Do our lives have meaning? Should we create more people? Is death bad? Should we commit suicide? Would it be better if we were immortal? Should we be optimistic or pessimistic? Life, Death, and Meaning brings together key readings, primarily by English-speaking philosophers, on such 'big questions.'.

Biological evolution provides a creative fount of complex and subtle adaptations, often surprising the scientists who discover them. However, because evolution is an algorithmic process that transcends the substrate in which it occurs, evolution’s creativity is not limited to nature. Indeed, many researchers in the field of digital evolution have observed their evolving algorithms and organisms subverting their intentions, exposing unrecognized bugs in their code, producing unexpected adaptations, or exhibiting outcomes uncannily convergent with ones in nature. Such stories routinely reveal (...) creativity by evolution in these digital worlds, but they rarely fit into the standard scientific narrative. Instead they are often treated as mere obstacles to be overcome, rather than results that warrant study in their own right. The stories themselves are traded among researchers through oral tradition, but that mode of information transmission is inefficient and prone to error and outright loss. Moreover, the fact that these stories tend to be shared only among practitioners means that many natural scientists do not realize how interesting and lifelike digital organisms are and how natural their evolution can be. To our knowledge, no collection of such anecdotes has been published before. This paper is the crowd-sourced product of researchers in the fields of artificial life and evolutionary computation who have provided first-hand accounts of such cases. It thus serves as a written, fact-checked collection of scientifically important and even entertaining stories. In doing so we also present here substantial evidence that the existence and importance of evolutionary surprises extends beyond the natural world, and may indeed be a universal property of all complex evolving systems. (shrink)

The arguments contained in books criticizing American social scientists by C. Wright Mills ( The Sociological Imagination) and Bernard Crick (The Science of American Politics) are discussed, compared and criticized. It is argued that Mills' criteria of evaluation and constructive alternatives to the tendencies he criticizes are immeasurably sounder than those found in Crick's book. An effort to supplement Mills' argument by providing a more explicit statement of its moral underpinnings is made. Finally, it is argued that though both (...) critiques have serious empirical flaws, the authors have undeniably demonstrated that important tendencies for irresponsible thought and action do exist within the American social sciences. (shrink)

This book is a comprehensive and unique text and reference in medical ethics. By far the most inclusive set of primary documents and articles in the field ever published, it contains over 100 selections. Virtually all pieces appear in their entirety, and a significant number would be difficult to obtain elsewhere. The volume draws upon the literature of history, medicine, philosophical and religious ethics, economics, and sociology. A wide range of topics and issues are covered, such as law and medicine, (...) truth-telling by the physician, research, population policy, genetics, abortion, dying, and individual rights in medical care. The selections span the centuries, beginning with material from the works of Hippocrates, continuing through Thomas Percival, John Stuart Mill, and Claude Bernard, down to modern commentators like Henry K. Beecher, Walsh McDermott, David L. Bazelon, Paul Freund, H. L. A. Hart, John Rawls, Paul Ramsey, Richard McCormick, Rashi Fein, and Bernard Barber. The text has eight major divisions, beginning with sections on the ethical dimensions of the physician-patient relationship in history; the moral bases of medical ethics; and regulation, compulsion, and protection of the consumer in clinical medicine and public health. Each of these sections includes key essays that appear for the first time. All of the book's major divisions contain primary documents: codes such as the Hippocratic Oath, Medieval Law for the Regulation of Medicine, and the first as well as the most recent code of the American Medical Association; court decisions, including those on Karen Quinlan and on abortion in the United States and West Germany; government documents such as the statement of the National Commission on the Protection of Human Subjects, the Tuskegee Syphilis Report, the British Parliamentary debate on euthanasia, and the Council of Europe on rights of the sick and dying; and various published guidelines such as the Harvard Medical School brain death criteria, the American Hospital Association on patient's rights, and Pope Pius XII on the prolongation of life. Cases that illustrate moral dilemmas are provided for discussion purposes. Each section is preceded by a succinct editor's introduction. The documents and essays are of practical value for practitioners and students in medicine, law, ethics, and counselling, and for individual patients and groups concerned with medical care. Through encompassing divergent viewpoints, the essays and primary documents were selected to encourage humane practices and deepen understanding of the multiple traditions that shaped and do shape the development of medicine. (shrink)

How can literature, which consists of nothing more than the description of imaginary events and situations, offer any insight into the workings of "human reality" or "the human condition"? Can mere words illuminate something that we call "reality"? Bernard Harrison answers these questions in this profoundly original work that seeks to re-enfranchise reality in the realms of art and discourse. In an ambitious account of the relationship between literature and cognition, he seeks to show how literary fiction, by deploying (...) words against a background of imagined circumstances, allows us to focus on the roots, in social practice, of the meanings by which we represent our world and ourselves. Engaging with philosophers and theorists as diverse as Wittgenstein, Sartre, Merleau-Ponty, Foucault, Derrida, F. R. Leavis, Cleanth Brooks, and Stanley Fish, and illustrating his ideas through readings of works by Swift, Woolf, Appelfeld, and Dickens, among others, this book presents a systematic defense of humanism in literary studies, and of the study of the Humanities more generally, by a distinguished scholar. (shrink)

Recent years have witnessed a rehabilitation of early German Romanticism in philosophy, including a renewed interest in Romantic ethics. Friedrich Schlegel (1772–1829) is acknowledged as a key figure in this movement. While significant work has been done on some aspects of his thought, his views on ethics have been surprisingly overlooked. This essay aims to redress this shortcoming in the literature by examining the core themes of Schlegel’s ethics during the early phase of his career (1793–1801). I argue that Schlegel’s (...) position stands out against both the dominant Kantianism of his era, as well as against some of fellow Romantics. I show how Schlegel anticipates contemporary philosophers such as Bernard Williams, Harry Frankfurt, John McDowell, and Stanley Cavell in both his criticisms of traditional moral theory and in his attempts to develop a positive position. (shrink)

The first part of my hypothesis, then, is simple enough, and would be accepted in principle by most students of Plato: the dramatic structure of the dialogues is an essential part of their philosophical meaning. With respect to the poetic and mathematical aspects of philosophy, we may distinguish three general kinds of dialogue. For example, consider the Sophist and Statesman, where Socrates is virtually silent: the principal interlocutors are mathematicians and an Eleatic Stranger, a student of Parmenides, although one who (...) is not always loyal to his master's teaching of what might be called monadic homogeneity. In these dialogues, the mathematical character of philosophy is not merely emphasized but exaggerated, and any attempt to interpret them must take this fact into account. Otherwise, we shall not be able to understand why the Stranger seems to classify the general's art in the same species of the genus hunting as the louse catcher. The significance of this step, which does not stem from humanitarian considerations, but rather illustrates how the human becomes invisible from the mathematical viewpoint, contributes its share to the obscurity of these two dialogues. Second, there are dialogues like the Phaedrus and Symposium, in which the style, the interlocutors, and even the subject-matter seem to be largely poetic and rhetorical. Here, the overwhelming impression is of enthusiasm, divine madness, and intoxication in speech and deed. Finally, there are dialogues like the Philebus and Republic, in which it is not so easy to say whether poetry or mathematics predominates, if indeed either may be said to do so. (shrink)

A conference sponsored by the U.S. National Institutes of Health in 1995 proposed 13 categories by which alternative and complementary medical systems could be described. This model was applied to Filipino Christian Spiritist (Espiritista) Healing, a folk healing system that dates back hundred of years. This system was found to match each of the model's categories, providing a framework in which future research projects could be designed. The utility of this model speaks well for the sophistication of Espiritista healing, even (...) though its effectiveness is still an open question. (shrink)

(2013). Encounter with a Wizard. World Futures: Vol. 69, The Complexity of Life and Lives of Complexity, pp. 290-310.

Un ouvrage de Gaston Pineau, intitulé Produire sa vie. Autoformation et autobiographie a mis Bernard Honoré en chemin d'une réflexion sur le double enracinement de la formation en soi-même (autoformation) et hors de soi, par les autres et par l'environnement (hétéroformation). Ce chemin l'a amené à voir dans les histoires de vie un important courant de recherche méthodologique dans la découverte du sens de la formation en ses diverses pratiques. Puisse ce livre amener le lecteur sur une voie réflexive (...) analogue, le conduisant à explorer le sens des pratiques formatives dans lesquelles il est engagé. L'expérience d'une ouverture à la dimension existentielle de la formation par la pratique des histoires de vie, en référence à 1'autoformation, devrait inciter à questionner le sens d'un parcours en formation. (shrink)

Bernard Rosen argues Mill's critics and supporters address one level or another, often without noting which one it is. The positions of important ethical theorists who have been influenced by, or who criticize Mill are presented."--BOOK JACKET.

À l'heure où le débat sur la fin de vie resurgit, Bernard Sportès nous ouvre de nouveaux horizons, dépasse les arguments simplistes et nous aide à comprendre tabous et angoisses. Son analyse, ancrée dans son expérience des fins de vie, nous rappelle que cet accompagnement ultime doit bien rester un soin. Sa vision humaniste se refuse à ces morts administrées selon des critères médicaux prédéfinis, auxquelles il oppose une mort accompagnée, assistée jusqu'aux derniers instants. Cette proposition, nouvelle dans ce (...) vieux débat, prend acte de l'évolution de nos mœurs et place le respect de la volonté au-dessus de toute autre considération. Prééminence d'une volonté trop souvent confondue avec de simples opinions. Émerge ainsi la possibilité qu'une aide à mourir s'inscrive dans la poursuite d'une prise en charge. Le législateur devra l'organiser dans la confiance en la maturité des soignants et des patients, s'éloigner du réglementaire, encourager une pensée collective et supervisée. Nos fins de vies réclament une République fraternelle qui n'abandonne personne, une médecine d'équipe qui résiste au modèle industriel où on l'entraine. Bernard Sportès nous livre finalement un message simple : nous ne mourrons pas mieux tant que nous n'aurons pas bâti cette médecine de la personne qu'il décrit et propose."--Page 4 of cover. (shrink)

Cet article a déjà paru dans les Cahiers philosophiques, mars 2000, n° 82, p. 5-22, puis de nouveau dans un numéro hors-série consacré au « Plaisir », 2012, p. 7-21. Nous remercions les Cahiers et Bernard Sève de nous avoir autorisé à le reproduire ici. Le chapitre 4 de la Poétique indique, dès sa première phrase, que l'art poétique doit sa naissance « à deux causes, toutes deux naturelles ». La première cause est immédiatement précisée et analysée : il (...) s'agit de la tendance à l'imitation, présente - Poétique et Études littéraires – GALERIE – Nouvel article. (shrink)

The World of Berossos. Edited by Johannes Haubold; Giovanni B. LanfranchI; Robert Rollinger; and John Steele. Classica et Orientalia, vol. 5. Wiesbaden: Harrassowitz Verlag, 2013. Pp. 332. €58.

We first define a class of processes which we call regular quantum Markov processes. We next prove some basic results concerning such processes. A method is given for constructing quantum Markov processes using transition amplitude kernels. Finally we show that the Feynman path integral formalism can be clarified by approximating it with a quantum stochastic process.

Because English faculty are the ones most commonly trusted with the historic, aesthetic, and ideological study of verbally based art forms, they are the ones who will ultimately decide the fate of studies in American phonographic rhapsody . Thus, it is a significant problem that English faculty neither study American rhapsody nor receive training in the art and science of analytic listening, a prerequisite to the successful study of U.S. recorded poetic sound art. More importantly, they have failed to develop (...) field related information and understanding necessary to the development of criticisms of American phonographic rhapsody. This dissertation seeks to redress the present circumstance by providing English faculty with the kinds of rudimentary, foundational knowledges they would need if they were to open the history of U.S. recorded sound poetries to academic inquiry. Chapter One establishes that English faculty turned their back on sound art studies for reasons having nothing to do with the historic importance, artistic merit, and ideological content of poetic sound art. Rather, departments of English, under the direction of an extra-literary historical process, encountered and passed over the historic study of American recorded sound art without ever knowing why they did it. Chapter Two proceeds from the newly established position that English faculty are unjustified in their continued neglect of American phonographic rhapsody. Having noted that English faculty achieve their rank without learning how to think about recorded sound as an object of investigation, the chapter offers a short treatise on the fundamental principles of sound art research which include radio and phonography are divergent modeling systems; the phonographic medium is a first content of any recording; sound art recorded prior to broadcast is recorded sound art; phonographic intention accounts for the "live radio" recording; recorded poetic sound art is "Rhapsody." In the end, this dissertation refrains from attempting to stimulate interest in poetic sound art, opting instead to lay solid historic and theoretic foundations upon which scholars may base and steady their future studies of American rhapsody. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:69. A PROPOS D'UNE DIFFICULTE LOGIQUE DANS L'ARGUMENT DE CLEANTHE L'argument de Cléanthe ("the Argument from Design", c'est-à-dire la preuve de Dieu par le dessein du monde) se fonde sur le principe que "des effets semblables prouvent des causes semblables" pour montrer que la ressemblance entre le dessein du monde et le dessein des machines amène la conclusion que la cause du dessein du monde ressemble à l'intelligence humaine. (...) Dans l'attaque de Philon contre cet argument, nous trouvons deux passages dans les Parties IV et V consacrés aux difficultés qui proviennent de l'anthropomorphisme de Cléanthe. Et le raisonnement par l'absurde de Philon prend pour point de départ cette conception anthropomorphique de Dieu: Et que dites-vous des découvertes d'anatomie, de chimie, de botanique?... - Ce ne sont certes pas là des objections, répondit Cléanthe; elles découvrent seulment de nouveaux exemples d'art et d'industrie. C'est encore l'image de l'esprit que réfléchissent sur nous d'innombrables objets. - Ajoutez: un esprit pareil à l'esprit humain, dit Philon. - Je n'en connais point d'autre, répondit Cléanthe. - Et plus it est pareil, mieux cela vaut? insista Philon. - Bien sûr, dit Cléanthe. (p. 53) La première étape de son argument s'ensuit: Eh bien, Cléanthe, dit Philon, avec un air d'allégresse et de triomphe, remarquez les conséquences. Premièrement, par cette méthode de raisonnement, vous renoncez à toute prétention à l'infinité en aucun des attributs de la Divinité. Car, puisque la cause doit seulement être proportionnée à l'effet, et que l'effet, pour autant qu'il tombe sous notre connaissance, n'est pas infini, quel droit avons-nous, selon vos suppositions, de prêter cet attribut à l'Etre divin? Vous soutiendrez encore 70. qu'en l'éloignant à ce point de toute similitude avec les créatures humaines, nous donnons dans l'hypothèse la plus arbitraire, et, en même temps, affaiblissons toutes les preuves de son existence. (p. 53) On pourrait croire que l'argument de Philon est inadmissible, soit à cause de son pyrrhonisme, soit à cause de sa doctrine sur la causalité (celle de Hume lui-même) qui n'admet pas la connaissance a priori des causes. Mais en fait l'argument déployé par Philon ne représente pas sa propre position (et n'entre donc pas en conflit avec son pyrrhonisme), et en tant qu'il fait appel à la causalité, n'est point valable. Pour voir qu'il en est ainsi, on n'a qu'à regarder sa phrase préliminaire "par cette méthode du raisonnement" ainsi que la phrase "selon vos suppositions" qui montrent que cette première étape s'ensuit de la position de Cléanthe. Pourquoi Philon met-il en avant cet argument? Ou plutôt, qu'a dit Cléanthe pour amener Philon à mettre cet argument à son compte? La response se trouve dans la version de Cléanthe de la preuve de Dieu par le dessein, dans la Partie II: "Puis donc que les effets se ressemblent entre eux, nous sommes conduits à inférer, d'après toutes les règles de l'analogie, que les causes se ressemblent également, et que l'auteur de la nature est quelque peu semblable à l'esprit de l'homme, quoique doué de facultés bien plus vastes, proportionnées à la grandeur de l'oeuvre qu'il a exécutée. Par cet argument a posteriori, et par cet argument seul, nous prouvons à la fois l'existence d'une Divinité et sa similitude avec l'esprit et l'intelligence de l'homme." (p. 26 les italiques sont de moi) C'est donc Cléanthe qui peu après le début voudrait que, dans ces cas où seul l'effet se fait observer, nous devions proportionner la cause à l'effet. 71. On pourrait m'objecter que je n'ai pas encore montré que l'argument de Philon ne l'engage pas à poser un Dieu fini qui conviendrait à l'effet fini (le dessein du monde), que son propos que "la cause devrait être proportionnée à l... (shrink)

This vol. addresses Hume's books Dialogues concerning religion and The natural history of religion, as well as several of his essays.

Eric Voegelin's new study of Greek civilization, part of his continuing study of Order and History, contains elements of both such approaches to antiquity. In briefest compass, it is Voegelin's contention that order in history depends upon the recognition of the transcendental source of order; disorder is engendered by the "immanentization" of this source. Nevertheless, the transcendental source of order, the Christian God, is experienced within history, and civilizations are evaluated in terms of their anticipation of, approach to, or withdrawal (...) from this God. In terms of Christ's revelation, Greek thought is prejudged as a defective preliminary vision of historical and metaphysical truth. Just as Christ completes the Greek vision in "existential" terms, so Thomas Aquinas remedies the faults of Greek theory. In the process of being rejected or completed, classical thought takes on a remarkably Christian appearance. Despite his conservative or transcendental intentions, Voegelin's version of Christianity places great emphasis upon history as "open" to the future, and so the christianization of the Greeks produces anachronisms of the most extreme liberalism. At the same time, however, the Greek failure to transcend either the polis as a form of temporal order or an immanent conception of Being is severely criticized. (shrink)

What did Plato contribute to the philosophy of art? What do Pascal's Pensees really say? Everyone knows the names of these philosophers, but few really understand the ideas at the core of western philosophy. In this treasury of western thought, the primary sources speak for themselves. Over 35 excerpts from important philosophers -- including Aristotle and Hume, as well as contemporary thinkers -- offer a solid introduction to philosophy for the curious reader. Leading scholars have carefully chosen the selections, which (...) are arranged according to major discipline, including Philosophy of Religion, Philosophy of Art and Aesthetics, and Metaphysics. These experts have contributed a provocative introductions in their areas of expertise. Unlike other philosophy collections, this book is not a history, a secondary source, or a quick reference. It stands out as an intelligent and accessible compilation of primary source material. (shrink)