How does science work? _Making Truth: Metaphor in Science_ argues that most laypeople, and many scientists, do not have a clear understanding of how metaphor relates to scientific thinking. With stunning clarity, and bridging the worlds of scientists and nonscientists, Theodore L. Brown demonstrates the presence and the power of metaphorical thought. He presents a series of studies of scientific systems, ranging from the atom to current topics in chemistry and biology such as protein folding, chaperone proteins, and global (...) warming. These case studies provide the basis for far-reaching conclusions about science as an intellectual and social practice and about the nature of scientific truth. (shrink)

According to four dimensionalism, the material world is divided into momentary stages. In a four-dimensional world, which objects are the ordinary things, the things we normally name and quantify over? Aggregates of stages, according to most four-dimensionalists, but according to stage theorists (or exdurantists), ordinary objects are instead to be identified with the stages themselves. (A temporal counterpart theoretic account of de re temporal predication is then given.) This paper argues that a stage theorist is best positioned to accept David (...) Lewis's argument from temporary intrinsics for four-dimensionalism, since stage theorists are the only four-dimensionalists who attribute monadic temporary intrinsic properties to ordinary things. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

A view of Heidegger's divergence from the traditional philosophies of reason.

This paper investigates the ontological presuppositions of quantifier logic. It is seen that the actual infinite, although present in the usual completeness proofs, is not needed for a proper semantic foundation. Additionally, quantifier logic can be given an adequate formulation in which neither the notion of individual nor that of a predicate appears.

An elaboration in detail of the contention made in an earlier paper 1 that quantifier logic can be given an adequate formulation in which neither the notion of an individual nor that of a predicate appears. The logic is compatible with either an infinitistic or non-infinitistic completeness theorem.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 173-187 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz After Jazz: Ken Burns and the Construction of Jazz History Theodore Gracyk As all action is by its nature to be figured as extended in breadth and in depth, as well as in length; and so spreads abroad on all hands... so all narrative is, by its nature, of only one dimension; (...) only travels forward towards one, or towards successive points; narrative is linear, action is solid. Alas for our "chains" or chainlets, of "causes and effects." —Thomas Carlyle, "On History," 1830 Jazz and freedom are synonyms. —Mezz Mezzrow I JAZZ, A FILM BY KEN BURNS is a fascinating and monumental achievement. In this essay, I identify and critique some of the project's core assumptions. My principal target is the assumption that a specific essence of jazz underlies most (but not all) of the music that is regularly identified as jazz and that the historical unfolding of this essence is the true subject of a historical investigation of jazz. This assumption accounts for the project's otherwise puzzling suggestion that jazz history ended approximately thirty-five years ago.The most visible element of the historical project is the ten-part, nineteen-hour documentary, Jazz: A Film by Ken Burns. However, the historical project has three other public elements. The first is a book, Jazz: A History of America's Music. 1 Credited to both Geoffrey C. Ward and Ken Burns, the bulk of the book is the film's spoken text, which includes both a unifying narrative and numerous quotations. The book makes it clear that this text is primarily Ward's work. Second, there is a website that makes available extensive transcripts of many of the [End Page 173] seventy-five interviews conducted for use in the film. Third, there is a set of twenty-two compact discs, each giving an overview of an important jazz musician (e.g., one devoted to Count Basie, one devoted to Dizzy Gillespie). Highlights of these discs have, in turn, been assembled into a five-disc box set called Ken Burns Jazz. My aim is to reveal and examine the conceptual scaffolding that supports and organizes this vast, multifaceted project.What is the principal assumption of this historical project? The project consistently emphasizes the music's capacity to give audible embodiment to the idea of American democracy. At the same time, the project is less than forthcoming about the aesthetic assumptions embraced by Ward and Burns. Familiar and predictable arguments are introduced to justify the appellation of "art" and to address the issue of the purported death of jazz in the 1970s. However, these two strands of the larger argument may be at cross-purposes with the principal assumption and the ideology that jointly justify the project's status as jazz history.Let me begin by describing the principal assumption in some detail. While there is no reason to suppose that its source is Ken Burns or his chief collaborator, historian Geoffrey Ward, the following blurb was used to advertise the project: Jazz has been called the purest expression of American democracy; a music built on individualism and compromise, independence and cooperation. Join us for an exploration of jazz, America's greatest cultural achievement. In keeping with this theme, the narration and principal interviewees of the film are positioned to emphasize that jazz is an audible embodiment of the idea of American democracy. Let us call this idea the democracy thesis. It is placed as a frame around the whole film: Wynton Marsalis announces it in the opening minutes of the first episode, and then he reiterates it in fresh words at the end of the last episode. Although it is repeated with numerous variations, the democracy thesis proposes that jazz involves an ideal of democratic America, not the fact of life in America: jazz, Wynton Marsalis assures us, is "a glimpse of what America is going to be when it becomes itself. And this music tells you that it will become itself." 2 Jazz... (shrink)

This essay details David Hume’s complex contextualist account of aesthetic properties. Focusing mainly on the essay “Of the standard of taste”, I argue that Hume’s account of aesthetic properties anticipates many points advanced in Kendall Walton’s 1970 essay “Categories of art”, most notably the thesis that proper detection of most aesthetic properties depends on awareness of which nonaesthetic properties are standard, contra-standard, and variable for the relevant category of art. Consequently, they both reject the position we now describe as aesthetic (...) empiricism. Yet there are also distinctive aspects of Hume’s account. Most notably, Hume holds that delicacy of imagination is involved in avoiding prejudice when perceiving nonaesthetic properties. He also proposes that aesthetic terms such as “beauty” and “elegance” capture positively valenced thick concepts because aesthetic properties are necessarily (in part) value properties. (shrink)

The philosophically rich David Bowie is an artist of wide and continuing influence. The theatrical antics of Bowie ushered in a new rock aesthetic, but there is much more to Bowie than mere spectacle. The visual belies the increasing depths of his concerns, even at his lowest personal moments. We never know what lies in store in a Bowie song, for there is no point in his nearly 30 albums at which one can say, "That's typical Bowie!" Who else has (...) combined techno and hard rock, switched to R&B love songs (with accompanying gospel) to funk to jazz-rock fusion and back again? Among the topics explored inDavid Bowie and Philosophy are the nature of Bowie as an institution and a cult; Bowie's work in many platforms, including movies and TV; Bowie's spanning of low and high art; his relation to Andy Warhol; the influence of Buddhism and Kabuki theater; the recurring theme of Bowie as a space alien; the dystopian element in Bowie's thinking; the role of fashion in Bowie's creativity; the aesthetics of theatrical rock and glam rock; and Bowie's public identification with bisexuality and hisinfluence within the LGBTQ community. (shrink)

This is a brief critical assessment of Richard Gale’s treatment of arguments for God’s non-existence which make appeal to the concept of omnipotence. I mostly agree with what Gale says, but have found some additional issues worth exploring.

Gadamer's philosophical hermeneutics cannot fully be understood without the contour his project receives from his relation to Kant's third Critique of Judgmentand Hegel's absolute idealism. Although Gadamer's deepest ties are to Heidegger, his thought also remains shaped greatly by the Greeks, especially Plato and Aristotle, as well as figures and themes in the classical age of German philosophy from Kant to Hegel. This chapter discusses two crucial points of Gadamer's approach to German idealism. The first is the debt he owes (...) to Kant's third Critique for his own elucidation of the hermeneutical experience of truth, and, second is the debt that he owes to aspects of Hegel's absolute idealism for his own notion of hermeneutical self‐knowledge. The chapter shows that Gadamer, in his approach to both Kant's third Critique and Hegel's absolute idealism, focuses on themes that allow him to emphasize the forms of finitude he believes guide hermeneutical experience. (shrink)

To show that something is “possible” or “impossible” does not seem, for Hegel, to be a genuine concern for philosophy. In point of fact, “everything is possible,” because everything has the simple form of identity-with-itself, i.e., does not contradict itself, - and it is equally true that “everything is impossible,” because, in any concrete content, the determinacy can be taken as determined opposition and so as contradiction. Hegel therefore concludes that there is “no emptier talk” than that of such “possibilities” (...) and “impossibilities”. (shrink)

Journal of Mass Media Ethics, Volume 27, Issue 3, Page 214-215, July-September.

Kripke's objections to descriptivism may be modified to apply to Scott Soames's pragmatic account from his book Beyond Rigidity. Further, intuitions about argument-validity threaten any theory in the vicinity of Soames's.

Religion is a racialized category, even when race is not explicitly mentioned. In Modern Religion, Modern Race Theodore Vial argues that because the categories of religion and race are rooted in the post-Enlightenment project of reimagining what it means to be human, we cannot simply will ourselves to stop using them. Only by acknowledging that religion is already racialized can we begin to understand how the two concepts are intertwined and how they operate in our modern world.It has become (...) common to argue that the category religion is not universal, or even very old, but is a product of Europe's Enlightenment modernization. Equally common is the argument that religion is not an innocent category of analysis, but is implicated in colonial regimes of control and as such plays a role in Europe's process of identity construction of itself and of non-European. (shrink)

"An indispensable book for those who would relate Dreiser's philosophy to his fiction." --Antioch Review.

What is the significance of hermeneutics at the intersections of ethics, politics and the arts and humanities? In this book, George -/- - Discusses how hermeneutics offers ways to develop an ethics - Makes the case for the relevance of contemporary hermeneutics for current scholarly discussions of responsibility within continental European philosophy - Contributes a new, ethically inflected approach to current debate within post-Gadamerian hermeneutics - Extends his analysis to the practice of living and covers animals, art, literature and translation (...) -/- Few topics have received broader attention within contemporary philosophy than that of responsibility. Theodore George makes a novel case for a distinctive sense of responsibility at stake in the hermeneutical experiences of understanding and interpretation. -/- George argues for the significance of this hermeneutical responsibility in the context of our relations with things, animals and others, as well as political solidarity and the formation of solidarities through the arts, literature and translation. (shrink)

The historical variation of scientific knowledge has lent itself to the development of historical epistemology, which attempts to historicize the origin and establishment of knowledge claims. The questions I address in this paper revolve around the historicity of the objects of those claims: How and why do new scientific objects appear? What exactly comes into being in such cases? Do scientific objects evolve over time and in what ways? I put forward and defend two theses: First, the ontology of science (...) is so rich and variegated that there are no universally valid answers to these questions. Second, we need a pluralist account of scientific objects, a pluralist metaphysics that can do justice to their rich diversity and their various modes of being and becoming. I then focus on hidden objects, which are supposed to be part of the permanent furniture of the universe, and I discuss their birth and historicity: They emerge when various phenomena coalesce as manifestations of a single hidden cause and their representations change over time. Finally, I examine the conditions under which an evolving representation may still refer to the same object and I illustrate my argument drawing upon the early history of electrons. (shrink)