: Within both popular and academic literature, concerns have been expressed about the implications of antidepressant use on character development. In this paper, I identify specific versions of these worries and argue that they are misguided. I begin by arguing that the obligation to suffer if it will bring about a noble character is imagined. Legitimate concerns about character enhancement remain, but they do not count against most antidepressant use. Thus there is no moral prohibition against antidepressant use. Furthermore, some (...) of the calls for caution about antidepressant use, such as those expressed by the President's Council on Bioethics, are overstated. (shrink)

One hundred eighty trauma-focused dissertations published in the United States were examined to determine the variation in risk language used in the informed consents. Level of risk proposed in the informed consents was poorly related to ratings of risk by graduate coders and virtually unrelated to vulnerability factors such as the age of participants and clinical or nonclinical status. Risk language in the informed consents was markedly elevated over that rated by the coders, with more than one third of the (...) dissertations presenting the risk of participation as severe (i.e., associated with substantial risk of reactivity and lasting discomfort). These statements are not in keeping with the literature and raise ethical concerns in relation to (a) nocebo effects, (b) distortion of correlational findings, and (c) discouragement of participants from disclosing trauma in other settings. (shrink)

Bioethics in a Liberal Societ By Max Charlesworth, Cambridge University Press, 1993. Pp. 172. ISBN 0?521?44952?9. £9.95 pbk. The Logical Universe: The Real Universe By Noel Curran Avebury, 1994. Pp. 158. ISBN 1?85628?863?3. £32.50. Beyond Postmodern Politics: Lyotard, Rorty, Foucault By Honi Fern Haber Routledge, 1994. Pp.viii + 160. ISBN 0?415?90823?X. $15.95. Baudrillard's Bestiary: Baudrillard and Culture By Mike Gane Routledge, 1991, Pp. 184. ISBN 0?415?06307?8. £10.99 pbk. Truth, Fiction and Literature: A Philosophical Perspective By Peter Lamarque and Stein Haugom (...) Olsen Clarendon Press, 1994. Pp. 456. ISBN 0?19?824082?1. £45.00. Milton and the Drama of History: Historical Vision, Iconoclasm, and the Literary Imagination By David Loewenstein Cambridge University Press, 1990. Pp. x + 197. ISBN 0?521?37253?4. £25.00. Philosophy and Knowledge: A Commentary on Plato's Theaetetus Ronald M. Polansky Associated University Presses, 1992. Pp. 260. ISBN 0?8387?5215?2. £29.95. Heidegger and French Philosophy: Humanism, Antihumanism and Being By Tom Rockmore Routledge, 1995. Pp. xx + 250. ISBN 0?415?11181?1. £14.99 pbk. Living Poetically: Kierkegaard's Existential Aesthetics By Sylvia Walsh The Pennsylvania State University Press, 1994. Pp. 294. ISBN 0?271?01328?1. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre (...) as it explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

The first biography of Kierkegaard's literary muse and one-time fiancée, from the author of the definitive biography of the philosopher Kierkegaard's Muse, the first biography of Regine Olsen, the literary inspiration and one-time fiancée of Danish philosopher Søren Kierkegaard, is a moving portrait of a long romantic fever that had momentous literary consequences. Drawing on more than one hundred previously unknown letters by Regine that acclaimed Kierkegaard biographer Joakim Garff discovered by chance, the book tells the story of Kierkegaard (...) and Regine's mysterious relationship more fully and vividly than ever before, shedding new light on her influence on his life and writings. Like Dante's Beatrice, Regine is one of the great muses of literary history. Kierkegaard proposed to her in 1840, but broke off the engagement a year later. After their break, they saw each other strikingly often, inside dimly lit churches, on the streets of Copenhagen, and on the paths along the old city ramparts, passing by without uttering a word. Despite or because of their separation in life, Kierkegaard made Regine his literary life companion, "that single individual" to whom he dedicated all his works. Garff shows how Regine became a poetic presence in the frequent erotic conflicts found throughout Kierkegaard's writings, from the famous "Seducer's Diary" account of their relationship to diary entries made shortly before his death in 1855. In turn, Regine remained preoccupied with Kierkegaard until her own death almost fifty years later, and her newly discovered letters, written to her sister Cornelia, reveal for the first time a woman of flesh and blood. A psychologically acute narrative that is as gripping as a novel, Kierkegaard's Muse is an unforgettable account of a wild, strange, and poignant romance that made an indelible mark on literary history. Some images inside the book are unavailable due to digital copyright restrictions. (shrink)

Research Ethics Committees (RECs) play a critical gatekeeping role in clinical trials. This role is meant to ensure that only those trials that meet certain ethical thresholds proceed through their gate. Two of these thresholds are that the potential benefits of trials are reasonable in relation to risks and that trials are capable of producing a requisite amount of social value. While one ought not expect perfect execution by RECs of their gatekeeping role, one should expect routine success in it. (...) This article reviews a range of evidence showing that substantial numbers of ethically tainted trials are receiving REC approvals. Many of the trials are early phase trials that evidence shows have benefits that may not be reasonable compared with their risks and many others are later trials that evidence shows may lack sufficient social value. The evidence pertains to such matters as methodologically inadequate preclinical studies incapable of supporting the inferences that REC members must make about the prospects for potential benefit needed to offset the risks in early phase trials and sponsorship bias that can cause improperly designed, conducted, analysed and reported later phase trials. The analysis of the evidence makes clear that REC practices need to be strengthened if they are to adequately fulfil their gatekeeping role. The article also explores options that RECs could use in order to improve their gatekeeping function. (shrink)

This second edition of the book contains a new chapter on the notions of natural-kind words and natural kinds.

A Theory of Argument is an advanced textbook intended for students in philosophy, communications studies and linguistics who have completed at least one course in argumentation theory, information logic, critical thinking or formal logic. Containing nearly 400 exercises, Mark Vorobej develops a novel approach to argument interpretation and evaluation. One of the key themes of the book is that we cannot succeed in distinguishing good argument from bad arguments until we learn to listen carefully to others. Part I develops (...) a relativistic account of argument cogency that allows for rational disagreement. Part II offers a comprehensive and rigorous account of argument diagramming. Hybrid arguments are contrasted with linked and convergent arguments, and a novel technique is introduced for graphically recording disagreements with authorial claims. (shrink)

A revelatory new theory of consciousness that returns emotions to the center of mental life. For Mark Solms, one of the boldest thinkers in contemporary neuroscience, discovering how consciousness comes about has been a lifetime's quest. Scientists consider it the "hard problem" because it seems an impossible task to understand why we feel a subjective sense of self and how it arises in the brain. Venturing into the elementary physics of life, Solms has now arrived at an astonishing answer. (...) In The Hidden Spring, he brings forward his discovery in accessible language and graspable analogies. Solms is a frank and fearless guide on an extraordinary voyage from the dawn of neuropsychology and psychoanalysis to the cutting edge of contemporary neuroscience, adhering to the medically provable. But he goes beyond other neuroscientists by paying close attention to the subjective experiences of hundreds of neurological patients, many of whom he treated, whose uncanny conversations expose much about the brain's obscure reaches. Most importantly, you will be able to recognize the workings of your own mind for what they really are, including every stray thought, pulse of emotion, and shift of attention. The Hidden Spring will profoundly alter your understanding of your own subjective experience. (shrink)

This pioneering book delivers a systematic account of agonistic democracy, and a much-needed analysis of the core components of agonism: pluralism, tragedy, and the value of conflict. It also traces the history of these ideas, identifying the connections with republicanism and with Greek antiquity. Mark Wenman presents a critical appraisal of the leading contemporary proponents of agonism and, in a series of well-crafted and comprehensive discussions, brings these thinkers into debate with one another, as well as with the post-structuralist (...) and continental theorists who influence them. Wenman draws extensively on Hannah Arendt, and stresses the creative power of human action as augmentation and revolution. He also reworks Arendt's discussion of reflective judgement to present an alternative style of agonism, one where the democratic contest is linked to the emergence of a militant form of cosmopolitanism, and to prospects for historical change in the context of neoliberal globalisation. (shrink)

In this chapter, we address the roles that exemplars might play in a comprehensive response to epistemic injustice. Fricker defines epistemic injustices as harms people suffer specifically in their capacity as (potential) knowers. We focus on testimonial epistemic injustice, which occurs when someone’s assertoric speech acts are systematically met with either too little or too much credence by a biased audience. Fricker recommends a virtue­theoretic response: people who do not suffer from biases should try to maintain their disposition towards naive (...) testimonial justice, and those who find themselves already biased should cultivate corrective testimonial justice by systematically adjusting their credence in testimony up or down depending on whether they are hearing from someone whom they may be biased against or in favor of. We doubt that the prominent admiration-­emulation model of exemplarism will be much use in this connection, so we propose two ways of learning from negative exemplars to better conduct one’s epistemic affairs. In the admiration-­emulation model, both the identification of what a virtue is and the cultivation of virtues identified thusly proceed through the admiration of virtuous exemplars. We show that this model has serious flaws and argue for two alternatives: the envy-­agonism model and the ambivalence-avoidance model. (shrink)

A Clearly argued and easy to read defense of Karl Popper's philosophy.

Laura Gow, Uriah Kriegel, Hamid Taieb, and David Woodruff Smith raised help – and insightful points of criticism about my book Brentano’s Mind. In this paper, I will defend and expand on the main claims of the book. My responses are organized around four topics: Psychology without a Soul, Plural Intentionality (and Conceptual Parts), Intentionality and Intentionality Primitivism, Mark of Mental.

In The Nature of Consciousness, Mark Rowlands develops an innovative account of the nature of phenomenal consciousness, one that has significant consequences for attempts to find a place for it in the natural order. The most significant feature of consciousness is its dual nature: consciousness can be both the directing of awareness and that upon which awareness is directed. Rowlands offers a clear and philosophically insightful discussion of the main positions in this fast-moving debate, and argues that the phenomenal (...) aspects of conscious experience are aspects that exist only in the directing of experience towards non-phenomenal objects, a theory that undermines reductive attempts to explain consciousness in terms of what is not conscious. His book will be of interest to a wide range of readers in the philosophy of mind and language, psychology and cognitive science. (shrink)

It has been argued in the conservation literature that giving conservation absolute priority over competing interests would best protect the environment. Attributing infinite value to the environment or claiming it is ‘priceless’ are two ways of ensuring this priority (e.g. Hargrove 1989; Bulte and van Kooten 2000; Ackerman and Heinzerling 2002; McCauley 2006; Halsing and Moore 2008). But such proposals would paralyse conservation efforts. We describe the serious problems with these proposals and what they mean for practical applications, and we (...) diagnose and resolve some conceptual confusions permeating the literature on this topic. (shrink)

Leading scholars examine religious and philosophical dimensions of the Chinese classic known as the Daodejing or Laozi.

Mark Vernon links the resources of the philosophical tradition with numerous illustrations from modern culture to ask what friendship is and how it relates to sex, work, politics and spirituality. Unusually, he argues that Plato and Nietzsche, as much as Aristotle and Aelred, should be put center stage. Their penetrating and occasionally tough insights are invaluable if friendship is to be a full, not merely sentimental, way of life for today.

Trust makes cooperation possible. It enables us to learn from others and at a distance. It makes democratic deliberation possible. But it also makes us vulnerable: when we place our trust in another’s word, we are liable to be deceived—sometimes intentionally, sometimes unintentionally. Our evolved mechanisms for deciding whom to trust and whom to distrust mostly rely on face-to-face interactions with people whose reputation we can both access and influence. Online, these mechanisms are largely useless, and the institutions that might (...) supplant them need to have their own trustworthiness verified. Currently, those institutions are mostly corporations such as Facebook and Twitter, which have checkered track records at best. To make matters worse, the social media sector is a natural monopoly, and companies like Facebook have shown that they are willing to use their market power unscrupulously. For these reasons, we argue that social media should be treated like other natural monopolies: it should either be nationalized, highly regulated, or broken up through antitrust legal actions. (shrink)

Epistemologists are interested in what makes beliefs well justified. Even before considering competing theories of epistemic justification, however, we should ask what sort of valuational structure we are trying to explain. If, as far as epistemic justification is concerned, beliefs are like bank accounts, then all beliefs are comparable: just as in any bank account there must be more, less, or as much money as in any other, one belief must be better, worse, or as good as any other. Contemporary (...) epistemologists take for granted the assumption that beliefs are comparable in the same way that bank accounts are comparable: bank accounts have balances, sprinters have personal bests for the 100-meter dash, and beliefs have degrees of justifiedness. Alternatively, we could understand the justificatory status of a belief to be more like the expensiveness of a restaurant. Consider a concept of restaurant expensiveness on which the expensiveness of a restaurant is determined by the range of prices for meals at that restaurant. If meals at Restaurant A are $25 to $50 and meals at B are $10 to $20, then A is more expensive than B. Restaurant C, however , is neither more nor less expensive than A. Nor is it equally expensive, for there are restaurants that are more expensive than C that are not more expensive than A . Some evaluative concepts, like this concept of restaurant expensiveness, do not reduce values to single numbers. If epistemic justification is like this, then there may be pairs of beliefs such that neither is better justified than the other, but nor are they equally well justified. Such beliefs would be incomparable. While incomparability is familiar in the ethics literature, it has not previously been explored in epistemology. I discuss the implications of allowing for incomparability in epistemology, both for theories of epistemic justification and theories of knowledge. (shrink)

Two of the distinctive ethical issues that arise for computer users (as opposed to computer programmers) have to do with the file formats that are used to encode information and the licensing terms for computer software. With respect to both issues, most professional philosophers do not recognize the burdens that they impose on others. Once one recognizes these burdens, a very simple argument demands changes in the behavior of the typical computer user: some of the ways we use computers gratuitously (...) impose significant burdens on others; it is wrong to impose significant burdens on others gratuitously; some of the ways we use computers are unethical. (shrink)

At the outset of this discussion, I undertook to present an argument from design which would follow Swinburne's example in making use of a priori judgments, while avoiding some of the objections which have been posed in response to his treatment of these issues. So we need to ask: how does this approach to the question of design compare with Swinburne's?Swinburne argues that a chaotic world is a priori more likely than an ordered world: this consideration provides one central reason, (...) on his account, for giving an explanation of some sort for the world's regularity. The other central argument he advances for this claim is the argument from analogy (in terms of the coins) which we noted earlier. The approach I have taken offers an alternative route to this same conclusion. In particular, it substitutes the simpler a priori judgments recorded in (i) and (ii) for the rather difficult and contentious claim that chaos is a priori more likely than order. In place of this claim, I have offered the judgment that order, or recurrence, is more likely given the activity of a common source or common kind of source than otherwise: this proposal does not commit us to a view either way on the question of whether order is a priori likely per se. Moreover, in place of Swinburne's analogical argument, I have offered an a priori approach, with the advantages I have noted.Given that recurrence is to be explained, we might ask: why offer an explanation in terms of design? On this point, Swinburne argues, for instance, that no other explanation of temporal regularity is even possible a priori. Again, the a priori principles which I have used, in (iv) and (v), may be less ambitious, but at the same time more persuasive. In support of this same idea, Swinburne also cites various ideas to do with the predictive power of the idea of design. I have tried to bring out the role of this sort of consideration in terms of my principle (v). Principle (iv) has no place in Swinburne's account, in view of his reliance on the principle of simplicity as a measure of prior probability.Lastly, we may ask: if we are to cite a designer, are there reasons for attributing to this agent more powers than are needed for the production of the effect to be explained? On this point, Swinburne cites the principle of simplicity. Again, my approach avoids what has proved to be a relatively controversial judgment about the nature of a priori probabilities, offering in place of the principle of simplicity the less ambitious principle recorded in (iii). At this point, I have moreover inverted the logical sequence of Swinburne's argument: it seems to me that, in the ways I have indicated, it is helpful to consider the extent of the powers of the source of recurrence before addressing the question of design.In these various ways, I hope I have made good my undertaking to present an argument which avoids some of the controversy surrounding the particular measures of a priori probability which figure in Swinburne's argument. Moreover, I hope that this approach provides an indication of how a priori judgments may function in a relatively unproblematic way within an argument from design, in so far as (i)–(v) are all rather modest proposals. In sum, the argument I have presented is distinguished by its explicit use of the a priori judgments recorded in (i)–(v), by its attempt to buttress in this fashion analogical forms of argument, and by the logical role it gives to the idea that the source of regularity possesses more powers than are required for the production of this effect.Lastly, we might ask: how persuasive is this argument? Of course, the cogency of the idea of design depends upon the balance of debate in other areas of the philosophy of religion, especially upon our ability to provide some account of the existence of evil. In this paper, I have been concerned to argue simply that recurrence by kind provides evidence for design: I have not addressed the question of whether other features of the world provide good evidence against the idea of (benevolent) design. However, if we confine our attention to this one phenomenon, there is it seems to me good evidence for the idea of design, (i) and (ii) suggest that recurrence surely calls for some explanation; (iii), together with the existence in nature of statistical irregularities, suggests that whatever provides this explanation could have brought about other effects besides; and design seems the only clear explanation of why this effect should have been brought about, if (as I have argued) analogies drawn from vegetable and animal reproduction fail, and if we cannot explain the effect satisfactorily by reference to the conditions of observation. Moreover, I have argued that there are reasons for supposing that the probability a priori of design is relatively high in relation to the probability a priori of any rival hypothesis of equivalent predictive power. In brief, this is because the design hypothesis (unlike the hypothesis of theism) can cite an agent of relatively indeterminate power in order to account for the phenomenon to be explained. In this regard, it is less ‘precisely defined’ than any rival hypothesis of equivalent predictive power. If all of this is so, then as philosophers from early times have supposed, temporal regularity provides the basis for a powerful argument in favour of design. It remains true, of course, that its import can be judged in full only when we have taken into account the relevance of other phenomena, many of which are apparently less favourable to the idea of design. (shrink)

New Blackfriars, Volume 103, Issue 1104, Page 278-293, March 2022.

Ce texte explore certaines implications de l'idée selon laquelle des pensées religieuses peuvent faire partie de l'apparence sensorielle des choses. Je commence par clarifier cette idée en utilisant des exemples exposés par Roger Scruton qui discute la phénoménologie de l'expérience architecturale. Ensuite, je considère, d'un point de vue pragmatique et épistémique, l'apport de cette idée pour l'argument pour les croyances religieuses. Plus précisément, j'explore comment l'idée d'une relation interne entre la pensée religieuse et les apparences sensorielles des choses peut être (...) utilisée i) pour formuler avec nuances l'argument de William James dans « La volonté de croire » et ii) pour présenter un argument épistémique pour les croyances religieuses dont l'importance des affirmations centrales est assez couramment reconnue par les croyants mais qui n'a pas été beaucoup discutée par les philosophes. (shrink)

The thesis of the paper is that For Profit Hospitals are morally inappropriate health care delivery institutions. The thesis is established first by elaborating on the beneficent nature of medicine, hospitals, and the physician/patient relationship. The primary obligation of the physician, who draws on the resources of medicine and the hospitals, is to restore personal autonomy that is diminished by illness and suffering within the constraints of the canon of loyalty that frames the physician patient relationship. Hospitals have historically played (...) the role of facilitator enhancing a physician's ability to administer treatment. Next it is argued that For Profit Hospitals may neglect the role of facilitator. This neglect may occur given the institutions' motivations to return a profit to investors by exploiting the patient/physician relationship. This exploitation is clearly shown to be contrary to the canon of loyalty that ought to exist between the patient and physician. (shrink)

The popular view of non-directive genetic counseling limits the counselor's role to providing information to clients and assisting families in making decisions in a morally neutral fashion. This view of non-directive genetic counseling is shown to be incomplete. A fuller understanding of what it means to respect autonomy shows that merely respecting client choices does not exhaust the duty. Moreover, the genetic counselor/client relationship should also be governed by the counselor's commitment to the principle of beneficience. When non-directive counseling is (...) reexamined in light of both these principles, it becomes clear that there are cases in which counselors should attempt to persuade clients to reconsider their decisions. Such attempts are consistent with non-directive counseling because, while respecting the clients' decision-making authority, they insure that clients act with full knowledge of the moral consequences of their decisions. (shrink)

The focus of this article is to offer an account of how the development of one’s intellectual character has therapeutic value in the attempt to overcome self-deception. Even stronger, the development of intellectual character has necessary therapeutic value in regard to self-deception. This account proceeds by first consulting the predominant psychological theory of virtuous character offered by contemporary virtue ethicists and virtue epistemologists. A motivational/dispositional account of self-deception is then offered and connected to the former account of intellectual character. By (...) connecting these two sets of literature the therapeutic value of intellectual virtue is displayed. The problem of self-diagnosis is then presented as well as intellectual character as a necessary therapeutic measure to assure agents that they are not self-deceived. (shrink)

At various times, mathematicians have been forced to work with inconsistent mathematical theories. Sometimes the inconsistency of the theory in question was apparent (e.g. the early calculus), while at other times it was not (e.g. pre-paradox na¨ıve set theory). The way mathematicians confronted such difficulties is the subject of a great deal of interesting work in the history of mathematics but, apart from the crisis in set theory, there has been very little philosophical work on the topic of inconsistent mathematics. (...) In this paper I will address a couple of philosophical issues arising from the applications of inconsistent mathematics. The first is the issue of whether finding applications for inconsistent mathematics commits us to the existence of inconsistent objects. I then consider what we can learn about a general philosophical account of the applicability of mathematics from successful applications of inconsistent mathematics. (shrink)

This paper argues that the principle of necessary identity (f)(g)(f=g then necessarily f=g) cannot be maintained, At least in second order form. A paradox based upon scientific definitional practice is introduced to demonstrate this. A non-Fregean reading of standard contingent identity semantics is provided to explain how such 'definition breaking' works.

In the second volume of his Wissenschaftslehre from 1837, the Bohemian philosopher, theologian, and mathematician Bernard Bolzano introduced his concept of consequence, named derivability, together with a variety of theorems and further considerations. Derivability is an implication relation between sentences in themselves, which are not meant to be linguistic symbols but the contents of declarative sentences as well as of certain mental episodes. When Schmidt utters the sentence ‘Schnee ist weiß’, and Jones judges that snow is white, the sentence in (...) itself expressed by Schmidt is the same as the one to which Jones agrees in thought. This sentence in itself is an abstract entity: in some sense, it exists; but it is unreal insofar as it lacks a position in space and time, does not stand in causal relationships, and is independent of the existence of thinking beings and languages. (shrink)

Preface: help! my brainchild's been kidnapped! -- Intellectual misconduct: backwards, forward, and sideways -- The world of scholarship: rituals and rewards, norms and departures -- Structural and organizational causes of scholarly misconduct -- Cultural causes of scholarly misconduct -- Individual and situational causes of scholarly misconduct -- Scholarly misconduct as crime -- Criminological theory and scholarly crime -- Implications for theory and research -- Preventing and controlling scholarly crime -- Afterword: against all odds, a code is born.

Integrated assessment models of climate and the economy provide estimates of the social cost of carbon and inform climate policy. We create a variant of the Regional Integrated model of Climate and the Economy (RICE)—a regionally disaggregated version of the Dynamic Integrated model of Climate and the Economy (DICE)—in which we introduce a more fine-grained representation of economic inequalities within the model’s regions. This allows us to model the common observation that climate change impacts are not evenly distributed within regions (...) and that poorer people are more vulnerable than the rest of the population. Our results suggest that this is important to the social cost of carbon—as significant, potentially, for the optimal carbon price as the debate between Stern and Nordhaus on discounting. (shrink)

The rise of quantum information theory has lent new relevance to experimental tests for non-classicality, particularly in controversial cases such as adiabatic quantum computing superconducting circuits. The Leggett-Garg inequality is a “Bell inequality in time” designed to indicate whether a single quantum system behaves in a macrorealistic fashion. Unfortunately, a violation of the inequality can only show that the system is either (i) non-macrorealistic or (ii) macrorealistic but subjected to a measurement technique that happens to disturb the system. The “clumsiness” (...) loophole (ii) provides reliable refuge for the stubborn macrorealist, who can invoke it to brand recent experimental and theoretical work on the Leggett-Garg test inconclusive. Here, we present a revised Leggett-Garg protocol that permits one to conclude that a system is either (i) non-macrorealistic or (ii) macrorealistic but with the property that two seemingly non-invasive measurements can somehow collude and strongly disturb the system. By providing an explicit check of the invasiveness of the measurements, the protocol replaces the clumsiness loophole with a significantly smaller “collusion” loophole. (shrink)

To scholars of Western intellectual history Hegel is one of the most important of all political thinkers, but politicians and other "down-to-earth" persons see his speculative philosophy as far removed from their immediate concerns. Put off by his difficult terminology, many participants in practical politics may also believe that Hegel's idealism unduly legitimates the status quo. By examining his justification of legal punishment, this book introduces a Hegel quite different from these preconceptions: an acute critic of social practices. Mark (...) Tunick draws on recently published but still untranslated lectures of Hegel's philosophy of right to take us to the core of Hegel's political thought. Hegel opposes radical criticism like that later offered by Marx, but, argues Tunick, he employs "immanent" criticism instead. For instance, Hegel claims that punishment is the criminal's right and makes the criminal free. From this standpoint, he defends specific features of the practice of punishment that accord with this retributive ideal and criticizes other features that contradict it. In a lucid account of what Hegel means by right and freedom, Tunick addresses Hegel specialists and those interested in criminal law, the interpretation of legal institutions and social practices, and justification from an immanent standpoint. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

For vocal animals, recognizing species-specific vocalizations is important for survival and social interactions. In humans, a voice region has been identified that is sensitive to human voices and vocalizations. As this region also strongly responds to speech, it is unclear whether it is tightly associated with linguistic processing and is thus unique to humans. Using functional magnetic resonance imaging of macaque monkeys (Old World primates, Macaca mulatta) we discovered a high-level auditory region that prefers species-specific vocalizations over other vocalizations and (...) sounds. This region not only showed sensitivity to the ‘voice’ of the species, but also to the vocal identify of conspecific individuals. The monkey voice region is located on the superior-temporal plane and belongs to an anterior auditory ‘what’ pathway. These results establish functional relationships with the human voice region and support the notion that, for different primate species, the anterior temporal regions of the brain are adapted for.. (shrink)