Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the (...) borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts. (shrink)

This volume, reproducing a special issue of The Journal of Aesthetics and Art Criticism on &"The Philosophy of Music&" (Winter 1994) with a revised introduction and two new articles, is distinguished by its breadth of content, diversity of approaches, and clarity of argument, which should make it useful for classroom teaching. The topics covered include musical representation, the expression of feeling in music, the metaphysics of operatic speech and song, musical understanding, musical composition, feminist music theory, music and politics, music (...) and racial identity, music in non-Western cultures, and the ontological implications of recording technology for rock music. The approaches used are philosophical, historical, social and political, feminist, and ethnomusicological. The book includes discussions of a great many styles and historical periods of music, from ancient Greek music and music theory to instrumental and operatic music in the Western classical tradition, Persian music, music of the Blackfoot Indians, rock and the blues, and the avant-garde compositions and performances of John Cage. The contributors, all eminent scholars in the field, are Philip Alperson, No&ël Carroll, Stephen Davies, Claire Detels, John Andrew Fisher, Lydia Goehr, Peter Kivy, Jerrold Levinson, James Manns, Bruno Nettl, Jenefer Robinson, Joel Rudinow, G&öran S&örbom, Francis Sparshott, and Kendall Walton. (shrink)

Contemporary Anglophone philosophy of music has eschewed traditional philosophical concerns about the place of music in human affairs, concentrating instead on a more restricted domain of musical meaning related to aesthetic considerations which are ultimately tied to the concept of disinterested aesthetic experience. I argue that this emphasis needs to be supplemented by an attention to the “instrumentality” of music, understanding music in relation to questions of the social and cultural purposes that music might serve and thereby broadening the idea (...) of what it is to count as a musical practice. I illustrate how this re-orientation might proceed with reference to the case of musical improvisation. (shrink)

In this paper I retrace the line of thought that led me to the position of a praxial philosophy of music education, from a perspective 20 years after the inaugural meeting of the International Society for the Philosophy of Music Education. I discuss how I conceive of the general project of the philosophy of music education and recapitulate some of the strategies that might be deployed. In doing this I stress the “robust” or radical nature of the praxial program. I (...) then address what I call the “anti-aesthetic” turn that some writers have taken with respect to the praxial position. I argue that there is no principled reason to adopt such a position and that, among other things, such a position undermines the reach and threatens the cogency of a robust praxial program. I end with a few comments on what I take to be the prospects of a praxial approach to the philosophy of music education. (shrink)

Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts " and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on (...) the borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in (...) order to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog.One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A."This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek. For Socrates, Aristotle, and Plato, arts were simply any skilled practice. Poetry, for Aristotle at least, was an art, but so were navigation, medicine, and statecraft. And there were, of course, the martial arts. What happens with the emergence of the Modern System of the Arts—otherwise known as the Fine Arts, or the Beaux Arts, or, for us, the Arts with a capital A—is that a subset of the arts in the Greco-Roman sense were selected out and christened as a class unto itself, [End Page 1] different from the other "small a" arts. Whereas once upon a time chemists and painters might have been grouped together in the same guild in virtue of the fact that both types of workers ground substances, such as pigment; with the advent of the Modern System of the Arts, chemists and painters became first and foremost categorically different.However, the consolidation of the class of Arts with a capital A demanded a theoretical answer to the question of what criterion an art form had to meet in order to gain membership in the Modern System of the Arts. The first suggestion was that a candidate practice had to possess the capacity to imitate the beautiful in nature. This was not a definition that had legs. For when absolute or pure instrumental music—or, as Peter Kivy calls it, music alone2 —took center stage as the most important form of music as well as the Art with a capital A to which all the other arts putatively aspired, the criteria for entry into the Modern System of the Arts had to be reconceived. Since music alone could not creditably be described as the imitation of the beautiful in nature (or, for that matter, the imitation of anything else), a new license for practicing Art with a capital A had to be found. And this has become one of the animating tasks of the analytic philosophy of art.But the analytic philosophy of art comes with a certain bias toward discharging this task. It is committed to finding an essentialist answer to resolving the question of what warrants citizenship in the republic of Art (with a capital A). That is, what makes something an Artistic practice or, for that matter, a work of Art such that it is different from other things? What separates the Arts and the artworks from everything else?Perhaps not surprisingly, one of the most popular and recurring proposals here is that the Arts are what are primarily intended to promote aesthetic experience where that has formerly been characterized as disinterested pleasure but, more recently, as experience valued for its own sake. Experience valued for its own sake, of course, is virtually by definition conceptually independent from any other end, whereas the practices that do not belong to the Modern System of the Arts are primarily devoted to securing other ends—useful or utilitarian ends, knowledge... (shrink)

_Diversity and Community: An Interdisciplinary Reader_ is a collection of essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. A collection of specially commissioned essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. Discusses the idea of community in its full, cultural context. Deals with issues confronting many diverse groups, including African American, Franco-Canadian, computer-mediated, and gay and lesbian communities. Includes contributions by both eminent schlars and new voices, among them (...) Martha Nussbaum, Jean Bethke Elsthain, D.A. Masolo, Mary Hawkesworth, Lewis Gordon, Maria Lugones, Crispin Sartwell, Duane Champagne, and Frank Cunningham. (shrink)

Recent philosophy of music in the Anglophone analytic tradition has produced many fine-grained analyses of musical practices within the context of the Western fine-art tradition. It has not for the most part, however, been self-conscious about the normative implications of that orienting tradition. As a result, the achievements of recent philosophical discussions of music have been unnecessarily constricted. The way forward is to enrich the range of musical practices philosophy takes as its target of examination.

In ‘Vollkommenes hält sich fern’ (‘Perfection keeps itself aloof’) – the book title is drawn from a verse of American poet Kimberly Johnson (*1971) –, Philip Alperson and Andreas Dorschel discuss issues in the philosophy of music and general aesthetics related to the body, to practices and genres, values and education.

In lieu of an abstract, here is a brief excerpt of the content:Response to Philip Alperson, “Robust Praxialism and the Anti-aesthetic Turn”Thomas A. RegelskiDue to space limitations, only a few points of Philip Alperson’s paper can be briefly addressed.1Concerning praxialism, Alperson confirms that regarding “music as a species of art” leaves out much of what music has to offer. He acknowledges that “music is produced and enjoyed in a wide range of contexts and circumstances in (...) which music can be understood as having many different kinds of functions” and that it “comprises a network of multiple overlapping and at times even conflicting sub-practices” worthy of preservation and transmission via education. Yet these diverse but central praxial functions have been ignored, even denigrated, by traditional aesthetics and music education philosophy predicated on aesthetics.In contrast, Alperson notes that praxial philosophy argues inductively from the empirical evidence of music’s many functional values. Thus, he argues, philosophical inquiry should start with the ample evidence of music’s praxial diversity instead of “attempting a totalizing account of the philosophy of music education based on some essentialized notion of music.” [End Page 196]Yet his “robust praxialism” is predicated on an essentialized notion: that music’s praxial appeal depends on its aesthetic essence. Despite frequent aesthetic qualifiers, he altogether fails to distinguish aesthetic experiences ontologically from prosaic experiences, aesthetic properties epistemologically from non-aesthetic properties, or aesthetic values from musical values or praxial benefits.2 Instead, he equivocates that “there are many ways to construe the idea of aesthetic experience and aesthetic qualities.”3Then he claims that, lacking aesthetic essentialism, the praxialism of David Elliott, Wayne Bowman, and Thomas Regelski fails to robustly account for why people are drawn to music.4 He ignores Elliott’s account of music’s capacity for eliciting affective experience and “flow”5 and fails to engage Bowman’s arguments against the philosophical imprecision of aesthetic theorizing. Against these straw-man tactics, I will briefly summarize why praxialism does without aesthetics.“Aesthetics” has traditionally been used to refer to (conflicting) theories of a transcendental, other-worldly ontology experienced contemplatively, via a disinterested aesthetic attitude, practiced competently by ideally informed listeners, in special moments of leisure. Praxialism eschews such metaphysical speculations and stresses music’s down-to-earth values, appeal, and pragmatic benefits. Thus, a more robust rationale and pragmatic basis for music education results that is intelligible to music teachers, students, and society.For praxial theory, meaning, value, and appreciation are seen in use. Following Wittgenstein, “we don’t start from certain words”—that is, from aesthetic terms— “but from certain occasions or activities”—respectively, from particular musical practices. “Appreciation” is thus shown empirically by people’s musical choices.6Secondly, praxialism dispenses with aesthetics because, as Alperson admits, the many terms, concepts, and speculative aporia7 upon which conventional aesthetics depends are irreparably contested.8 Aestheticians agree on just about nothing!9 In fact, Alperson himself critiques the leading schools of aesthetics. However, analytic philosophers increasingly have noted the problems of aesthetics; 10 have criticized aesthetics for lacking philosophical substance and rigor;11 and one concludes that, “viewed as a univocal concept, aesthetic experience seems too confused to be redeemed as useful”12 and thus deserves critique.13Concerning the relevance of aesthetics, Christopher Small writes of a history of musical aesthetics:14[I]t bore very little relation to anything I recognized in my own musical experience, as listener, or as performer, or as composer.... I just could not make myself believe that so universal, and so concrete a human practice as music should need such complicated and abstract explanations.15 [End Page 197]Philosopher Michael Proudfoot agrees thatsuch an inadequacy to our experience of art has been evident, a result, I believe, partly of aestheticians’ preoccupation with what it is to treat something ‘aesthetically’, and partly from a concentration on works of art in isolation from the circumstances in which they are actually created or appreciated.16Alperson does acknowledge music’s praxial circumstances, but argues that “it is possible to save the idea of aesthetic experience and the attitude appropriate to its contemplation by widening the range of what might be thought to be a candidate for appreciation... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music, Education, and Religion: Intersections and Entanglements ed. by Alexis Kallio, Philip Alperson and Heidi WesterlundWilliam M. PerrineAlexis Kallio, Philip Alperson, and Heidi Westerlund, eds., Music, Education, and Religion: Intersections and Entanglements (Bloomington, IN: Indiana University Press, 2019)It is perhaps something of a truism–or at least a stereotype containing a grain of truth–that most academics, particularly in the United States, are notoriously bad when (...) it comes to a scholarly discussion of religion. In scholarship on education, this results in unfortunate omissions within debates regarding the philosophical aims of curriculum. Religion, after all, is an inescapable part of everyday life for billions of human beings around the globe. To ignore religion is to ignore an important part of the human experience. Part of the problem in discussing religion is undoubtedly the conventions of academic discourse itself. To qualify as “research,” academic writing has generally been expected to place a degree of distance between the author and the content matter at hand. In the case of religion, this has involved a state of remove to an ostensibly neutral vantage point, typically a perspective grounded in a philosophical naturalism. This tendency is compounded by the pressure, particularly acute within secular institutions, to compartmentalize religious belief as a private matter that should not overtly inform one’s public professional practice. Thus, while a researcher in music or music education might have an active religious life in private, an open [End Page 117] integration of personal faith and teaching practice might be considered extraordinarily unprofessional—at least if the faith in question is socially déclassé. The obvious problem inherent in this framework for understanding the relationship between religion and professional life is that, particularly when it comes to questions of philosophy, religious faith is rarely a strictly personal matter. As Charles Taylor notes, religious faith as a lived human practice traditionally involves strong evaluations: determinations of right and wrong that supersede personal choice or preference.1 These evaluations often take the form of hypergoods, positions by which moral or truth claims must be weighed. Strong evaluations and hyper-goods by nature cannot be limited to the personal; they inform all areas of our intellectual, social, and professional lives. Such commitments tend to inform and precede other philosophical commitments, rather than vice versa. Pressure to minimize the importance of hypergoods can be a profound source of frustration for religious believers within the secular academy, particularly as the assumption that deep religious commitment is incompatible with a spirit of critical inquiry runs very deep. When the academic literature touches on matters of religious concern, either directly or indirectly, it seems to either minimize the complexity or concerns of traditional religious belief as lived experience, or privilege progressive forms of religious practice. At worst, academic discourse on religion is condescending, often coupled with class-based and socio-geographic prejudice against particular religious groups and beliefs.With this framework in mind, I approached Music, Education, and Religion: Intersections and Entanglements with a degree of apprehension. Fortunately, editors Alexis Kallio, Philip Alperson, and Heidi Westerlund have put together an impressive volume that treats the complex relationship between music education and religious practice with the respect and sensitivity that the topic deserves. As the editors note in their introduction, music as a human practice cannot be artificially separated from religious beliefs. These domains are, as the volume’s subtitle makes clear, entangled through a multiplicity of intersections. The book itself consists of eighteen essays representing a wide array of viewpoints, case studies, and contextualized problems from around the world. The diversity of topics prohibits drawing any generalizable conclusions beyond the obvious observation that interaction with religion presents entanglements that cannot be ignored under an artificial banner of secular neutrality. As the first edited collection of essays in our discipline to tackle these problems in a substantive manner, however, the book is unquestionably successful in opening a space for critical discussion. With this in mind, rather than attempting to summarize each of the included chapters within this review, I will instead attempt to engage in conversation with some of the themes that emerge from the book from my own vantage point as a scholar... (shrink)

Mountaineering is a dangerous activity. For many mountaineers, part of its very attraction is the risk, the thrill of danger. Yet mountaineers are often regarded as reckless or even irresponsible for risking their lives. In this paper, we offer a defence of risk-taking in mountaineering. Our discussion is organised around the fact that mountaineers and non-mountaineers often disagree about how risky mountaineering really is. We hope to cast some light on the nature of this disagreement – and to argue that (...) mountaineering may actually be worthwhile because of the risks it involves. Section 1 introduces the disagreement and, in doing so, separates out several different notions of risk. Sections 2–4 then consider some explanations of the disagreement, showing how a variety of phenomena can skew people's risk judgements. Section 5 then surveys some recent statistics, to see whether these illuminate how risky mountaineering is. In light of these considerations, however, we suggest that the disagreement is best framed not simply in terms of how risky mountaineering is but whether the risks it does involve are justified. The remainder of the paper, sections 6–9, argues that risk-taking in mountaineering often is justified – and, moreover, that mountaineering can itself be justified by and because of the risks it involves. (shrink)

This is the first complete English translation of Gottlob Frege's Grundgesetze der Arithmetik, with introduction and annotation. The importance of Frege's ideas within contemporary philosophy would be hard to exaggerate. He was, to all intents and purposes, the inventor of mathematical logic, and the influence exerted on modern philosophy of language and logic, and indeed on general epistemology, by the philosophical framework.

Contemporary sociology mirrors Western society in its general aversion and sensitivity to pain, and in its view of pain as an unproductive threat to cultures and identities. This highlights the deconstructive capacities of pain, and marginalizes collectively authorized practices that embrace it as constitutive of cultural meanings and social relationships. After exploring the particularity of this Western orientation to pain — by situating it against processes of instrumentalization and medicalization, and within a broader context of other social developments conducive to (...) a heightening of affect control — this article builds on Mauss’s analysis of ‘body techniques’ in suggesting that the cultural, physiological and psychological dimensions of pain can be combined in various ways. In examining this point further, we then compare contrasting religious engagements with pain as a way of detailing how it can be positively productive of cultural meanings and identities, and conclude by using these comparisons to illuminate the relationship between the current Western approach to pain and the Christian traditions that shaped the West historically. (shrink)

The paper challenges a widely held interpretation of Frege's conception of logic on which the constituent clauses of basic law V have the same sense. I argue against this interpretation by first carefully looking at the development of Frege's thoughts in Grundlagen with respect to the status of abstraction principles. In doing so, I put forth a new interpretation of Grundlagen §64 and Frege's idea of ‘recarving of content’. I then argue that there is strong evidence in Grundgesetze that Frege (...) did not hold the relevant sense-identity claim regarding basic law V. (shrink)

In this article, I explore a Bayesian approach to avalanche decision-making. I motivate this perspective by highlighting a version of the base-rate fallacy and show that a similar pattern applies to decision-making in avalanche-terrain. I then draw out three theoretical lessons from adopting a Bayesian approach and discuss these lessons critically. Lastly, I highlight a number of challenges for avalanche educators when incorporating the Bayesian perspective in their curriculum.

Fodor & Pylyshyn (1981) criticize J. J. Gibson's ecological account of perception for failing to address what I call the 'correlation problem' in visual perception. That is, they charge that Gibson cannot explain how perceivers learn to correlate detectable properties of the light with perceptible properties of the environment. Furthermore, they identify the correlation problem as a crucial issue for any theory of visual perception, what I call a 'primary problem'—i.e. a problem which plays a definitive role in establishing the (...) concerns of a particular scientific research program. If they are correct, Gibson's failure to resolve this problem would cast considerable doubt upon his ecological approach to perception. In response, I argue that both Fodor & Pylyshyn's problem itself and their proposed inferential solution embody a significant mistake which needs to be eliminated from our thinking about visual perception. As part of my response, I also suggest a Gibsonian alternative to Fodor & Pylyshyn's primary problem formulation. (shrink)

This paper is underpinned by an epistemological question: What are the types and ways of knowing that can be entailed in reflective leadership in its fullest sense? The question is explored through a mapping exercise which outlines a geography of reflective leadership in terms of three variables: type of knowledge, problem focus, and mode of learning (incorporating the notion of embodied learning). Particular attention is given to recognising within the terrain of reflective leadership the epistemic credentials of spiritual learning and (...) experiential awareness of spirituality. This paper was given the award of best paper at the Philosophy of Management Conference, University of Oxford, 11th–14th July 2008. (shrink)

In this paper, we present the results of two surveys that investigate subjects’ judgments about what can be known or justifiably believed about lottery outcomes on the basis of statistical evidence, testimonial evidence, and “mixed” evidence, while considering possible anchoring and priming effects. We discuss these results in light of seven distinct hypotheses that capture various claims made by philosophers about lay people’s lottery judgments. We conclude by summarizing the main findings, pointing to future research, and comparing our findings to (...) recent studies by Turri and Friedman. (shrink)

This book is a collection of essays on the Parallel Lives of the Greek philosopher and biographer Plutarch which examines the moral issues Plutarch recognized behind political leadership, and places his writings in their political and social context of the reigns of the Flavian emperors and their successors.

Abstract In this essay, a new approach for the ethical study of emerging technology ethics will be presented, called anticipatory technology ethics (ATE). The ethics of emerging technology is the study of ethical issues at the R&D and introduction stage of technology development through anticipation of possible future devices, applications, and social consequences. I will argue that a major problem for its development is the problem of uncertainty, which can only be overcome through methodologically sound forecasting and futures studies. I (...) will then consider three contemporary approaches to the ethics of emerging technologies that use forecasting: ethical technology assessment, the techno-ethical scenarios approach and the ETICA approach, and I considered their strengths and weaknesses. Based on this critical study, I then present my own approach: ATE. ATE is a conceptually and methodologically rich approach for the ethical analysis of emerging technologies that incorporates a large variety of ethical principles, issues, objects and levels of analysis, and research aims. It is ready to be applied to contemporary and future emerging technologies. Content Type Journal Article Category Original Paper Pages 1-13 DOI 10.1007/s11569-012-0141-7 Authors Philip A. E. Brey, Department of Philosophy, School of Behavioral Sciences, University of Twente, P.O. Box 217, 7500 AE Enschede, The Netherlands Journal NanoEthics Online ISSN 1871-4765 Print ISSN 1871-4757. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Historical Commentary on Arrian’s History of Alexander. Vol. II. Commentary on Books IV–VPhilip A. StadterBosworth, A. B. A Historical Commentary on Arrian’s History of Alexander. Vol. II. Commentary on Books IV–V. Oxford: Clarendon Press, 1995.In books 1–3, Arrian’s Alexander rushed from the Hellespont to Babylon, Susa, and Persepolis. In books IV and V the story changes: Alexander finds himself on the frontier, and beyond. No longer is (...) he confronting the enormous armies of the Persian king in set battles, but pushing beyond the frontiers of empire, seizing impregnable heights, and most important, struggling with his own Macedonians while defining himself.Bosworth, continuing his commentary after a fifteen-year interval, brings an exceptional background of historical, source critical, and literary studies. B. notes that his evaluation is “perhaps more sympathetic” than in his first volume, in part because the quality of the work “improves as it progresses” (v). The thoroughness [End Page 140] of the discussion (360 pages on the two books) is justified by the importance and complexity of the material. The reader is well served by an excellent subject index, a Greek index, ten maps, and four figures. An appendix on Nearchus suggests that that author may have reported much more than the journey from the Indus to the Persian Gulf found in the Indike, and may be a significant source for Arrian in the last four books of the Alexander history. Like the first volume, the commentary has Greek lemmata, translated only when there is a specific difficulty, but even Greekless readers can use it with the help of Brunt’s new Loeb text.Although the commentary deals frequently with textual questions, it focuses on elucidating the historical, geographical, stylistic, and interpretative problems of the text. B. ably notes the constant verbal reminiscences of Herodotus, Thucydides, and Xenophon, especially in the more elaborate passages, e.g., the speeches at the Hyphasis. Still more are undoubtedly to be found, such as the echo of Thucydides (1.110.1, 3.112.8, 87.87.6) in 5.27.6, ¹l¼goi ¨k poll©n. His elucidation of Arrian’s use of Megasthenes, Nearchus, and Eratosthenes in the digressions at the beginning of book 5 is a model of clarity and precision. Here as elsewhere he stresses Arrian’s purposeful blending of his sources: e.g., on 5.6.3–8: “It is an elaborately contrived passage, and the source material is carefully selected to fit the scheme of the argument. Arrian is not merely rewriting a passage of Eratosthenes.” Throughout, his comments on sources are precise and thoughtful.B.’s notes follow wherever the text leads, but he devotes special attention to the major focuses of Arrian’s attention: the great digression on Alexander’s orientalism, the murder of Cleitus, proskunesis, and the page’s conspiracy (4.7.4–14.4 5 45–101), the march to the Indus, with the siege of Massaga and the capture of Aornus (4.22.3–30.9 5 141–96), the series of digressions which begin book 5, (5.1.1–8.1 5 197–259), the battle on the Hydaspes against Porus (5.8.4–19.4 5 262–311), and the mutiny on the Hyphasis (5.24.8–29.5 5 337–60).Bosworth’s commentary on book 5 encompasses the multiple levels of the narrative: the reworking of Eratosthenes, Megasthenes, and Nearchus in the preliminary section; the topographical and tactical problems of the battle with Porus, and the rhetorical and stylistic subtleties of the debate at the Hyphasis. Throughout the book, Arrian shows Alexander going beyond his predecessors. By crossing the Indus he passes the limits of the Persian Empire. At Nysa he surpasses the mythical conquests of Dionysus (5.2.1). The digression on the Indus bridges recalls the bridges (and defeats) of Xerxes and Darius, as well as Roman imperial engineering (5.7.1–2). The crossing of the Hydaspes and great battle contrast with Cyrus’ disastrous battle with the Massagetae in Herodotus 1.204–14 (cf. 5.4.5). The description of the river systems of the Punjab (5.4.1–2) evokes Herodotus’ account... (shrink)

Scholarly use of the label “school” to describe groups of philosophers has sometimes led to a neglect of the ways in which such gatherings of philosophers could function as unofficial associations of recognizable types. Concerns to distance supposedly “secular” philosophers from any “religious” connection have fed into this image of the philosophical “school,” diverting attention away from other important dimensions of associative life among philosophers and other literate professionals, including involvement in honours for the gods and in commensal activities. Epigraphic (...) evidence helps to elucidate the broader associative context. The fact that some philosophers formed associations has implications for adjacent fields, such as Christian origins, where there is a tendency to ask whether groups of Jesus followers were socially analogous to a Judean synagogue, an association, or a philosophical school, as though these were distinct options rather than overlapping social phenomena. Such associations of relatively literate people were among the few in antiquity that can also be described using the scholarly category of “reading communities.”. (shrink)

This paper explores the Rousseauian background to Kant’s critique of metaphysics and philosophical theology. The core idea is that the rejection of metaphysics and philosophical theology is part of a turn from theoretical to practical reason influential on European philosophy of religion, a turn we associate with Kant but that is prefigured by Rousseau. Rousseau is not, however, a thinker normally associated with the notion of metaphysical criticism, nor the notion of the primacy of practical reason. The paper draws out (...) this dimension of Rousseau’s thinking and its importance for Kantian thought. It will proceed by discussing the Kant-Rousseau connection; demonstrate the importance of practical philosophy for Kant and the critical project generally; overview Kant’s critique of metaphysics; and turn to a consideration of Rousseau, particularly from the text Émile . Given the indisputable influence of Rousseau on Kant, the purpose of this paper is to explore the ways that Rousseau’s own rejection of philosophical theology might be suggestive to those interested in Kant and the way in which it throws new light on Kant’s philosophy of religion. As well as drawing out the Kant-Rousseau connection, it also, implicitly, defends the general orientation of these philosophers as one that is important, perhaps vital, to philosophy of religion. (shrink)

This thesis is concerned with explaining how a subject can acquire a priori knowledge of arithmetic. Every account for arithmetical, and in general mathematical knowledge faces Benacerraf's well-known challenge, i.e. how to reconcile the truths of mathematics with what can be known by ordinary human thinkers. I suggest four requirements that jointly make up this challenge and discuss and reject four distinct solutions to it. This will motivate a broadly Fregean approach to our knowledge of arithmetic and mathematics in general. (...) Pursuing this strategy appeals to the context principle which, it is proposed, underwrites a form of Platonism and explains how reference to and object-directed thought about abstract entities is, in principle, possible. I discuss this principle and defend it against different criticisms as put forth in recent literature. Moreover, I will offer a general framework for implicit definitions by means of which - without an appeal to a faculty of intuition or purely pragmatic considerations - a priori and non-inferential knowledge of basic mathematical principles can be acquired. In the course of this discussion, I will argue against various types of opposition to this general approach. Also, I will highlight crucial shortcomings in the explanation of how implicit definitions may underwrite a priori knowledge of basic principles in broadly similar conceptions. In the final part, I will offer a general account of how non-inferential mathematical knowledge resulting from implicit definitions is best conceived which avoids these shortcomings. (shrink)

We investigate differences in perceived danger and recklessness judgements by experts (experienced skiers, N=362) and laypeople (N=2080) about participation in adventure sports across the same judgemental task using a third person perspective. We investigate the relationship between danger and recklessness and the extent to which fatality frequency, as well as other contextual factors such as gender, dependants, competence, and motivations of the sports participant affect expert and laypeople judgements respectively. Experienced skiers gave lower overall danger and recklessness ratings than non-skiers. (...) Experienced skiers’ judgements were also more sensitive than non-skiers’ to variations in the fatality rate of the activity and the competence level of the participant, yet were less sensitive to whether the event was done for external benefit such as a charity. Recklessness judgements were overall more sensitive to changes in activity descriptions than danger judgements. Our findings support the emerging picture of adventure sports participants as rational and sensitive to risk-relevant features rather than somehow pathological in their risk perception. (shrink)

The relevance of double effect for end-of-life decision-making has been challenged recently by a number of scholars. The principal reason is that opioids such as morphine do not usually hasten death when administered to relieve pain at the end of life; therefore, no secondary “double” effect is brought about. In my article, I argue against this view, showing how the doctrine of double effect is relevant to the administration of opioids at the end of life. I contend that the prevailing (...) view suffers from a misunderstanding of the nature of double effect, which includes application to risking a grave harm. (shrink)

The notion of risk plays a central role in economics, finance, health, psychology, law and elsewhere, and is prevalent in managing challenges and resources in day-to-day life. In recent work, Duncan Pritchard (2015, 2016) has argued against the orthodox probabilistic conception of risk on which the risk of a hypothetical scenario is determined by how probable it is, and in favour of a modal conception on which the risk of a hypothetical scenario is determined by how modally close it is. (...) In this article, we use Pritchard’s discussion as a springboard for a more wide-ranging discussion of the notion of risk. We introduce three different conceptions of risk: the standard probabilistic conception, Pritchard’s modal conception, and a normalcy conception that is new (though it has some precursors in the psychological literature on risk perception). Ultimately, we argue that the modal conception is ill-suited to the roles that a notion of risk is required to play and explore the prospects for a form of pluralism about risk, embracing both the probabilistic and the normalcy conceptions. (shrink)

This paper discusses Michael Dummett’s criticism of the Neo-Fregean concep- tion of the context principle. I will present four arguments by Dummett that purport to show that the context principle is incompatible with platonism. I discuss and ultimately reject each argument. I will close this paper by identifying what I take to be a deep rooted tension in the Neo-Fregean project which might have motivated Dummett’s opposition to the Neo-Fregean use of the context principle. I argue that this tension does (...) give rise to a legitimate concern, yet it does not affect the Neo-Fregean conception of the context principle. (shrink)

Western society is steeped in a legacy of white supremacy and colonialism--a worldview that pits humans against nature and that has created numerous pressing social and environmental challenges. So great are these challenges that many of us have come to believe that our species is fundamentally flawed and that our story is destined to be nasty, brutish, and short. In Finding Our Niche I explore these tragedies of western society while offering the makings of an alternative: a set of metaphors (...) and examples that can guide us in reconciling our settler-colonial histories in favor of a new and more sustainable vision for humanity and our natural world. Drawing on a variety of compelling stories from my personal life and research experiences around the world, I bring the reader through the difficult journey of reconciliation, a journey that leads to a more optimistic understanding of human nature and the prospects for our future. Drawing from my fifteen years of experience as an anthropologist and ecologist working with people around the world, I share exceptional stories of local people rejecting the oppressive, industrial logic of progress and creating win-win scenarios, where both people and nature thrive together. These stories include cattle ranching on the Burren in Ireland, clam gardening in coastal British Columbia, and the conservation of an accidental wetland in Northwest Mexico. I structure my telling of these stories with a series of ecological metaphors--including keystone, engineer, and sentinel--that collectively provide a basis for more sustainable ways of living. In tandem with these stories, I weave a series of personal vignettes, drawing from my own struggle to reconcile my identity as a white settler on stolen Indigenous lands. As a whole, the book develops a thesis about how we can reimagine our nature and identity, and in so doing, address issues like climate change, biodiversity loss, and food insecurity by building more healthful and fulfilling relationships with our neighbors and the land- and seascapes around us. Finding our Niche is a timely piece that offers confidence in a time when the realities of ecological disaster are becoming a daily reminder that something has to give. It engages with the critical but thorny problems of sustainability, white supremacy, capitalism, and colonialism in a fresh and productive way, making it a perfect fit for Fernwood's portfolio and critical readership. At once a primer on paradigm shift, it is an accessible and personal book that seeks to offer tangible examples of hope to the countless people who are concerned about the sustainability and future of our societies and planet. (shrink)

Next SectionIt is commonly proposed that artifacts cannot be understood without reference to human intentions. This fact, I contend, has relevance to the use of artifacts in intentional action. I argue that because artifacts have intentions embedded into them antecedently, when we use artifacts we are sometimes compelled to intend descriptions of our actions that we might, for various reasons, be inclined to believe that we do not intend. I focus this argument to a specific set of artifacts, namely, medical (...) devices, before considering an extended application to emergency contraceptive devices. Although there is some debate about whether emergency contraception has an abortifacient effect, I argue that if there is an abortifacient effect, then the effect cannot normally be a side effect of one’s action. (shrink)