In this book, McMahon argues that a reading of Kant’s body of work in the light of a pragmatist theory of meaning and language leads one to put community reception ahead of individual reception in the order of aesthetic relations. A core premise of the book is that neo-pragmatism draws attention to an otherwise overlooked aspect of Kant’s "Critique of Aesthetic Judgment," and this is the conception of community which it sets forth. While offering an interpretation of Kant’s aesthetic theory, (...) the book focuses on the implications of Kant’s third critique for contemporary art. McMahon draws upon Kant and his legacy in pragmatist theories of meaning and language to argue that aesthetic judgment is a version of moral judgment: a way to cultivate attitudes conducive to community, which plays a pivotal role in the evolution of language, meaning, and knowledge. (shrink)

Augustine famously claimed that the virtues of pagan Rome were nothing more than splendid vices. This critique reinvented itself as a suspicion of acquired virtue as such, and true Christian virtue has, ever since, been set against a false, hypocritical virtue alleged merely to conceal pride. _Putting On Virtue_ reveals how a distrust of learned and habituated virtue shaped both early modern Christian moral reflection and secular forms of ethical thought. Jennifer Herdt develops her claims through an argument of (...) broad historical sweep, which brings together the Aristotelian tradition as taken up by Thomas Aquinas with the early modern thinkers who shaped modern liberalism. In chapters on Luther, Bunyan, the Jansenists, Mandeville, Hume, Rousseau, and Kant, she argues that efforts to make a radical distinction between true Christian virtue and its tainted imitations actually created an autonomous natural ethics separate from Christianity. This secular value system valorized pride and authenticity, while rendering graced human agency less meaningful. Ultimately, _Putting On Virtue_ traces a path from suspicion of virtue to its secular inversion, from confession of dependence to assertion of independence. (shrink)

In _Aesthetics and Material Beauty_, Jennifer A. McMahon develops a new aesthetic theory she terms Critical Aesthetic Realism - taking Kantian aesthetics as a starting point and drawing upon contemporary theories of mind from philosophy, psychology, and cognitive science. The creative process does not proceed by a set of rules. Yet the fact that its objects can be understood or appreciated by others suggests that the creative process is constrained by principles to which others have access. According to her (...) update of Kantian aesthetics, beauty is grounded in indeterminate yet systematic principles of perception and cognition. However, Kant’s aesthetic theory rested on a notion of indeterminacy whose consequences for understanding the nature of art were implausible. McMahon conceptualizes "indeterminacy" in terms of contemporary philosophical, psychological, and computational theories of mind. In doing so, she develops an aesthetic theory that reconciles the apparent dichotomies which stem from the tension between the determinacy of communication and the indeterminacy of creativity. Dichotomies such as universality and subjectivity, objectivity and autonomy, cognitivism and non-cognitivism, and truth and beauty are revealed as complementary features of an aesthetic judgment. (shrink)

A presence for decades in individuals’ everyday life practices and identity formation, the Walt Disney Company has more recently also become an influential element within the "big" curriculum of public and private spaces outside of yet in proximity to formal educational institutions. _Disney, Culture, and Curriculum_ explores the myriad ways that Disney’s curricula and pedagogies manifest in public consciousness, cultural discourses, and the education system. Examining Disney’s historical development and contemporary manifestations, this book critiques and deconstructs its products and perspectives (...) while providing insight into Disney’s operations within popular culture and everyday life in the United States and beyond. The contributors engage with Disney’s curricula and pedagogies in a variety of ways, through critical analysis of Disney films, theme parks, and planned communities, how Disney has been taught and resisted both in and beyond schools, ways in which fans and consumers develop and negotiate their identities with their engagement with Disney, and how race, class, gender, sexuality, and consumerism are constructed through Disney content. Incisive, comprehensive, and highly interdisciplinary, _Disney, Culture, and Curriculum_ extends the discussion of popular culture as curriculum and pedagogy into new avenues by focusing on the affective and ontological aspects of identity development as well as the commodification of social and cultural identities, experiences, and subjectivities. (shrink)

A volume by leading economists and philosophers that explores the contributions that virtue ethics can make to economics. Provides historical and modern insights in both economics and philosophy and offers suggestions for incorporating the ethics of virtue into economics to make it more applicable to moral dilemmas in the world outside the models.

This book analyzes practices in the home health care industry and concludes that they are highly exploitative of both workers and patients. Under the existing system, underpaid workers are expected to perform tasks for which they are inadequately trained, in unreasonably short periods of time. This situation harms workers and puts home health care patients at risk. To the extent that the majority of patients and workers in home health care are women, I turn to feminist ethics for an alternative (...) approach. Through an understanding of individuals as social beings with obligations to others, and of home health care as a public good, I explain how to develop the social benefits of good home health care and increase the role of government in providing financial support and regulatory oversight. (shrink)

The key concept in Kant’s aesthetics is “aesthetic reflective judgment,” a critique of which is found in Part 1 of the Critique of the Power of Judgment (1790). It is a critique inasmuch as Kant unravels previous assumptions regarding aesthetic perception. For Kant, the comparative edge of a “judgment” implicates communicability, which in turn gives it a public face; yet “reflection” points to autonomy, and the “aesthetic” shifts the emphasis away from objective properties to the subjective response evoked by the (...) object. Contrary to the view he had inherited, Kant did not treat aesthetic judgments as confused perceptions or inferior cognitions, but rather put them in a category of their own. For Kant, aesthetic reflective judgments implicated not only the processes involved in understanding the empirical world but also the processes involved in ascribing ideas or meaning to experience (which go beyond what is given in perception/cognition). This “going beyond cognition” may have been referred to by Kant as non-cognitive, but it is conditioned on a way of cognizing the object. Kant describes the features of such judgments in the Analytic of the Beautiful before addressing their possibility in subtle ways throughout the Deduction of Pure Aesthetic Judgments. Kant’s critique gives rise to three apparent dichotomies: immediate intuition and prior learning; autonomy and communicability; and non-cognitive response and aesthetic ideas. An interpretation of Kant’s theory can be deemed correct to the degree that it succeeds in showing that the contradictions are only apparent. I will argue that the resulting positive account of Kant’s aesthetic theory offers an understanding of aesthetic reflective judgment that is quite different from the standard formalism that the critics of formalism usually target and by which they misrepresent Kant’s aesthetic theory. When I refer to Kant’s formalism, then, I mean something quite different by this than what is meant by “standard formalism.” The latter is the representation given Kant’s formalism by its contemporary critics and is the typical account of formalism found in the art theory and philosophy of art literature, as will be demonstrated. (shrink)

In this thesis I argue that the received view of autonomy is insufficient for both biomedical ethics and feminist theory. I begin with an examination of the received view of autonomy; I then indicate the way in which this view of autonomy has been applied to health care ethics. A feminist relational approach to autonomy is explored: I argue that such an approach has many strengths in that it gives us a more accurate picture of the self-in-relationships and that it (...) recognizes many social and structural conditions that may impede an individual's attempts to be autonomous. ;This feminist relational approach to autonomy, once defined, is applied to the medical/social practices of cosmetic surgery and contract motherhood. I do this to show the practical implications of this contextual approach to autonomy. (shrink)

The arguments of each chapter demonstrate that there is no neutral perspective from which to analyse aesthetic qualities. Such qualities cannot be described as their very perception involves evaluation. In short, the chapters focus on those aspects of a first person perspective that can be considered inter-personal in the sense that they are susceptible of intentional calibration and enculturation. That said, not all chapters approach the theme from the same perspective nor with the same targets in mind. For example, approaching (...) the notion of inter-subjectivity with the intention of defending this possibility against the objection of relativism will yield a different treatment than championing inter-subjectivity in order to reject cultural arrogance, or overly reductive analyses of aesthetic qualities. Yet all chapters converge on the possibility of objectivity grounded in inter-subjectivity. (shrink)

This edited collection sets forth a new understanding of aesthetic-moral judgment organised around three key concepts: pleasure, reflection, and accountability. The overarching theme is that art is not merely a representation or expression like any other, but that it promotes shared moral understanding and helps us engage in meaning-making. This volume offers an alternative to brain-centric and realist approaches to aesthetics. It features original essays from a number of leading philosophers of art, aesthetics, ethics, and perception, including Elizabeth Burns Coleman, (...) Garrett Cullity, Cynthia A. Freeland, Ivan Gaskell, Paul Guyer, Jane Kneller, Keith Lehrer, Mohan Matthen, Jennifer A. McMahon, Bence Nanay, Nancy Sherman, and Robert Sinnerbrink. Part I of the book analyses the elements of aesthetic experience— pleasure, preference, and imagination—with the individual conceived as part of a particular cultural context and network of other minds. The chapters in Part II explain how it is possible for cultural learning to impact these elements through consensus building, an impulse to objectivity, emotional expression, and reflection. Finally, the chapters in Part III converge on the role of dissonance, difference, and diversity in promoting cultural understanding and advancement. Social Aesthetics and Moral Judgment will appeal to philosophers of art and aesthetics, as well as to scholars in other disciplines interested in issues related to art and cultural exchange. (shrink)

There are a number of problems associated with the classic notion of beauty understood as an experience of perceptual form. These problems are that there is an apparent incompatibility between beauty’s objectivity and subjectivity; and an incompatibility between the two self-evident theses that (i) there are no principles of beauty and (ii) there are genuine judgements of beauty. There is also the problem of explaining the possibility of a disinterested pleasure. To solve these problems I draw upon the work of (...) Glyn Humphreys & Dietmar Heinke (1998) according to whom the processing of ‘between-object’ relations draws upon view-dependent primitives and the processing of ‘within-object’ relations draws upon view-invariant primitives. I argue that if what we experience as aesthetic form or beauty is some kind of play on the processes involved in processing within-object-relations during the course of perceiving certain objects, then the apparent problems of beauty would be resolved. I speculate that perhaps the perception of certain objects employs perceptual principles in an unprecedented way or in a way which epitomizes their normal operation. The idea is that when perception is employed in such a way that our attention is drawn from the object recognized to the experience of perception as something like a solution to a problem (that is, to the experience of the construction of within-object relations), then we experience what we know of as aesthetic form and beauty. (shrink)

The participants in this Symposium gathered for a two-day conference on Pictorial Realism at the University of Adelaide. Our aim was to analyse the notion of pictorial realism with a view to its relevance for the way in which art history is conceived and appreciated. Specifically, we examined the extent to which the representational content of artworks can be ascertained independently of preconceived theoretical knowledge about the representational system within which the artwork is made. Papers focus in particular on the (...) implications for understanding pictorial realism. (shrink)

Cavell’s interest in aesthetic objects can be understood to be motivated by an interest in the nature of meaning and value. The idea is that perceptual objects considered as cultural artefacts under-determine the meaning and value attributed to them. The process involved in determining their meaning and value is essentially a creative one. Through his study of film, literature and music, Cavell could be said to indirectly address the axiomatic, or what is sometimes referred to as the bedrock, of our (...) value judgments. In being embedded within larger cultural commitments, such axioms are impenetrable to the traditional analytical approaches in Anglo-American philosophy. Cavell’s style of philosophy can be understood to have been pioneered to attempt to understand and clarify aspects of experience which elude traditional analytical methods. (shrink)

In order to establish a rational framework within which to discuss aesthetic matters, I attempt to find grounds to support the notion that objectivity in aesthetic evaluation is possible, within the visual arts. I begin by exploring the possibility that the foundations of our aesthetic response are innate, because, if this is the case, it would indicate that aesthetic considerations have a common basis within us all, rather than belonging to a purely personal and subjective realm. In Part One, in (...) search of foundations, I turn to the art of those who are relatively unprogrammed in our artistic conventions, in an attempt to distinguish between innate impulses and conditioned responses. Next, by looking for the motivation behind the aesthetic impulse, and what this can tell me about how the aesthetic is constituted, I consider the possibility that the aesthetic impulse is in some way linked to characteristics which aid survival. This includes studying the nature of perception, including various innate perceptual mechanisms and the part they play in the way our idea of the aesthetic is constituted, and some theories concerned with the psychological aspects involved in creativity, which link the aesthetic impulse with creativity in all fields of enquiry. In Part Two, I study examples of how discussions on aesthetic matters are conducted in our culture, to see whether there is evidence to support the notion of objectivity in aesthetic evaluation. While recognizing that it is common for aesthetic discussions to be conducted in a confused and even unintelligible manner, often using criteria actually irrelevant to aesthetic value (an example of which I provide), I seek out examples of reviews which are conducted in a rational and intelligible manner, based on relevant objective criteria. Also, by analysing the terms we use when discussing an art work, I ascertain whether these terms refer to properties in the actual art work, which we believe exist independently from the spectator, or whether these terms describe how we feel when viewing a work. In other words, I examine whether we have the concepts to support the idea that objectivity in aesthetic evaluation in the visual arts is possible. (shrink)

This edited book explores the under-analyzed significance and function of paranoia as a psychological habitus of the contemporary educational and social moment. The editors and contributors argue that the desire for epistemological truth beyond uncertainty characteristic of paranoia continues to profoundly shape the aesthetic texture and imaginaries of educational thought and practice. Attending to the psychoanalytic, post-psychoanalytic, and critical significance of paranoia as a mode of engaging with the world, this book further inquires into the ways in which paranoia functions (...) to shape the social order and the material desire of subjects operating within it. Furthermore, the book aims to understand how the paranoiac imaginary endemic to contemporary educational thought manifests itself throughout the social field and what issues it makes manifest for teachers, teacher educators, and academics working toward social transformation. (shrink)

In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...) concept in the Kantian tradition of aesthetic theory regarding the key process in creative expression, and that is the evocation/communication of “aesthetic ideas”. (shrink)

This thesis constructs an Interactive Theory of Beauty to change the way we think about beauty and aesthetic form, in order to resolve the conceptual discrepancies between the features that characterize the traditional concept of beauty and the features of the phenomenology of beauty. The assumptions that underlie these discrepancies are identified. I hypothesize an alternative assumption that would need to be the case to resolve the tensions between the traditional concept and the phenomenology. This involves rejecting the idea that (...) beauty is an objective property of the object, and instead considering the possibility that beauty is an awareness of a certain aspect of the perceptual processing of the object. As such, beauty would be neither purely subjective nor purely objective; but a relational property. This hypothesis is mapped out in terms of a computational model of perception. The argument relies on the explanatory power of this conception of beauty. I employ my central hypothesis to explain how beauty can be both universal and subjective; an experience of the aesthetic form of the object which can, in some cases, supervene on representational content; and a property which is experienced as inferred from more basic properties, yet ineffable. While I focus mainly on visual beauty, I suggest applications for musical beauty and haptic beauty, particularly in non-sighted persons. This Interactive Theory of Beauty also accounts for the instrumentality of beauty, which is a feature of scientific and mathematical beauty. If my central hypothesis is correct, then the experience of beauty may offer insights into the nature of creativity in all fields of enquiry. (shrink)

I argue in this paper that our concept of pictorial realism should include a reference to perceptual proficiency relative to a cultural context. I argue this by demonstrating the greater explanatory power of such a concept for understanding pictorial realism. The central idea is that gestalt-like mechanisms that are normally involved in object recognition can be deployed at a second order level in picture perception. Styles of picturing that exploit this second order gestalt-like mechanism are learnable and transferable. The hypothesis (...) is that once a style of picturing is internalised, a picture that exploits this style will be experienced as true and fitting. (shrink)

In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (iii) the conditions for inter-subjectivity provided, galleries and museums preside over (...) an experience economy devoid of art. (shrink)

This paper comments on an article by V.S. Ramachandran and William Hirstein (JCS,1999) in which they purport to be identifying the neurological principles of beauty. I draw attention to the way the problem of beauty is construed in the philosophical literature by Mary Mothersill (1984) and Immanuel Kant (Critique of Judgment). I argue that Ramachandran and Hirsteins' principles do not address the problem of beauty because they do not differentiate between the experience of beauty and other closely related phenomena. I (...) then show how one might address the problem of beauty within the framework that they have adopted. (shrink)

This essay will focus on the moral issues relating to surrogacy in the global context, and will critique the liberal arguments that have been offered in support of it. Liberal arguments hold sway concerning reproductive arrangements made between commissioning couples from wealthy nations and the surrogates from socioeconomically weak backgrounds that they hire to do their reproductive labor. My argument in this paper is motivated by a concern for controlling harms by putting the practice of globalized commercial surrogacy into the (...) context of care ethics. As I will argue, the unstable situations into which children of global surrogacy arrangements are born is symbolic of the crisis of care that the practice raises. Using the Baby Manji case as my touch point, I will suggest that liberalism cannot address the harms experienced by Manji and children like her who are created through the global practice of assisted reproductive technology. I will argue that, if commissioning couples consider their proposed surrogacy contracts from a care ethics point of view, they will begin to think relationally about their actions, considering the practice from an ethical lens, not just an economic or contractual one. (shrink)

The ethical naturalist asks us to take seriously the idea that practical norms are a species of natural norms, such that moral goodness is a kind of natural goodness. The ethical naturalist has not demonstrated, however, how it is possible for a power of reason to be governed by natural norms, because her own attempts to do this have led her into a dilemma. If she takes the first horn and stresses that ethical naturalism provides objective, natural norms of the (...) species, then she fails to show how such norms are practical, or operative from a deliberative point of view. If she takes the second horn and stresses that ethical naturalism yields a picture of knowledge of human life that is practical because it comes through virtuous dispositions of intellect and will, then she fails to have an account of how it is knowledge of facts about a life form, potentially accessible to a non-human knower. In this paper, I argue that one potential resolution to this dilemma can be found in the writings of Thomas Aquinas. On a broadly Thomist account of practical reason, the first principles of practical reason are our common human ends or goods, which are constitutive of a good human life. The work of practical reason on this naturalistic account is twofold: to conceive and order these ends into some general conception of how to live, and to apply this general conception to the particular situations of one’s life in order to realize one’s vision of the good life, here and now. (shrink)

This paper treats the political and ethical issues associated with the new caretaking technologies. Given the number of feminists who have raised serious concerns about the future of care work in the United States, and who have been critical of the degree to which society “free rides” on women's caretaking labor, I consider whether technology may provide a solution to this problem. Certainly, if we can create machines and robots to take on particular tasks, we may lighten the care burden (...) that women currently face, much of which is heavy and repetitious, and which results in injury and care “burnout” for many female caretakers. Yet, in some contexts, I argue that high-tech robotic care may undermine social relationships, cutting individuals off from the possibility of social connectedness with others. (shrink)

Very little research into women farmers in developed countries has been produced by economists, but much of what has been studied by scholars in other disciplines has economic implications. This article reviews such research produced by scholars in all disciplines to explore to what extent women farmers are becoming more equal to men farmers and to suggest further contributions to the literature. As examples, topics that has been widely researched in developing countries but have received almost no attention in developed (...) countries include comparisons of men and women farmers’ productivity and their access to and use of resources. Discoveries in these and other areas will be important not only for their insights into the agricultural industry in developed countries, but also because they will inform, and be informed by, research on women farmers in developing countries. (shrink)

Introduction -- From paideia to humanism -- Pietism and the problem of human craft (Menschen-Kunst) -- The harmonious harp-playing of humanity: J. G. Herder -- Ethical formation and the invention of the religion of art -- The rise of the Bildungsroman and the commodification of literature -- Authorship and its resignation in Goethe's Wilhelm Meister -- "The Bildung of self-consciousness itself towards science": Hegel.

Jennifer Johnston’s fiction presents the conditions of Irish culture and society by exploring the separations between interior and exterior realms and past and present temporalities persisting within the insulating privacy of the familial home space. In _The Christmas Tree_ (1981), the home is both haven and prison for Johnston’s heroine. In this paper, I argue that the home—which assumes the form of the individual body and the familial home—is paradoxical. The protagonist leaves 1950s Ireland because of the country’s rigid (...) gender roles in order to pursue an autonomous life as a writer in England, but she is unable to publish her writing within the confines of the patriarchal publishing world. The home of her body becomes paradoxical when she becomes a single mother as an avenue for creativity but is then diagnosed with terminal cancer. She returns to her father’s home to die, which she re-orders and reclaims through the disorder of the uncanny—represented by her non-conformity and illness brought into the patriarchal home. By writing her life story and creating a brief, alternative maternal relationship with her young caretaker, the protagonist confronts her own ambivalence toward her parents, who also represent aspects of oppressive heteronormative gender expectations. (shrink)

Tool use research has suffered from a lack of consistent theoretical frameworks. There is a plethora of tool use definitions and the most widespread ones are so inclusive that the behaviors that fall under them arguably do not have much in common. The situation is aggravated by the prevalence of anecdotes, which have played an undue role in the literature. In order to provide a more rigorous foundation for research and to advance our understanding of the interrelation between tool use (...) and cognition, we suggest the adoption of Fragaszy and Mangalam's (2018) tooling framework, which is characterized by the creation of a body-plus-object system that manages a mechanical interface between tool and surface. Tooling is limited to a narrower suite of behaviors than tool use, which might facilitate its neurocognitive investigation. Indeed, evidence in the literature indicates that tooling has distinct neurocognitive underpinnings not shared by other activities typically classified as tool use, at least in primates. In order to understand the extent of tooling incidences in previous research, we systematically surveyed the comprehensive tool use catalog by Shumaker et al. (2011). We identified 201 tool use submodes, of which only 81 could be classified as tooling, and the majority of the tool use examples across species were poorly supported by evidence. Furthermore, tooling appears to be phylogenetically less widespread than tool use, with the greatest variability found in the primate order. However, in order to confirm these findings and to understand the evolution and neurocognitive mechanisms of tooling, more systematic research will be required in the future, particularly with currently underrepresented taxa. (shrink)

This paper applies a relational and familial ethic to address concerns relating to nursing home deaths and advance care planning during Covid‐19 and beyond. The deaths of our elderly in nursing homes during this pandemic have been made more complicated by the restriction of visitors even at the end of life, a time when families would normally be present. While we must be vigilant about preventing unnecessary deaths caused by coronavirus outbreaks in nursing homes, some deaths of our elders are (...) inevitable. Thus, it is essential that advanced care planning occurs in a way that upholds the familial and relational aspects of elders’ lives that often matter to them the most. We invoke concepts from feminist ethicists like Hilde Lindemann and Eva Kittay and introduce Avery Weisman and Thomas Hackett’s concept of “appropriate death” to suggest better ways of planning for those deaths of our elderly that cannot be avoided. Our hope is to allow for deaths that are as meaningful as possible for both the elderly and the family members who survive them. (shrink)

The Pythagorean tradition dominates the understanding of beauty up until the end of the 18th Century. According to this tradition, the experience of beauty is stimulated by certain relations perceived to be between an object/construct's elements. As such, the object of the experience of beauty is indeterminate: it has neither a determinate perceptual analogue (one cannot simply identify beauty as you can a straight line or a particular shape) nor a determinate concept (there are no necessary and sufficient conditions for (...) beauty at the semantic level). By the 13th Century in the West, the pleasure experienced in beauty is characterized as disinterested. Yet, on the basis that all cultural manifestations of the pythagorean theory of beauty recognize that judgments of beauty are genuine judgments, we would want to say that judgments of beauty are lawful. In addition, from ancient times, up until after Kant, philosophers of beauty within this tradition recognize two kinds of beauty: a universal, unchanging beauty coexisting with a relative, dynamic beauty. These two kinds of beauty and the tensions discussed above, are reconciled and dissolved respectively, according to the metaphysical/religious commitments of the particular author. As yet, however, these features of beauty have not been reconciled within a physicalist worldview. This is what I set out to do. (shrink)

As scholars integrate empirical approaches to ethical questions in healthcare, relational autonomy theory must inform research design and change practice. Qualitative approaches are well suited to issues where patient values play a central role, and they can be combined with relational autonomy theory to investigate the factors influencing autonomy-rich experiences. This paper draws upon my experience conducting bioethics research related to clinical trial decision-making to develop a systematic method for applying relational autonomy as a theoretical lens to qualitative health research. (...) The resultant practical guide utilizes Susan Sherwin’s theory of relational autonomy and presents an empirical method responsive to autonomy-relevant questions. (shrink)

Post-traumatic stress disorder is a “young” disorder formally recognized in the early 1980s, although the symptoms have been noted for centuries particularly in relation to military conflicts. PTSD may develop after a serious traumatic experience that induces feelings of intense fear, helplessness or horror. It is currently characterized by three key classes of symptoms which must cause clinically significant distress or impairment of functioning: persistent and distressing re-experiencing of the trauma; persistent avoidance of stimuli associated with the trauma and numbing (...) of general responsiveness; and persistent symptoms of hyper-arousal. One of the possible symptoms within the second class is difficulty in remembering an important aspect of the traumatic event.PTSD is not an uncommon condition, with an estimated lifetime prevalence of about 7-9% based on studies conducted in the United States and Canada, with women at higher risk than men. While not everyone who experiences a significant trauma will go on to develop PTSD, about a third will do so. Sexual assault, along with other forms of assaultive violence, pose a comparatively high risk of PTSD. (shrink)

Behavioural evidence suggests that cephalopod molluscs may have a form of primary consciousness. First, the linkage of brain to behaviour seen in lateralization, sleep and through a developmental context is similar to that of mammals and birds. Second, cephalopods, especially octopuses, are heavily dependent on learning in response to both visual and tactile cues, and may have domain generality and form simple concepts. Third, these animals are aware of their position, both within themselves and in larger space, including having a (...) working memory of foraging areas in the recent past. Thus if using a ‘global workspace’ which evaluates memory input and focuses attention is the criterion, cephalopods appear to have primary consciousness. (shrink)

This essay revisits Elizabeth Anscombe's ‘Modern Moral Philosophy' with two goals in mind. The first is to recover and reclaim its radical vision, by setting forth a unified account of its three guiding theses. On the interpretation advanced here, Anscombe's three theses are not independently intelligible; their underlying unity is the perceived necessity of absolute prohibitions for any sound account of practical reason. The second goal is to show that Anscombe allows for a thoroughly unmodern sense of ‘moral' that applies (...) to human actions; the paper concludes with some reasons to think that this unmodern sense of ‘moral' is worthy of further philosophical attention and defense. (shrink)

The late vision theorist David Marr identified three levels of explanation that he argued needed to be addressed in order to understand vision : (i) the psychological, functional or computational level of processes; (ii) the physical or neurological which is the level of explanation employed by Zeki; and (iii) the algorithmic – the level of implementation. For Zeki’s purpose of drawing upon vision-theory in order to better understand art and aesthetics, there is no need to focus on the third level. (...) I would argue however that in order to draw upon brain science to understand art, the first two levels of explanation are necessary. (shrink)