hawley, Frabrice Correia and Sven Rosencrantz, David Braddon-Mitchell, and Ross Cameron. (shrink)

In his comments, Richard Fumerton carefully develops two fundamental concerns with my views, which he interprets sympathetically, and almost entirely correctly. Before turning to these concerns, though, I must make one point about his concise opening statement of my principal claims. As I hope is clear from my précis, perceptual experiences provide reasons for empirical beliefs not simply in virtue of sharing demonstrative content with them. The key idea is that a person cannot properly grasp the objective content of these (...) experiences—that is, he cannot actually have experiences of particular things in the mind-independent world around him—without understanding that his apprehension that things are thus and so out there is in part due to the fact that they are. He therefore recognizes the relevant content as his epistemic openness to the way things objectively are. This is clearly central to my overall position. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

''The authors' style is clear, making the book accessible to newcomers, and the illustrations are excellent. There can be no doubt that this book will remain the standard work in the subject, and it will appeal to readers of all types.'' -Sir Patrick Moore in the Times Higher Education Supplement ''It will surely be the standard work on the subject for many years to come and we await with interest the outcome of further research into this fascinating subject.'' -Society for (...) the History of AstronomyFor thousands of years, one scientific puzzle has fascinated and perplexed the greatest philosophers, mathematicians, physicists, and psychologists - why do the moon and sun appear so much larger on the horizon than when high up in the sky? Now, two leading psychologists have provided a compelling account of this fascinating illusion. Taking us through the history, the characters involved, the attempts made to explain the illusion, through to modern day studies of visual perception, the book is the most comprehensive account of this puzzle so far. This is a work which will remain, for some time to come, the definitive book on a mystery that has fascinated and tested the greatest minds throughout the ages. Accessibly written, it will appeal to readers of popular science, along with those within the disciplines of psychology, mathematics, astronomy, and philosophy, from undergraduate upwards. (shrink)

This is the third of five chapters on good, and inquires into what kinds of things are intrinsically good. The first thing claimed as intrinsically good is virtuous disposition and action; the second is pleasure in itself. These two approaches are briefly analysed, with the goodness or badness of pleasure given particular attention. Ross concludes that four things can be seen to be intrinsically good—virtue, pleasure, the allocation of pleasure to the virtuous, and knowledge. He is unable to discover (...) anything that is intrinsically good that is not either one or a combination of these. (shrink)

How should pragmatists respond to and contribute to the resolution of one of America's greatest and most enduring problems? Given that the most important thinkers of the pragmatist movement—Charles S. Peirce, William James, John Dewey, and George Herbert Mead—said little about the problem of race, how does their distinctly American way of thinking confront the hardship and brutality that characterizes the experience of many African Americans in this country? In 12 thoughtful and provocative essays, contemporary American pragmatists connect ideas with (...) action and theory with practice to come to terms with this seemingly intractable problem. Exploring themes such as racism and social change, the value of the concept of race, the role of education in ameliorating racism, and the place of democracy in dealing with the tragedy of race, the voices gathered in this volume consider how pragmatism can focus new attention on the problem of race. Contributors are Michael Eldridge, Eddie S. Glaude, Jr., Judith M. Green, D. Micah Hester, Donald F. Koch, Bill E. Lawson, David E. McClean, Gregory F. Pappas, Scott L. Pratt, Alfred E. Prettyman, John R. Shook, Paul C. Taylor, and Cornel West. (shrink)

What is the relation between emotional experience and its behavioural expression? As very preliminary clarification, I mean by ‘emotional experience’ such things as the subjective feeling of being afraid of something, or of being angry at someone. On the side of behavioural expression, I focus on such things as cowering in fear, or shaking a fist or thumping the table in anger. Very crudely, this is behaviour intermediate between the bodily changes which just happen in emotional arousal, such as sweating (...) or the secretion of adrenalin, and reasoned actions done ‘out of an emotion’, such as breathing deeply to clam down, or writing a letter of complaint, for which a standard rationalizing explanation can be given.1 I pursue the relation between this experience and expression in a somewhat roundabout manner. First, I note an analogy between a problem of other minds, and Berkeley’s (1975) challenge to Locke’s (1975) realism. Second, I sketch what I regard as the correct strategy for meeting this challenge. Third, I develop and defend a parallel response to the problem of other minds, as this applies to certain basic directed emotions. This yields the following answer to my opening question. Reference to the appropriate expressive behaviour is essential to the identification of the way in which various emotional experiences present their worldly objects. (shrink)

Free Semantics is based on normalized natural deduction for the weak relevant logic DW and its near neighbours. This is motivated by the fact that in the determination of validity in truth-functional semantics, natural deduction is normally used. Due to normalization, the logic is decidable and hence the semantics can also be used to construct counter-models for invalid formulae. The logic DW is motivated as an entailment logic just weaker than the logic MC of meaning containment. DW is the logic (...) focussed upon, but the results extend to MC. The semantics is called 'free semantics' since it is disjunctively and existentially free in that no disjunctive or existential witnesses are produced, unlike in truth-functional semantics. Such 'witnesses' are only assumed in generality and are not necessarily actual. The paper sets up the free semantics in a truth-functional style and gives a natural deduction interpetation of the meta-logical connectives. We then set out a familiar tableau-style system, but based on natural deduction proof rather than truth-functional semantics. A proof of soundness and completeness is given for a reductio system, which is a transform of the tableau system. The reductio system has positive and negative rules in place of the elimination and introduction rules of Brady's normalized natural deduction system for DW. The elimination-introduction turning points become closures of threads of proof, which are at the points of contradiction for the reductio system. (shrink)

We start by noting that the set-theoretic and semantic paradoxes are framed in terms of a definition or series of definitions. In the process of deriving paradoxes, these definitions are logically represented by a logical equivalence. We will firstly examine the role and usage of definitions in the derivation of paradoxes, both set-theoretic and semantic. We will see that this examination is important in determining how the paradoxes were created in the first place and indeed how they are to be (...) solved in a uniform way. There are three features that are special about these definitions used in the derivation of most of the above paradoxes. The first is the use of self-reference between the definiens and the definiendum, the second is the generality of the definiendum, and the third is the under-determination and over-determination of concepts that usually occur as a result of these definitions. We will examine the impact of these three features on the logical representation of definitions and show how this representation then leads to a uniform paradox solution using an appropriate logic that is both paraconsistent and paracomplete. However, it is the paracompleteness, exhibited through the rejection of the Law of Excluded Middle, together with the rejection of contraction principles, that enables the solution of the paradoxes to go through. We characterize definitions as involving syntactic identity and/or meaning identity. We point out that some paradoxes do not have explicit self-reference or circularity and some may not utilize the generality of the definiendum, but the general characterizations of definitions that we give will still apply. We also look beyond all this to paradoxes that rely on illicit definitions between objects that are essentially different to start with. (shrink)

This book starts from the proposition that the field of intelligence lacks any systematic ethical review, and then develops a framework based on the notion of harm and the establishment of Just Intelligence Principles. As the professional practice of intelligence collection adapts to the changing environment of the twenty-first century, many academic experts and intelligence professionals have called for a coherent ethical framework that outlines exactly when, by what means and to what ends intelligence is justified. Recent controversies, including reports (...) of abuse at Guantanamo Bay and Abu Ghraib, allegations of extraordinary rendition programmes and the ever-increasing pervasiveness of the ‘surveillance state’, have all raised concerns regarding the role of intelligence in society. As a result, there is increased debate regarding the question of whether or not intelligence collection can be carried out ethically. _The Ethics of Intelligence_ tackles this question by creating an ethical framework specifically designed for intelligence that is capable of outlining under what circumstances, if any, different intelligence collection activities are ethically permissible. The book examines three of the main collection disciplines in the field of intelligence studies: imagery intelligence, signals intelligence and human intelligence. By applying the ethical framework established at the beginning of the book to these three important intelligence collection disciplines, it is possible to better understand the ethical framework while also demonstrating its real-life applicability. This book will be of much interest to students of intelligence studies, ethics, war and conflict studies, security studies and IR. (shrink)

The Liberating art of philosophy: a foundational anthology provides students with seminal texts and articles that pique their philosophical curiosity, encourage critical thought, and invite questioning.

This collection tackles a wider range of cultural and political issues than are usually addressed in the debates about postmodernism—color, ethnicity, and neocolonialism; feminism and sexual difference; popular culture and the question of ...

This volume is concerned with the concept of rationality and the interrelations between rationality, belief and desire in the explanation and evaluation of ...

This dissertation is a comparative analysis of the work of Emmanuel Levinas and Jacques Lacan, two important thinkers in a landscape of thought roughly labeled "post-humanist." Through a close reading of several of their most important texts, it illuminates their positions on the nature of human subjectivity in general, and ethical subjectivity in particular. ;The first section of this dissertation reads key texts by Levinas and Lacan side by side in order to see the points at which their thinking converges (...) and the points at which their thinking diverges. In three chapters, it focuses on topics of central concern to each thinker: the intervention of the other as the founding moment of subjectivity either uncovering an original goodness or creating an original alienation ; sexual difference as either a model for or a constitutive mode of subjectivity; and language as constitutive of subjectivity as either ethical or ordered by the unconscious . Here we come to see the ways in which Levinas's conception of the ethical subject is representative of a "humanism of the other person" while Lacan's conception, of the split subject is representative of an anti-humanism. The second and third sections look at key texts by Levinas and Lacan in isolation from one another. In two chapters, section two focuses on Levinas's treatments of the idea of God and the concept of time as diachronous, in order to posit "an-archic" foundations for the ethical subject. Also in two chapters, section three focuses on Lacan's treatment of the four fundamental concepts of psychoanalysis and the psychoanalytic notion of "desire" as constitutive of human subjectivity, in order to explain an "ethic" of psychoanalysis as an ethic of the knowledge of the unconscious. In this, I make way for the conclusion in which I bring together these two disparate thinkers in order to posit a vision ethical of subjectivity which takes seriously Levinas and Lacan precisely in their disagreements---a vision of the ethical subject as the "desiring subject for-the-other.". (shrink)

Frederick Douglass, the abolitionist, the civil rights advocate and the great rhetorician, has been the focus of much academic research. Only more recently is Douglass work on aesthetics beginning to receive its due, and even then its philosophical scope is rarely appreciated. Douglass’ aesthetic interest was notably not so much in art itself, but in understanding aesthetic presentation as an epistemological and psychological aspect of the human condition and thereby as a social and political tool. He was fascinated by the (...) power of images, and took particular interest in the emerging technologies of photography. He often returned to the themes of art, pictures and aesthetic perception in his speeches. He saw himself, also after the end of slavery, as first and foremost a human rights advocate, and he suggests that his work and thoughts as a public intellectual always in some way related to this end. In this regard, his interest in the power of photographic images to impact the human soul was a lifelong concern. His reflections accordingly center on the psychological and political potentials of images and the relationship between art, culture, and human dignity. In this chapter we discuss Douglass views and practical use of photography and other forms of imagery, and tease out his view about their transformational potential particularly in respect to combating racist attitudes. We propose that his views and actions suggest that he intuitively if not explicitly anticipated many later philosophical, pragmatist and ecological insights regarding the generative habits of mind and affordance perception : I.e. that we perceive the world through our values and habitual ways of engaging with it and thus that our perception is active and creative, not passive and objective. Our understanding of the world is simultaneously shaped by and shaping our perceptions. Douglass saw that in a racist and bigoted society this means that change through facts and rational arguments will be hard. A distorted lens distorts - and accordingly re-produces and perceives its own distortion. His interest in aesthetics is intimately connected to this conundrum of knowledge and change, perception and action. To some extent precisely due to his understanding of how stereotypical categories and dominant relations work on our minds, he sees a radical transformational potential in certain art and imagery. We see in his work a profound understanding of the value-laden and action-oriented nature of perception and what we today call the perception of affordances (that is, what our environment permits/invites us to do). Douglass is particularly interested in the social environment and the social affordances of how we perceive other humans, and he thinks that photographs can impact on the human intellect in a transformative manner. In terms of the very process of aesthetic perception his views interestingly cohere and supplement a recent theory about the conditions and consequences of being an aesthetic beholder. The main idea being that artworks typically invite an asymmetric engagement where one can behold them without being the object of reciprocal attention. This might allow for a kind of vulnerability and openness that holds transformational potentials not typically available in more strategic and goal-directed modes of perception. As mentioned, Douglass main interest is in social change and specifically in combating racist social structures and negative stereotypes of black people. He is fascinated by the potential of photography in particular as a means of correcting fallacious stereotypes, as it allows a more direct and less distorted image of the individuality and multidimensionality of black people. We end with a discussion of how, given this interpretation of aesthetic perception, we can understand the specific imagery used by Douglass himself. How he tried to use aesthetic modes to subvert and change the racist habitus in the individual and collective mind of his society. We suggest that Frederick Douglass, the human rights activist, had a sophisticated philosophy of aesthetics, mind, epistemology and particularly of the transformative and political power of images. His works in many ways anticipate and sometimes go beyond later scholars in these and other fields such as psychology & critical theory. Overall, we propose that our world could benefit from revisiting Douglass’ art and thought. (shrink)

Suppose that wc identify physical objccts, in thc first instance, by extension, as things like stones, tables, trees, people and other animals: the persisting macroscopic constituents of the world in which we live. Of course, there is a substantive question of what it is to be y such things in the way relevant to categorization as a physical object. So this can hardly be the final word on the matter. Still, it is equally clear that this gives us all a (...) perfectly respectable initial conception of what we are talking about; and it is an entirely adequate starting point for what follows. (shrink)

Over 40 years of research have shown that traumatic brain injury affects brain volume. However, technical and practical limitations made it difficult to detect brain volume abnormalities in patients suffering from chronic effects of mild or moderate traumatic brain injury. This situation improved in 2006 with the FDA clearance of NeuroQuant®, a commercially available, computer-automated software program for measuring MRI brain volume in human subjects. More recent strides were made with the introduction of NeuroGage®, commercially available software that is based (...) on NeuroQuant® and extends its utility in several ways. Studies using these and similar methods have found that most patients with chronic mild or moderate traumatic brain injury have brain volume abnormalities, and several of these studies found—surprisingly—more abnormal enlargement than atrophy. More generally, 102 peer-reviewed studies have supported the reliability and validity of NeuroQuant® and NeuroGage®. Furthermore, this updated version of a previous review addresses whether NeuroQuant® and NeuroGage® meet the Daubert standard for admissibility in court. It concludes that NeuroQuant® and NeuroGage® meet the Daubert standard based on their reliability, validity, and objectivity. Due to the improvements in technology over the years, these brain volumetric techniques are practical and readily available for clinical or forensic use, and thus they are important tools for detecting signs of brain injury. (shrink)

Environmental justice, at least, entails preserving the environment as a global entity, but also making those persons who feel, have felt, have been, or are victims of environmental crimes and atrocities feel as if theyare part of the solution as full members of the human community and not just the environmental dump-ing ground for the well-off.

The thought of G. W. F. Hegel has had a deep and lasting influence on a wide range of philosophical, political, religious, aesthetic, cultural and scientific movements. But, despite the far-reaching importance of Hegel's thought, there is often a great deal of confusion about what he actually said or believed. This is an invaluable introduction for philosophical beginners and a useful reference source for more advanced scholars and researchers.

Four Basic Logical Issues: The paper addresses what we see as the four major issues in logic. The overriding issue is that of the choice of logic. We start with some discussion of the preliminary issue of whether there is such a 'one true logic,' but we reserve the main discussion for the first issue of 'classical logic versus nonclassical logic.' Here, we discuss the role of meaning and truth, the relation between classical logic and classical negation, and whether and, (...) if so, how classical logic should reside at the base world. Given the argument in favor of an overall use of nonclassical logic, the second issue is that of the choice of nonclassical logic. Brady's logic MC of meaning containment is argued for, with some comparison made with other relevant logics. For the remaining two issues, we make a case for relevant deduction, in comparison with classical deduction, and we explore possibilities for the appropriate metalogic, comparing classical and nonclassical approaches. (shrink)