This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also amo...

In his Languages of Art, Nelson Goodman proposes a theory of artistic notation that includes foundational requirements for any system of symbols we might use to specify and communicate the features of an artwork, in architecture or any other art form. Goodmans' theory usefully explains how notation can reveal linguistic-like phenomena of various art forms. But not all art forms can enjoy benefits of a full-blown notational system, in Goodman's view, and he suggests that architecture's symbol systems fall short (...) in this regard. It is a shortcoming of architecture, he believes, that its notation cannot communicate the sum of a given work's essential features. Against this view it may be argued that artworks are generally and inimically historical in character, such that an inability to capture this dimension may result in a failure to pick out the identity of a work. As a consequence, the suggestion of that inability looks like a shortcoming of the general notational theory rather than of the art form or its notation per se. I defend Goodman's background formalism against the criticism that an ahistoricist notation cannot possibly be adequate. But I reject his view that no actual architectural notation can satisfy the formal criteria of his theory. In particular, I propose that the foundational theory for Computer Aided Design (CAD) described by the architect William Mitchell satisfies Goodman's criteria and so yields a notation that enables communication of an architectural work's essential features. If, as I suggest, such a notation is feasible, then we have an additional result that Goodman foresees: a means of abstracting future architectural works from their historical contexts. This in turn yields a consequence at which Goodman only hints-that such architectural works can be intellectually grasped and physically constructed along purely formalist lines. One practical result here is that we introduce economical solutions to architectural design. On a theoretical level, we also expose the inessential character of historical properties to creating or understanding architecture, at least with respect to future possible works. (shrink)

With this third edition of Nelson Goodman's The Structure of Appear ance, we are pleased to make available once more one of the most in fluential and important works in the philosophy of our times. Professor Geoffrey Hellman's introduction gives a sustained analysis and appreciation of the major themes and the thrust of the book, as well as an account of the ways in which many of Goodman's problems and projects have been picked up and developed by others. Hellman (...) also suggests how The Structure of Appearance introduces issues which Goodman later continues in his essays and in the Languages of Art. There remains the task of understanding Good man's project as a whole; to see the deep continuities of his thought, as it ranges from logic to epistemology, to science and art; to see it therefore as a complex yet coherent theory of human cognition and practice. What we can only hope to suggest, in this note, is the b. road Significance of Goodman's apparently technical work for philosophers, scientists and humanists. One may say of Nelson Goodman that his bite is worse than his bark. Behind what appears as a cool and methodical analysis of the conditions of the construction of systems, there lurks a radical and disturbing thesis: that the world is, in itself, no more one way than another, nor are we. It depends on the ways in which we take it, and on what we do. (shrink)

James Ross developed a simple and powerful argument for the immateriality of the intellect, an argument rooted in the Aristotelian-Scholastic tradition while drawing on ideas from analytic philosophers Saul Kripke, W. V. Quine, and Nelson Goodman. This paper provides a detailed exposition and defense of the argument, filling out aspects that Ross left sketchy. In particular, it elucidates the argument’s relationship to its Aristotelian-Scholastic and analytic antecedents, and to Kripke’s work especially; and it responds to objections or potential (...) objections to be found in the work of contemporary writers like Peter Dillard, Robert Pasnau, Brian Leftow, and Paul Churchland. (shrink)

Rastreamos doctrinas unamunianas del Otro en el Edipo, rey de Sólbeles y en el Sofista platónico, edípico hacia el «padre» Parménides al filosofar sobre lo otro (té `ttapov). Examinamos el platonismo del Otro en Del setííimie,zío trágico, en las acotaciones de Unamuno a la tragedia de Sófocles y en su propio drama El Otro.

This volume is fourth in the series of annuals created under the auspices of The Association for Feminist Ethics and Social Theory (FEAST). The topics covered herein-from peacekeeping and terrorism, to sex trafficking and women's paid labor, to poverty and religious fundamentalism-are vital to women and to feminist movements throughout the world.

Implicit bias is one of the most successful cases in recent memory of an academic concept being translated into practice. Its use in the National Science Foundation ADVANCE program—which seeks to promote gender equality in STEM careers through institutional transformation—has raised fundamental questions about organizational change. How do advocates translate theories into practice? What makes some concepts more tractable than others? What happens to theories through this translation process? We explore these questions using the ADVANCE program as a case study. (...) Using an inductive, theory-building approach and combination of computational and qualitative methods, we investigate how the concept of implicit bias was translated into practice through the ADVANCE program and identify five key features that made implicit bias useful as a change framework in the academic STEM setting. We find that the concept of implicit bias works programmatically because it is demonstrable, relatable, versatile, actionable, and impartial. While enabling the concept’s diffusion, these characteristics also limit its scope. We reflect on implications for gender theories of organizational change and for practitioners. (shrink)

The essays in this collection in honor of Pierre Bourdieu gather loosely under the rubric of 'cultural production' and around three central themes: the ...

O presente trabalho pretende situar o conceito da amizade em Montaigne. Desse modo, da amizade nasce a justiça, porque as pessoas amam reciprocamente. Elas têm como referência a comunicação. Esta indica uma nova imagem das pessoas: a fraternidade, que promove a comunhão e partilha de ideias e experiências. A análise do texto permitirá reflexões sobre o sentido maior da amizade à luz da imagem da família, da amizade e da fraternidade.

We argue that concentration of power in religious hospitals threatens disestablishment values. When hospitals deny care for religious reasons, they dominate patients’ bodies and convictions. Health law should — and to some extent already does — constrain such religious domination.

A study of contemporary America's demand for the cultural confidence game of performance politics.

The concept of God's acting in the world has been seen to be problematic in light of the claims of scientific knowledge that the regularity of a law like universe rules out divine action. There are resources in both scientific knowledge and religion that can render meaningful and credible divine action. The new physics, chaos theory, cognitive psychology, and the concept of top‐down causation are used to understand how God acts in the world. God's action is not an intervention, but (...) is understood on the model of how the mind influences the brain in a downward causative manner. Suggestions for imagining God's actions are discussed. (shrink)