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)

_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)

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)

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)

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)

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.

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)

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 ‘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)

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)

There are distinctive methodological and conceptual challenges in rare and severe event (RSE) forecast verification, that is, in the assessment of the quality of forecasts of rare but severe natural hazards such as avalanches, landslides or tornadoes. While some of these challenges have been discussed since the inception of the discipline in the 1880s, there is no consensus about how to assess RSE forecasts. This article offers a comprehensive and critical overview of the many different measures used to capture the (...) quality of categorical, binary RSE forecasts – forecasts of occurrence and non-occurrence – and argues that of skill scores in the literature there is only one adequate for RSE forecasting. We do so by first focusing on the relationship between accuracy and skill and showing why skill is more important than accuracy in the case of RSE forecast verification. We then motivate three adequacy constraints for a measure of skill in RSE forecasting. We argue that of skill scores in the literature only the Peirce skill score meets all three constraints. We then outline how our theoretical investigation has important practical implications for avalanche forecasting, basing our discussion on a study in avalanche forecast verification using the nearest-neighbour method (Heierli et al., 2004). Lastly, we raise what we call the “scope challenge”; this affects all forms of RSE forecasting and highlights how and why working with the right measure of skill is important not only for local binary RSE forecasts but also for the assessment of different diagnostic tests widely used in avalanche risk management and related operations, including the design of methods to assess the quality of regional multi-categorical avalanche forecasts. (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)

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)

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)

A naturalistic account of self-consciousness is developed within a general framework in which thought contents are structured by concepts but conceptual content need not be exhausted at the level of reference. To motivate the first feature of this framework, possible-worlds- and property-based theories of thought content, which eschew structure, are criticized for overestimating and/or underestimating the attitude stock of ordinary agents. To motivate the second feature, it is argued that neo-Russellian and neo-Fregean accounts, which incorporate structure but differ on the (...) semantic classification of psychological modes of presentation, are more or less on a par with respect to standard parameters of evaluation . Though non-notational differences between these accounts remain, these differences add up to less than is commonly supposed. ;Neo-Russellians and neo-Fregeans agree on the explanatory relevance of conceptual modes of presentation, understood as reference-sustaining functional mechanisms; what they disagree about is whether those modes contribute to the content of a concept. Once the semantic dispute is set aside, questions about the nature of these mechanisms come to the fore. In the case of the self concept, what appears to distinguish this concept from coreferring items in an agent's conceptual repertoire is its privileged relation to inputs from internal monitoring systems, on one side, and outputs in control systems, on the other. Self-consciousness emerges as an atomistic conceptual capacity, sustained by both interoceptual mechanisms and agentive ones. (shrink)

W.V.O.Quine’s doctrine of referential inscrutability (RI) is the thesis that, first, linguistic reference must always be determined relative to an interpretation of the discourse and, second, that the empirical evidence always underdetermines our choice of interpretation--at least in principle. Although this thesis is a central result of Quine’s theory of language, it was long unclear just how much force RI actually carried. At best, Quine’s discussions provided localized examples of RI (e.g., ‘gavagai’), supplemented merely by arguments for the (in principle) (...) constructability of more general referentially divergent manuals. In defense of Quine, Gerald Massey provides a method for generating large-scale referentially divergent manuals for a complex language. I argue that, while Massey’s rival manuals do meet Quine’s translational criteria, they are demonstrably inferior to their commonsensical “homophonic” competitor. This result provides a clear indication of seminal deficiencies in Quine’s behaviorial approach to the theory of language. Next I argue that Quine’s acceptance of standard assumptions about the nature of perception strongly influences the shape of his semantical theory. Finally, I suggest how an alternative to the standard account of perception might provide grounds for a more adequate understanding of language. (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)

In this essay, a new approach to the ethics of emerging information technology 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. In the essay, I will first locate emerging technology in the technology development cycle, after which I will consider ethical approaches to emerging technologies, as well as obstacles in developing (...) such approaches. I will argue that any sound approach must centrally include futures studies of technology. I then present ATE and some applications of it to emerging information technologies. In ATE, ethical analysis is performed at three levels, the technology, artifact and application levels, and at each levels distinct types of ethical questions are asked. ATE analyses result in the identification and evaluation of a broad range of ethical issues that can be anticipated in relation to an emerging information technology. This ethical analysis can then be used for ethical recommendations for design or governance. (shrink)

In recent years, interest has increased in regenerative practices as a strategy for transforming food systems and solving major environmental problems such as biodiversity loss and climate change. However, debates persist regarding these practices and how they ought to be defined. This paper presents a framework for exploring the regenerative potential of food systems, focusing on how food systems activities and technologies are organized rather than the specific technologies or practices being employed. The paper begins with a brief review of (...) debates over sustainable food systems and the varying ways that regenerative food systems have been defined and theorized. Then, it provides the theoretical backing of the framework—the conservation of change principle—which is an interpretation of the laws of thermodynamics and theories of adaptive change as relevant to the regenerative capacity of living systems. Next, the paper introduces the framework itself, which comprises two independent but intersecting dimensions of food systems organization: resource diversity and livelihood flexibility. These two dimensions result in four archetypical regimes for food systems: degenerative, regenerative, impoverished, and coerced. The paper defines each and offers real-world examples. Finally, the paper concludes with a discussion of pathways for transforming food systems and opportunities for additional research. (shrink)

In this paper I will argue that Boghossian's explanation of how we can acquire a priori knowledge of logical principles through implicit definitions commits a transmission of warrant-failure. To this end, I will briefly outline Boghossian's account, followed by an explanation of what a transmission of warrant-failure consists in. I will also show that this charge is independent of the worry of rule-circularity which has been raised concerning the justification of logical principles and of which Boghossian is fully aware. My (...) argument comes in two steps: firstly, I will argue for the insufficiency of Boghossian's template which is meant to explain how a subject can acquire a warrant for logical principles. I will show however that this insufficiency of his template can be remedied by adopting what I call the Disquotational Step. Secondly, I will argue that incorporating this further step makes his template subject to a transmission of warrant-failure, assuming that certain rather basic and individually motivated principles hold. Thus, Boghossian's account faces a dilemma: either he adopts the Disquotational Step and subjects his account to the charge of a transmission of warrant-failure, or he drops this additional step leaving the account confronted with explaining the gap that has previously been highlighted. I will then suggest various rejoinders that Boghossian might adopt but none of which - I will argue - can resolve the dilemma. Lastly, I will raise and briefly discuss the question whether this worry generalizes to other accounts, such as Hale and Wright's that aim to explain our knowledge of logic and/or mathematics in virtue of implicit definitions. (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)

The debate about physician-assisted suicide has long been entwined with the nature of the doctor–patient relationship. Opponents of physician-assisted suicide insist that the traditional goals of medicine do not and should not include intentionally bringing about or hastening a patient’s death, whereas proponents of physician-assisted suicide argue that this practice is an appropriate tool for doctors to relieve a patient’s suffering. In this article, I discuss these issues in light of the relevance of a Christian account of the doctor–patient relationship. (...) I argue that Christians typically object to assist suicide independently of the doctor–patient relationship. I argue that a focus on the Christian virtues of charity, compassion, and humility helps to explain why doctors should not assist their patients in suicide. (shrink)

There is a growing trend among some physicians, psychiatrists, bioethicists, and other mental health professionals not to treat physician-assisted suicide (PAS) as suicide. The grounds for doing so are that PAS fundamentally differs from other suicides. Perhaps most notably, in 2017 the American Association of Suicidology argued that PAS is distinct from the behavior that their organization seeks to prevent. This paper compares and contrasts suicide and PAS in order to see how much overlap there is. Contrary to the emerging (...) view that emphasizes their differences, I argue that there is significant overlap such that we ought not to separate PAS into its own category, making it diverge from how we think about and address suicide more generally. I start by examining several prominent theories of suicide and argue that PAS fits squarely within them. I then examine several apparent differences between PAS and other kinds of suicide and argue that these differences are merely apparent or they do not justify treating PAS as a fundamentally different kind of thing from suicide. (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.

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)

In a recent series of articles, and in his latest book, James Cornman has proposed and defended a definition of ‘observation term’. The original definition appeared in [3]; in [4] Cornman defended this definition against some criticisms offered by P. K. Machamer, and also revised it somewhat; the revised definition is restated in [2] and used there in Cornman's discussion of the identity theory of the mind. Finally, in [1], Cornman again invokes his definition in defending scientific instrumentalism, and defends (...) it against various generalized attacks on the very possibility of drawing a distinction between observational and theoretical terms which will do the sort of work Cornman wants it to do. (shrink)