Private companies provide by far the most funding for scientific research and development. Nevertheless, relatively little attention has been paid to the dynamics of industry‐funded research by philosophers of science. This paper addresses this gap by providing an overview of the major strengths and weaknesses of industry research funding, together with the existing recommendations for addressing the weaknesses. It is designed to provide a starting point for future philosophical work that explores the features of industry‐funded research, avenues for addressing concerns, (...) and strategies for making research funded by the private sector as fruitful as possible. (shrink)

Robert C. Neville, Dean of Theology and Professor of Philosophy, Boston University, in his comments on Chuang-Tzu for Spiritual Transformation for the State University of New York press: ‘The present outstanding volume by Robert Allinson ... initiates a new direction ... His new direction for understanding Chuang-Tzu is his comprehensive and detailed argument that Chuang Tzu was advocating an ideal of sageliness. Whereas many interpreters have claimed that Chuang Tzu used his metaphorical language to defend a relativism, Allinson shows with (...) convincing mastery that Chuang Tzu had a position, namely, the importance of achieving the ideal of sageliness ... he brings the discussion of Chuang Tzu into the heart of contemporary Western philosophy. Professor Allinson’s book, like his many articles, contributes to the growing body of literature that is creating an effective dialogue between Chinese and Western philosophy. The sophistication of this book demonstrates that the dialogue has worked and that we are in a new era of substantive comparative philosophy ... he also makes a substantial contribution to the philosophy of religion. Currently in its 8th impression, "Chuang-Tzu for Spiritual Transformation: An Analysis of the Inner Chapters" has been translated into Chinese and Korean. This book offers a fundamentally new interpretation of the philosophy of the Chuang-Tzu. It is the first full-length work of its kind which argues that a deep level cognitive structure exists beneath an otherwise random collection of literary anecdotes, cryptic sayings, and dark allusions. The author carefully analyzes myths, legends, monstrous characters, paradoxes, parables and linguistic puzzles as strategically placed techniques for systematically tapping and channeling the spiritual dimensions of the mind. Allinson takes issue with commentators who have treated the Chuang-Tzu as a minor foray into relativism. Chapter titles are re-translated, textual fragments are relocated, and inauthentic, outer miscellaneous chapters are carefully separated from the transformatory message of the authentic, inner chapters. Each of the inner chapters is shown to be a building block to the next so that they can only be understood as forming a developmental sequence. In the end, the reader is presented with a clear, consistent and coherent view of the Chuang-Tzu that is more in accord with its stature as a major philosophical work. (shrink)

In this paper, we explicate the method of Investigative Ordinary Language Philosophy (IOLP). The term was coined by John Cook to describe the unique philosophical approach of Frank Ebersole. We argue that (i) IOLP is an overlooked yet valuable philosophical method grounded in our everyday experiences and concerns; and (ii) as such, Frank Ebersole is an important but neglected figure in the history of ordinary language philosophy.

In this response to Robert Hudson’s article, “Should We Strive to Make Science Bias-Free? A Philosophical Assessment of the Reproducibility Crisis,” we identify three ways in which he misrepresents our work: he conflates value-ladenness with bias; he describes our view as one in which values are the same as evidential factors; and he creates a false dichotomy between two ways that values could be considered in science for policy. We share Hudson’s concerns about promoting scientific reproducibility and reducing bias in (...) science, but we reject his view that the value-free ideal provides helpful guidance for addressing these issues. (shrink)

The two demonstrate a profound shared passion, a way of literally being one with a medium and speaking about it with a dazzling lyricism interspersed with dryly ironic remarks, fueled by a conviction that inspires them to traverse history. Their point of intersection is obvious. Duras, a writer, is also a filmmaker, and Godard, a filmmaker, has maintained a distinctive relationship with literature, writing and speech."--Cyril Béghin, back cover.

Communicating Biological Sciences discusses the 'ethics' of science communication in light of recent developments in biotechnology and biomedicine. It focuses on the role of metaphors in the creation of visions and the framing of scientific advances, as well as their impact on patterns of public acceptance and rejection, trust and scepticism. Its rigorous investigation will appeal not only to science writers and scientists, but also to scholars of sociology, science and technology studies, media and journalism.

What should the best practices be for modeling zoonotic disease risks, e.g. to anticipate the next pandemic, when background assumptions are unsettled or evolving rapidly? This challenge runs deeper than one might expect, all the way into how we model the robustness of contemporary phylogenetic inference and taxonomic classifications. Different and legitimate taxonomic assumptions can destabilize the putative objectivity of zoonotic risk assessments, thus potentially supporting inconsistent and overconfident policy decisions.

This work approaches the phenomenon of guild socialism from a new perspective, focusing on the Douglas Social Credit movement. It explores the key ideas, gives an overview of the main theories and traces their subsequent history. Thoroughly researched, it provides original material relevant to the field of political economy. This early approach to non-equilibrium economics reveals the extent of the incompatibility between capitalist growth economics and social and environmental sustainability.

It is critically important for emerging professionals in education to be sensitised to the ethical and moral responsibilities of their practice throughout their training and beyond. There is a wide disparity in contemporary practice in this regard, which points to a need for greater clarity and consistency in our thinking about ethics within education. Ethics in Education attempts to meet this need, and will be a valuable resource for students, teachers and researchers in education, health and social sciences. Most significantly, (...) the increasing awareness of the importance of ethics, diversity and social pedagogy in the teacher education curriculum will ensure that this book becomes essential reading or recommended reading for initial teacher education and CPD courses in education. The Editors have gathered together an exciting and dynamic group of contributors across many fields of English education, and asked them to help rethink the role of ethics in education in the 21st century. The types of questions that we address include: Do we have a shared view of ethical practice? What are the values that underpin ethical practice? What are our ethical responsibilities as pedagogues? (shrink)

The purpose of this article is to synthesize four major elements of aesthetic experience that have previously appeared isolated whenever an attempt at conceptualization is made. These four elements are: Immanuel Kant’s disinterested pleasure, Robin G. Collingwood’s emotional expressionism, the present writer’s redemptive emotional experience, and, lastly, Plato’s concept of Beauty. By taking these four abstracted elements as the bedrock for genuine aesthetic experience, this article aims to clarify the proper role of art as distinct from philosophy and intellectualization. Rather (...) than a medium conducive to intellectual understanding, it is argued that the sphere these four elements of aesthetic experience demarcate is one in which art leads to an emotional understanding that transforms the human condition and it imbues it with new meaning only to be found in a moment of aesthetic experience. (shrink)

This article raises the question of whether the thought of Mao Zedong is simply derivative from Marxist thought, whether it represents a deviation from Marxist thought, or whether it contains any original contribution to Marxist thought. It discusses such topics as Mao’s concepts of the principal and the non-principal aspect of the contradiction, Mao’s concept of permanent revolution, Mao’s replacement of the industrial proletariat with the peasant farmer class, Mao’s inversion of the classical Marxist position of the base determining the (...) superstructure, Mao’s concept of the complementarity of opposites, Mao’s concept of antagonistic and non-antagonistic contradictions, Mao’s reduction of all laws of dialectic to one law. (shrink)

I put forward the case that comparative philosophy is best practiced as integrative philosophy. The model for integrative philosophy employed embodies its own methodology, integrating the Hegelian dialectic and the Yin-Yang 陰陽, cyclical model of change illustrated by the Yijing 易經 as strategies for integrating philosophical traditions. As an object lesson, I integrate a real, historical one-way encounter with an imagined two-way encounter between Martin Buber and Zhuangzi 莊子, to provide a counter-example to replace Huntington’s clash of civilizations with a (...) meeting of civilizations. (shrink)

I argue that it is through an integrative dialogue based on the Ijing model of cooperative and cyclical change rather, than a Marxist or neo-Marxist dialectical model of change based upon the Hegelian model of conflict and replacement, that promises the greatest possibility of peaceful coexistence. As a case study of a dialogue between civilizations, I utilize both a mythical and an historical encounter between Martin Buber, representing the West, and Zhuangzi, representing the East. I show that despite the vast (...) temporal, historic, linguistic and cultural differences, that the dialogue between Zhuangzi and Buber is complementary and not adversarial. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museum Education and the Project of Interpretation in the Twenty-First CenturyRika Burnham and Elliott Kai-KeeThis is what we shall look for as we move: freedom developed by human beings who have acted to make a space for themselves in the presence of others, human beings become "challengers" ready for alternatives, alternatives that include caring and community. And we shall seek, as we go, implications for emancipatory education conducted (...) by and for those willing to take responsibility for themselves and for each other. We want to discover how to open spaces for persons in their plurality, spaces where they can become different, where they can grow.—Maxine Greene, The Dialectic of Freedom, 56In the art museum of the future, we walk into a gallery in which the hum of conversation fills the space. A small group of visitors clusters around a single work of art, exchanging their observations, led quietly in their conversation by a museum educator. The group has gathered for a program in which visitors are invited into a dialogue with the educator, with each other, and above all, with the artwork. As this group's conversation concludes, other groups will take their place, attending to different works of art, unfolding them in different ways.We share with David Carrier a vision of the future museum rooted in the Enlightenment dream of a sphere of conversation accessible to all citizens, a public museum space "devoted to a genuinely democratic talk about visual art." In such a museum the galleries are not primarily considered places where art historical information is transferred. They are instead redefined as places where conversation takes place around works of art and where the project of interpretation is constantly enacted.The educators who are responsible for these conversations have a central place in the future museum. Once charged with translating curatorial interpretations to the public, educators are now charged with including everyone [End Page 11] in the translation of the artworks. Knowledgeable in the collections and experienced with audiences, they bring people and works of art together for appreciation and exploration. Engaged in the exchange of thoughts and observations about artworks, carried into the back-and-forth flow of discussion about the artworks, visitors translate impressions into conjectures, and, ideally, understanding and interpretation.Visitors come to the museum to learn about art through gallery conversations during which they actively take part in a form of interpretive play that animates, and in a sense performs, works of art as visitors look at them and talk about them. When the play is successful, it is full of energy and passion. The museum galleries become active places where ideas are freely exchanged, where hermeneutic improvisation and experimentation are encouraged and valued.The constantly recurring play of art makes the museum a place of interpretive freedom, open to many viewpoints and the possibility of multiple interpretations. Educator and visitor both realize that understandings of works of art are never complete. They know that every conversation opens the artworks to the possibility of new meanings and new interpretations.In the museum of the future, the mission of offering visitors such special experiences is not distinct from the museum's traditional charge of caring for the objects in its collections. For it is only when visitors attend to the works of art, and interpret them, that the artworks come alive. As John Dewey said almost a century ago, the work of art comes alive in the viewer's experience. Visitors, educators, and curators share in the endeavor of making sense of works of art, each taking their own part in the process of bringing them to life with their scrutiny, and keeping them alive as they interpret and reinterpret them.The deepest and most affecting experiences visitors have in art museums are those in which they share in the unfolding, unraveling, and translation of the meaning of artworks. In the museum of the future, everyone is invited into such conversations. Everyone understands that they are important participants in the lives of the objects displayed there, as they take part in the play of interpretation that dances around them.Museums are first and foremost for people; they are... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Teaching in the MuseumRika Burnham (bio) and Elliott Kai-Kee (bio)A class is studying a small painting by Rembrandt in the galleries of the J. Paul Getty Museum in Los Angeles. The museum educator has been inviting the assembled visitors to look ever more closely, guiding the class toward an understanding both of the painting itselfand of our reasons for studying it. The class has been (...) anything but passive—indeed, it has been lively. The painting is The Abduction of Europa (1632), a picture that depicts in delicate detail a story from Greek mythology, the kidnapping of the Phoenician princess Europa by Zeus in the guise of a white bull. The visitors have shared their observations, speculations, ideas. As the class concludes, the museum educator asks the participants to speculate on the painting's larger meaning, to say what they think this work is, finally, about, as revealed by their long discussion. The group's experience has clearly moved beyond the telling of a single story. One participant suggests that Rembrandt's work is about the fearlessness of traveling into the unknown. Another says that it concerns the story of the soul's leaving the earthly for the heavenly realm. When the class comes to an end, people move closer to the painting and continue their discussions.In the same museum, another museum educator is also conducting a group of students through the galleries. He begins with a Roman statue of Venus, followed by an eighteenth-century French terra-cotta bust of Madame Récamier by Joseph Chinard. For each sculpture, he asks the students to focus on only one detail, the hands. The students are encouraged to observe and take note of the sculpted figures' gestures, much as if they were studying a person. Time seems to slow as perception sharpens. The educator listens patiently as the students begin to "read" the sculptures as a whole through the expressiveness of the hands. The group moves on to a mysterious portrait by Millet in which the students discuss the nature of love, and [End Page 65] then to a painting of a Russian princess by Winterhalter, in which the artifice of all the details is suddenly theatrical, dazzling, and delightful. At the end, no one wants to leave.As museum educators we teach in many kinds of programs, and teach in many ways. Every museum educator brings unique gifts to the art of teaching through works of art. The two classes described above might seem at first glance quite different. The first museum educator stays with a single work of art for the entire session, constructs her class around the observations and ideas of the students, and trusts that through their collective experience, a larger meaning will emerge. The second educator inspires his students with a feeling of confidence by guiding their observations of a single feature common to several works, and then allows a main idea to emerge. The two classes, however, are also alike in certain essential ways. In both cases, the students and the instructor are animated, concentrated, focused, and active. Their investigation is tightly focused on the works under discussion, and the group together reaches for a sense of the artworks as a whole. At the end, when the participants cluster around the works of art, still wanting to continue the experience of discovery, the instructors know that theirstudents have understood that engagement with a work of art is a beginning, not an end.The opportunities museum educators have to teach and learn are granted to us by the collections of objects in the care of the institutions in which we work, and by the students and visitors we invite to consider these objects. These artworks also impose upon us a great obligation, to bring them alive for those we lead through the galleries. For ultimately, it is our devoted attention that keeps artworks alive generation after generation.This essay is the result of our work as museum educators. It began with a casual discussion about what constitutes good teaching, and what we can do to guide ourselves and our docent colleagues toward consistent and principled teaching in our museums. We... (shrink)

This three-volume series provides a critical examination of the history of theology in Scotland from the early middle ages to the close of the twentieth century. In Volume Three, the 'long twentieth century' is examined with reference to changes in Scottish church life and society.

Analogical reasoning relies on subprocesses of long-term memory and problem-solving. Stress, with its accompanying hormones dehydroepiandrosterone and cortisol, has been shown to impair memo...