In 2016, the Colorado legislature passed an amendment to Colorado’s medical proxy law that established a process for the appointment of a physician to act as proxy decision maker of last resort for an unrepresented patient (Colorado HB 16-1101: Medical Decisions For Unrepresented Patients). The legislative process brought together a diverse set of stakeholders, not all of whom supported the legislation. Following passage of the statutory amendment, the Colorado Collaborative for Unrepresented Patients (CCUP), a group of advocates responsible for initiating (...) the legislative process, coordinated a unique effort to engage these stakeholders in the creation of a set of voluntary guidelines to assist facilities and individual careproviders in the implementation of policies and procedures enabled by the statute. This article delineates the questions and concerns of stakeholders, describes how those issues were addressed within the guidelines, and proposes additional opportunities for research to assess the impact of the legislation in Colorado. (shrink)

Medical decision making on behalf of unrepresented patients is one of the most challenging ethical issues faced in clinical practice. The legal environment surrounding these patients is equally complex. This article describes the efforts of a small coalition of interested healthcare professionals to address the issue in Colorado. A brief history of the effort is presented, along with discussion of the legal, ethical, practical, and political dimensions that arose in Colorado’s effort to address decision making for unrepresented patients through an (...) extension of the existing Colorado Medical Treatment Decision Act (CRS 15-18). A discussion of lessons learned in the process is included. (shrink)

The only way to settle conclusively what any part of a language means is to discover the circumstances, both linguistic and non-linguistic, in which the speakers of the language are prepared to use it. This is not a new doctrine, but Wittgenstein gave it new life by dramatising the following question: If someone used an expression in a radically non-standard way, could anything he said about his state of mind convince us that he nevertheless meant it in a standard way? (...) To answer ‘No’ to this, and to generalize that answer, is to say that the last-resort criteria for what something means lie in the way in which it is used - a fairly plain statement which I shall call ‘the behavioural theory (of meaning)’ and with which I shall here have no quarrel at all. What I wish to do in the following pages is to consider the relationship between the behavioural theory and some aspects of the concept of proof. It is beyond dispute that one can be led, by one’s acceptance of certain premisses, to accept a certain conclusion. There is, though, a problem about the nature of this ‘leading’. On the one hand, it is usual to think of it as sometimes having the nature of a forcing: ‘If you say that, you are committed to admitting this also; you cannot accept the one and reject the other.’ On the other hand, the behavioural theory of meaning makes it difficult to see how there can possibly be such a relationship between the premisses and the conclusion of any proof. There are many ways of bringing out the apparent clash between the behavioural theory and the notion of logical forcing or committal. Perhaps the clearest of them arises from asking how there can be room for a concept of committal in a purely behavioural study. In this spirit, we might grant that our knowledge of some of the ways in which the parts of a language are used may lead us to expect to find certain sorts of further use and not others; and we could compare such expectations with those of an anthropologist who finds that a certain society has a matriarchal system of authority and then proceeds to investigate its inheritance laws.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Randall Allsup, “Music Teacher Quality and Expertise”Bennett ReimerI am delighted to have this opportunity to reflect on Randall Allsup’s excellent, incisive, and wise paper. The issues he raises reach to the core of who we have been, where we are now, and how we must adapt ourselves to new challenges that deeply question both our ideals and our practices.Allsup’s opening questions relate directly to (...) the most pressing matters our profession is now facing—questions philosophical in essence. What kind of music teachers do our students deserve? What is the purpose of public education? And how do we get beyond our continuing and understandable desire for better-trained music teachers to ask the more pertinent question of what constitutes effective music teaching and learning in what the musical world is swiftly becoming. He has the courage to address this level of complexity seriously, and to make significant progress toward clarification. That deserves my respect and, I am quite sure, the respect of all of us.Allsup approaches his central premise on the significant changes needed in our professional identity by reminding us that we have “a long and distinguished [End Page 108] commitment to teaching and teachers.” That commitment, however, is based on the established assumption that music education is founded on excellence of performance as its ultimate goal and its greatest value. To achieve this musical end, he points out, requires mastery, attained through prolonged, careful apprenticeship. This “long running pedagogy of mastery and excellence appears closed to, or at least hostile to, innovation and popular input.”In addition, he argues, this belief system embroils all of us, teachers and their students, in the dichotomy of, on the one hand, replication of existing excellence as our goal, and, on the other, the need for emancipation from what was and what is, toward what might be; the need, that is, for transformation. The past, he recognizes, cannot simply be ignored: it is too precious for that. The future, however, also cannot be excluded. Within this antinomy we must find our way, honoring the past while not allowing it to constrict our future.At this point in his exposition Allsup approaches the proposition he is harboring, a proposition I want to explore for its potential in both clarity and complication. The basis of his key proposal is our need for teachers who are able “to think openly and less certainly about the design and implementation of musical instruction. Our pluralistic society,” he continues, “makes it imperative that we multiply the methods employed in the pursuit and construction of knowledge.”To accomplish this, Allsup presents a foundational dichotomy. There are “open forms of music” relating to “new and evolving ways of aesthetic participation that break with our traditional processes and our established codes and standards.” Contrasting with open forms are “closed forms,” representing the authoritative, the certain, and the canonic. “Closed forms,” he says, “represent culturally-structured and norm-driven literacies, where valuations of goodness pre-exist any aesthetic encounters.” Closed forms, he argues, are based on culturally agreed-upon modes of participation that are rigid in nature, such as in the prescribed and proscribed sequence of musical events proceeding inexorably in the order of composer-conductor-performer-audience.Such past (and present) rigidities, he points out, have become increasingly irrelevant. In every dimension of our lives significant and fast-occurring changes have become dominant, even expected, leaving us, as citizens and as educators, in confusion and uncertainty, and therefore in distress. We encounter aesthetic forms that are open-sourced and de-authored, unconnected to shared standards of practice. Technologies of music making and taking, he points out, have overthrown tradition to a startling degree, erasing distinctions among expert and amateur, between master and apprentice, between process and product, specialist and generalist, the classical and the vernacular.All this, and much more, is argued cogently and, I think, persuasively. It leads us to a central conception influencing how we must act as professionals. Our [End Page 109] obligation is to not only incorporate openness of musical engagements into our present culture of musical “closedness,” but to recognize the advent of openness as being a... (shrink)

Consistent throughout his writings on aesthetics and education, Bennett Reimer maintained the idea that music must be understood and studied as non-conceptual. Music’s forms of knowing point to the subjective realms of life and operate effectively without the assistance or necessity of language. An education in the arts is an education in feelings, a claim that became untenable in an age of evidence and standardization. Critics hostile to a characterization of music as unknowable pointed to very clear concepts, locating (...) the activity of music in both social and sonic contexts whereby extra-musical delineations could be articulated and musical conventions taught. The authors of this essay argue that music can be understood in ways that are both conceptual and non-conceptual, if by the latter one draws upon post-structural notions of the text, particularly Roland Barthes’s explorations of what he called the third meaning or the third space. We leave open the idea that Reimer, in his own explorations of the non-conceptual, shared in this discovery. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 104-108 [Access article in PDF] A Response to Estelle R. Jorgensen, "Four Philosophical Models of the Relationship Between Theory and Practice" Randall Everett Allsup Teachers College, Columbia University Each of the four philosophical models that Estelle Jorgensen has put forth contests, adheres to, or adjusts the hierarchical relationships between dualities, specifically the theory and practice of musical learning. The dichotomy model (...) faces binary associations head on, splitting existence however defined into dualisms like "this/that," "us/them," and "mind/body." Models of polarity, according to Jorgensen, accommodate dualities by buffering edges, emphasizing the interconnectedness of binary relationships. The fusion metaphor is exemplified by Paulo Freire's notion of praxis in which action and reflection are welded together to create hope for a new world, one free of the oppression and conflict that is inherent in binary relationships. The dialectical model is contrapuntal by nature, Edward Said would say.1This relationship highlights our postmodern devotion to différence by embracing the tension created through inclusion so that "this is with that," "we are with them and they are with us," and "mind is with body, just as body is with mind."2Perhaps there is a fifth model, a new kind of relationship where the oppositional or hierarchical nature of binaries co-exists peacefully without tension. [End Page 104] Such an arrangement is, I think, an outgrowth of capitalist democracy—it is, most especially, representative of our global, information age. This type of relationship is problematic philosophically, we will see, lacking as Jorgensen has outlined "logic evidenced in principles," "internal consistency," and "coherence within a unity or whole." Likewise for Bennett Reimer, this new mind-set fails the test of philosophical scrutiny, unconcerned as it is with a "reasoned, structured set of propositions."3 Whether philosophy or mind-set, this new arrangement has as much to do with freedom and free markets as it does with the particular conditions of both modernity and postmodernity.In the novel, White Noise, by Don DeLillo, the postmodern condition is represented in part by an "Airborne Toxic Event," a cloud of gas, Nyodene D, which floats above a tranquil All-American college town.4 A sense of crisis is felt, but felt obliquely and no one knows exactly what harm has been done. In Albert Camus' The Plague, by contrast, the disease that infests the North African town of Oran acts to awaken its citizenry, confronting the populace with the moral imperatives to fight or flee.5 Perhaps the metaphor of quarantine symbolizes the hard boundaries of modernism.Capitalism seeks to dissolve conflict. It operates silently, in the realm of social production, like a cloud of gas. Denise, Jack Gladney's daughter in White Noise, mumbles over and over in her sleep, "Toyota Corolla, Toyota Celica, Toyota Cressida...."6 There is a sense of ontological change, that the expanding reach of media, information, and technology rewires the way we think, the way we dream. Tensions are willed away. The expansion and survival of market shares, after all, depend on the peaceful erosion of boundaries—boundaries that demarcate what we learn, what we buy, and who we are.Questions about what this new system means—this new mind-set—are explored in a book called Empire by Michael Hardt and Antonio Negri.7 These writers posit a global world of communication, cooperation, and affect, where an increase in hybrids creates a kind of "omniversality" where the virtual, natural, and ideological converge.8 In the dialectical relationship that Jorgensen shares with writers like Paulo Freire and Maxine Greene, there is no acceptable synthesis, no peaceful co-existence, between oppressors and oppressed. While according to Freire, the oppressed may internalize or house characteristics of the oppressor. In the global world of capital, the oppositional nature of the Other is replaced by niches or fragments, dissolving differences into marketing opportunities, really. That the avant-garde no longer exists is proof of this new state.As the essentialist nature of the Other fades away... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Extraordinary Rendition:On Politics, Music, and Circular MeaningsRandall Everett AllsupThe purpose of this symposium is to look at music, education, and politics. I will begin with an examination of how musical meanings are politically rendered, and how these understandings are attached to moral consequences. Highly resistant to classification, musical meanings are those things we come to understand about ourselves through music, as opposed to musical knowledge which is demonstrable know-how. (...) While marching bands and flute sonatas can be judged with scores estimated to the 100th decimal point, the meanings that are created between the standards of practice of a given genre and the worldview of the listener or performer are provisional at best. Seen in this light, even seemingly secure or knowable realms like Christian heavy metal or anti-war movies are in fact highly un-objective and unpredictable. (More on Christian rock and movies in a moment). The challenge this paper seeks to uncover is participation on the hither side of fact, where understandings are rendered in a world that is contingent, political, and always in motion. What better example of the unclassifiable than the moving axes of politics and art?So what occurs between art and human or so-called "world" experience? [End Page 144] Let's agree that there is always motion, non-neutral, political movement in this interaction. We need not be students of French post-structuralism to recognize that we are part of many ever-evolving human-made systems, some of control, regulation, reward, punishment, and pleasure, but each with their own gravitation pull.1 I like Susan Sontag's take the best when she wrote that every place, every history has its own "sensibility," its own ineffable way of being in the world.2 Sensibilities—perhaps a clearer way of referring to politics in the context of art and experience—do not exist apart from their environment, yet they are more elusive than an idea or recognizable behavior.3 The sensibility of a time and place makes possible multiple discourses through which we make meaning.4 Some discourses, Foucault would remind us, are intensified by a history's particular sensibility and so appear louder than others. Such a discourse might speak so loudly that it shapes the meanings we make, drowning out options, and thus appearing obvious or commonsensical. The logic of musical assessment and evaluation—scoring marching bands and flute sonatas to the 100th decimal—is one such example.In spite of authoritative voices and reasonable discourses, each history's sensibility has its own escape routes, its own distortions and contradictions. I am fascinated by how we comply with or resist these pulls, as they are matters of agency and identity, matters of equity and social justice. In the present-day context of neo-liberalism and conservative values, especially 21st Century American fundamentalism, we would do well to ask how—not whether—such a fundamentalist sensibility shapes our ways of doing and knowing.5 My attempt is to locate music education in such a project.Shortly after the invasion of Iraq, I wrote a short piece on the fundamentalist imagination and its pull on the arts and education.6 This research took place at the 2003 MENC biennial where Bennett Reimer asks philosophy SRIG participants to consider (among other things) the role of metaphor in music education.7 I viewed the fundamentalist imagination as antithetical to metaphor: to paraphrase, the fundamentalist philosophy of education was "a philosophy for, not with, its initiates. Judgments are passed, not reached; answers are given, not argued... [Most importantly,] it is an educational method that emphasizes and then measures what is literal."8Since then, the voices of American literalism have appeared in increasingly loud volume seeking to discourage interpretation and argument in favor of handed-down teachings and binary logic. Supreme Court Justice Antonin Scalia decries the folly of a "living" constitution, in favor of a strict or literal reading. Retired Cardinal Bernard Law of Boston, in response to a common ground initiative by the late Joseph Bernadin, labels an appeal to "dialogue" a "fundamental flaw."9 Law sniffed, "Dissent from revealed truth or the authoritative [End Page 145] teaching of the church cannot... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Extraordinary Rendition:On Politics, Music, and Circular MeaningsRandall Everett AllsupThe purpose of this symposium is to look at music, education, and politics. I will begin with an examination of how musical meanings are politically rendered, and how these understandings are attached to moral consequences. Highly resistant to classification, musical meanings are those things we come to understand about ourselves through music, as opposed to musical knowledge which is demonstrable know-how. (...) While marching bands and flute sonatas can be judged with scores estimated to the 100th decimal point, the meanings that are created between the standards of practice of a given genre and the worldview of the listener or performer are provisional at best. Seen in this light, even seemingly secure or knowable realms like Christian heavy metal or anti-war movies are in fact highly un-objective and unpredictable. (More on Christian rock and movies in a moment). The challenge this paper seeks to uncover is participation on the hither side of fact, where understandings are rendered in a world that is contingent, political, and always in motion. What better example of the unclassifiable than the moving axes of politics and art?So what occurs between art and human or so-called "world" experience? [End Page 144] Let's agree that there is always motion, non-neutral, political movement in this interaction. We need not be students of French post-structuralism to recognize that we are part of many ever-evolving human-made systems, some of control, regulation, reward, punishment, and pleasure, but each with their own gravitation pull.1 I like Susan Sontag's take the best when she wrote that every place, every history has its own "sensibility," its own ineffable way of being in the world.2 Sensibilities—perhaps a clearer way of referring to politics in the context of art and experience—do not exist apart from their environment, yet they are more elusive than an idea or recognizable behavior.3 The sensibility of a time and place makes possible multiple discourses through which we make meaning.4 Some discourses, Foucault would remind us, are intensified by a history's particular sensibility and so appear louder than others. Such a discourse might speak so loudly that it shapes the meanings we make, drowning out options, and thus appearing obvious or commonsensical. The logic of musical assessment and evaluation—scoring marching bands and flute sonatas to the 100th decimal—is one such example.In spite of authoritative voices and reasonable discourses, each history's sensibility has its own escape routes, its own distortions and contradictions. I am fascinated by how we comply with or resist these pulls, as they are matters of agency and identity, matters of equity and social justice. In the present-day context of neo-liberalism and conservative values, especially 21st Century American fundamentalism, we would do well to ask how—not whether—such a fundamentalist sensibility shapes our ways of doing and knowing.5 My attempt is to locate music education in such a project.Shortly after the invasion of Iraq, I wrote a short piece on the fundamentalist imagination and its pull on the arts and education.6 This research took place at the 2003 MENC biennial where Bennett Reimer asks philosophy SRIG participants to consider (among other things) the role of metaphor in music education.7 I viewed the fundamentalist imagination as antithetical to metaphor: to paraphrase, the fundamentalist philosophy of education was "a philosophy for, not with, its initiates. Judgments are passed, not reached; answers are given, not argued... [Most importantly,] it is an educational method that emphasizes and then measures what is literal."8Since then, the voices of American literalism have appeared in increasingly loud volume seeking to discourage interpretation and argument in favor of handed-down teachings and binary logic. Supreme Court Justice Antonin Scalia decries the folly of a "living" constitution, in favor of a strict or literal reading. Retired Cardinal Bernard Law of Boston, in response to a common ground initiative by the late Joseph Bernadin, labels an appeal to "dialogue" a "fundamental flaw."9 Law sniffed, "Dissent from revealed truth or the authoritative [End Page 145] teaching of the church cannot... (shrink)

Applying Thomas Aquinas’s account of the intellectual virtue of art to teaching yields valuable results both for those who wish to understand teaching better and those looking for models of the approach to virtue epistemology Roberts and Wood call “regulative.” To vindicate that claim, this article proceeds in four steps: First, I introduce Thomas’s taxonomy of the intellectual virtues in light of a pair of distinctions between practical and speculative knowledge and between immanent and transient operations. In the second section, (...) I consider teaching’s relation to each of Thomas’s intellectual virtues and argue that it belongs most properly to art. Next, I describe Thomas’s taxonomy of art by distinguishing among four cross-cutting categories that characterize species of that virtue. Finally, I outline an account of the art of teaching that treats it, with respect to those categories, as performative, deliberative, cooperative, and intersubjective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Bennett ReimerForest HansenIn late afternoon on January 9, 2014, family members, colleagues, former students, and other friends met at Northwestern University to reflect upon and honor the life of Bennett Reimer, who had died from cancer on November 18, 2013 at the age of 81. The printed program fittingly called it a “Memorial Celebration,” because that is what it was. Fine wine and savory hors (...) d’oeuvres were served, a woodwind quartet of Bienen School of Music graduate students played Reimer favorites, and Beth Hebert, Bennett’s life partner of 27 years, greeted every person as they entered the hall. Reimer would have approved of the exuberant tastefulness of the event. He would probably have blushed and demurred, however, when in the formal part of the program his colleagues, daughters, and former students praised him in recalling specific occasions of his mentoring, inspiring, modeling, guiding, collaborating, and originating. (In his writing Reimer loved such extensive discriminatory lists.) Included among the expressions of respect and affection were these words by Estelle Jorgensen, who could not be present, read by Randall Allsup: [End Page 101]We have lost a wonderful person who lived life richly and made an outstanding contribution to the field of music education and beyond. In honor of his work as a philosopher of music education, among the many facets of his professional life, the Philosophy of Music Education Review will have a special issue devoted to the ideas that he left us, contributed by prominent music educational leaders and writers. Such moments of professional loss leave a rent in our midst that can never quite be patched. Along with our sorrow is our memory of the joy, idealism, and hope that characterized his lived life. We cling collectively to the memories of the blessings he brought us in simply being Bennett.Reimer was born on June 19, 1932 in Brooklyn, where he grew up. He earned a B.S. in music education in 1954 at SUNY at Fredonia and an M.S. (1955) and Ed.D. (1963) at the University of Illinois, Urbana-Champaign. His teaching career started at the Richmond Professional Institute of the College of William and Mary (1955–57) and continued at Madison College (Harrisburg VA) (1958–1960) and the University of Illinois (1960–65). At Case Western Reserve University (1965–1978), he became chair of the Music Education Department and holder of the Kulas Endowed Chair in Music. Then at Northwestern University he held the John W. Beattie Chair in Music from 1978 until his retirement in 1997. He chaired the Music Education Department there, directed the doctoral program in music education, and founded and directed the Center for the Study of Education and the Musical Experience—a weekly research forum for graduate students and faculty. Although Reimer had started out as an instructor in clarinet and oboe, musical theory, conducting, and music appreciation, he became a scholar, teacher, and lecturer in the new field of philosophy of music education with a worldwide following and reputation.Reimer was most noted for his seminal A Philosophy of Music Education (1970), which can fittingly be described as the founding document of the discipline. Typically he made revisions for the second edition in 1989 and more radical ones for the third edition in 2003, retitled as A Philosophy of Music Education: Advancing the Vision. This work has been translated into French, Japanese, and Chinese, and, forthcoming, Greek. He was associated with PMER and the International Society for Philosophy of Music Education (ISPME) from their beginnings in 1990.Besides his seminal works, Reimer wrote or co-wrote another twenty books and more than 150 articles, reviews, and book chapters. A few of his book titles indicate the range of his thought, from his early and widely used textbooks The Experience of Music (1971) for college students and Silver Burdett Music for grades 1–8 to his more recent Performing with Understanding: The Challenge of the National Standards for Musical Education (2000), World Musics and Music [End Page 102] Education: Facing the Issues (2002), and Seeking the Significance of Music Education (2009). He was an active participant and leader in a host of other music... (shrink)

I distinguish two ways of developing anti-exceptionalist approaches to logical revision. The first emphasizes comparing the theoretical virtuousness of developed bodies of logical theories, such as classical and intuitionistic logic. I'll call this whole theory comparison. The second attempts local repairs to problematic bits of our logical theories, such as dropping excluded middle to deal with intuitions about vagueness. I'll call this the piecemeal approach. I then briefly discuss a problem I've developed elsewhere for comparisons of logical theories. Essentially, the (...) problem is that a pair of logics may each evaluate the alternative as superior to themselves, resulting in oscillation between logical options. The piecemeal approach offers a way out of this problem andthereby might seem a preferable to whole theory comparisons. I go on to show that reflective equilibrium, the best known piecemeal method, has deep problems of its own when applied to logic. (shrink)

Contentless experience involves an absence of mental content such as thought, perception, and mental imagery. In academic work it has been classically treated as including states like those aimed for in Shamatha, Transcendental, and Stillness Meditation. We have used evidence synthesis to select and review 135 expert texts from within the three traditions. In this paper we identify the features of contentless experience referred to in the expert texts and determine whether the experiences are the same or different across the (...) practices with respect to each feature. We identify 65 features reported or implied in one or more practices, with most being reported or implied in all three. While there are broad similarities in the experiences across the traditions, we find that there are differences with respect to four features and possibly many others. The main difference identified is that Shamatha involves substantially greater attentional stability and vividness. Another key finding is that numerous forms of content are present in the experiences, including wakefulness, naturalness, calm, bliss/joy, and freedom. The findings indicate that meditation experiences described as contentless in the academic literature can in fact involve considerable variation, and that in many and perhaps most cases these experiences are not truly contentless. This challenges classical understandings in academic research that in these so-called contentless experiences all content is absent, and that the experiences are therefore an identical state of _pure consciousness_ or consciousness itself. Our assessment is that it remains an open question whether the experiences aimed for in the three practices should be classed as pure consciousness. Implications of our analysis for neuroscientific and clinical studies and for basic understandings of the practices are discussed. (shrink)

Arts and Humanities in Higher Education, Volume 21, Issue 2, Page 176-197, April 2022. Successful induction has been evidenced to strengthen students’ learning, engagement and feelings of belonging. Technology offers opportunities for enhancing the student induction experience, especially pre-arrival, but has been under-utilised. This article provides an evaluation of an online induction learning resource for pre-arrival students in the Faculty of Arts at the University of Warwick in 2019. There will be particular focus on the method of co-designing the resource (...) with a group of current students. The article will demonstrate how online learning resources for pre-arrival students can support successful induction. It argues that co-designing digital student experience resources in collaboration with students aids the development of materials that students find engaging and that co-design has a range of benefits for staff and students who are involved in the process. (shrink)

John Woods' The Logic of Fiction, now thirty-five years old, is a ground-breaking event in the establishment of the semantics of fiction as a stand-alone research programme in the philosophies of language and logic. There is now a large literature about these matters, but Woods' book retains a striking freshness, and still serves as a convincing template of the treatment options for the field's key problems. The book now appears in a second edition with a new Foreword by (...) Nicholas Griffin and an extended bibliography covering the period 1969-2009. As Griffin notes in his Foreword, it is "surprising on looking back to discover how little was written on the semantics of fiction before John Woods' The Logic of Fiction was published in 1974. The surprise is the greater because Woods' book appeared after almost a quarter century of fierce philosophical debate about reference Fictional discourse, one would have thought, would be an important testing ground for philosophical theories of referential expressions and one, moreover, in which the standard theories would likely be tested to destruction. " " One of the great merits of Woods' book is that it takes seriously the wide-ranging demands that fiction imposes on logic and semantics, and does not try to force fiction into some pre-conceived logical mould. but thanks to Woods' pioneering efforts, we are much closer to one now than we were when he set out to write his book. His book was not the last word on the logic of fiction; it was much more important: it was nearly the first." NICHOLAS GRIFFIN is Canada Research Chair in Philosophy at McMaster University. Recent publications include Russell vs Meinong: The Legacy of "On Denoting," edited with Dale Jacquette. JOHN WOODS is Director of the Abductive Systems Group at the University of British Columbia and Charles S. Peirce Visiting Professor of Logic in the Group on Logic and Computational Science, King's College London. He has two forthcoming books on fiction - an edited volume, Fictions and Models: New Essays, and a research monograph, Sherlock's Member: New Perspectives on the Semantics of Fiction, both to appear in 2010. (shrink)

We examined Confucian moral philosophy, primarily the Analects, to determine how Confucian ethics could help managers regulate their own behavior (self-regulation) to maintain an ethical standard of practice. We found that some Confucian virtues relevant to self-regulation are common to Western concepts of management ethics such as benevolence, righteousness, wisdom, and trustworthiness. Some are relatively unique, such as ritual propriety and filial piety. We identify seven Confucian principles and discuss how they apply to achieving ethical self-regulation in management. In addition, (...) we examined some of the unique Confucian practices to achieve self-regulation including ritual and music. We balanced the framework by exploring the potential problems in applying Confucian principles to develop ethical self-regulation including whistle blowing. Confucian moral philosophy offers an indigenous Chinese theoretical framework for developing ethical self-regulation in managers. This is relevant for managers and those who relate to managers in Confucian-oriented societies, such as China, Korea, Japan, and Singapore. We recommend further research to examine if the application of the Confucian practices outlined here actually work in regulating the ethical behavior of managers in modern organizations. (shrink)

I argue that in order to apply the most common type of criteria for logicality, invariance criteria, to natural language, we need to consider both invariance of content—modeled by functions from contexts into extensions—and invariance of character—modeled, à la Kaplan, by functions from contexts of use into contents. Logical expressionsshould be invariant in both senses. If we do not require this, then old objections due to Timothy McCarthy and William Hanson, suitably modified, demonstrate that content invariant expressions can display intuitive (...) marks of non-logicality. If we do require this, we neatly avoid these objections while also managing to demonstrate desirable connections of logicality to necessity. The resulting view is more adequate as a demarcation of the logical expressions of natural language. (shrink)

The problem of the many threatens to show that, in general, there are far more ordinary objects than you might have thought. I present and motivate a solution to this problem using many-one identity. According to this solution, the many things that seem to have what it takes to be, say, a cat, are collectively identical to that single cat.

According to Schopenhauer’s compensation argument for pessimism, the non-existence of the world is preferable to its existence because no goods can ever compensate for the mere existence of evil. Standard interpretations take this argument to be based on Schopenhauer’s thesis that all goods are merely the negation of evils, from which they assume it follows that the apparent goods in life are in fact empty and without value. This article develops a non-standard variant of the standard interpretation, which accepts the (...) relevance of the negativity thesis but rejects that the argument assumes that life’s goods are all empty and valueless. Instead, it argues that whatever value negative goods might possess, they do not have the kind of value to compensate for positive evils. This involves additional development of the negativity thesis and a defence of it against objections from Byron Simmons (2021). (shrink)

In this paper we argue that the consensus around normative standards for the ethics of research in clinical trials, strongly influenced by the Declaration of Helsinki, is perceived from various quarters as too conservative and potentially restrictive of research that is seen as urgent and necessary. We examine this problem from the perspective of various challengers who argue for alternative approaches to what ought or ought not to be permitted. Key themes within this analysis will examine these claims and argue (...) they have implications for the interests of the research subject, research governance and regulation. Using our work with TREAT-NMD, the neuromuscular clinical trials network, we posit that there is a place for advancing the discourse of moral rights and moral duties in the context of research, especially from the perspective of patients and their families, and for including the politics of patient activism and empowerment. At the same time we remain vigilant to the danger that the therapeutic misconception and other serious vulnerabilities for the patient population in clinical trials, are at risk of being overlooked. (shrink)

In 1902 there arrived in Jena a letter from Russell laying out a proof that shattered Frege’s confidence in logicism, which is widely taken to be the doctrine according to which every truth of arithmetic is re-expressible without relevant loss as a provable truth about a purely logical object. Frege was persuaded that Russell had exposed a pathology in logicism, which faced him with the task of examining its symptoms, diagnosing its cause, assessing its seriousness, arriving at a treatment option, (...) and making an estimate of future prospects. The symptom was the contradiction that had crept into naïve set theory in the form of the set that provably is and is not its own member. The diagnosis was that it is caused by Basic Law V of the Grundgesetze (Frege, In: Grundgesetze der Arithmetik: Begrifsschriftlich abgeleitet, Jena: Herman Pohle, 1893/1903. Translated into English as Basic Laws of Arithmetic, also edited by Philip A. Ebert and Marcus Rossberg, with Crispin Wright, Oxford: Oxford University Press, 2013). Triage answers the question, “How bad is it?” The answer was that the contradiction irreparably destroys the logicist project. The treatment option was nil. The disease was untreatable. In due course, the prognosis turned out to be that a scaled-down Fregean logic could have an honourable life as a theory inference for various domains of mathematical discourse, but not for domains containing the logical objects required for logicism. Since there aren’t such objects, there aren’t such domains. On the face of it, Frege’s logicist collapse is astonishing. Why wouldn’t he have repaired the fault in Law V and gone back to the business of bringing logicism to an assured realization? In the course of our reflections, we will have nice occasion to consider the good it might have done Frege to have booked some time with Aristotle had he been able to. By the time we’re finished, we’ll have cause to think that in the end the Russell might well have begged the question against Frege. (shrink)

Machine generated contents note: -- Clinical Theory -- 1. Psychiatry on schizophrenia: clinical pictures of a sublime object -- 2. Schizophrenia: the sublime text of psychoanalysis -- Cultural Theory -- 3. Antipsychiatry: schizophrenic experience and the sublime -- 4. Anti-Oedipus and the politics of the schizophrenic sublime -- 5. Schizophrenia, modernity, postmodernity -- 6. Postmodern schizophrenia -- 7. Glamorama, postmodernity and the schizophrenic sublime -- Conclusion.

In Understanding Social Action, Promoting Human Rights, editors Ryan Goodman, Derek Jinks, and Andrew K. Woods bring together a stellar group of contributors from across the social sciences to apply a broad yet conceptually unified array of advanced social science research concepts to the study of human rights and human rights law.

This essay is an explication and analysis of the work of Sergei Kotliarevskii, a major Russian liberal theorist, focusing on his 1915 treatise Vlast’ i pravo. Problema pravovogo gosudarstva (Power and Law: The Problem of the Lawful State). Although the “lawful state” has long been a subject of interest and controversy (even at the definitional level) among historians and political scientists, curiously Kotliarevskii has not received the attention he deserves. His study of the concept of the lawful state, which for (...) him was integrally related to the ideal of the rule of law, is an important Russian contribution to the history and philosophy of law and the state. This essay explores the philosophical sources and contexts of his work; his understanding of the relationship among power, law, and thestate; his thesis that religious ideas and institutions were most important in the historical development of legal consciousness; his consideration of the modern constitutional state; and his conviction that personhood—the absolute value and dignity of the human person—was the ultimate justification for the rule of law. (shrink)

The logic of fiction has been a stand-alone research programme only since the early 1970s.1 It is a fair question as to why in the first place fictional discourse would have drawn the interest of professional logicians. It is a question admitting of different answers. One is that, since fictional names are “empty”, fiction is a primary datum for any logician seeking a suitably comprehensive logic of denotation. Another answer arises from the so-called incompleteness problem, exemplified by the fact (or (...) apparent fact) that some fictional sentences – think of “Sherlock Holmes’ mother was nick-named ‘Polly’” − are neither true nor false. These are sentences to command the attention of logicians who work on non-bivalent logics. A further spur to logical engagement is the supposed fictionality of certain kinds of ideal models in science and certain classes of mathematical objects. No doubt, there are other features of fictional discourse that provide the logician with a natural entré, but perhaps it would also be correct to say that the fiction’s biggest draw for logicians is that our quite common beliefs about the fictional constitute what Nicholas Rescher calls “aporetic clusters”, so named after the Latinized Greek aporos for “impassable”.2 An aporetic cluster is a set of claims such that.. (shrink)