David Hume and other philosophers doubt that causality can be perceived directly. Instead, observers become aware of it through inference based on the perception of the two events constituting cause and effect of the causal relation. However, Hume and the other philosophers primarily consider causal relations in which one object triggers a motion or change in another. In this paper, I will argue against Hume’s assumption by distinguishing a kind of causal relations in which an agent is controlling the motion (...) or change of an object. I will call this kind of causal relations ‘causation-as-control’. In instances of causation-as-control, the observer does not become aware of the causality through inference based on the perception of two events (cause and effect). Rather, she perceives the two events directly and without further inference as cause and effect of a causal relation, and, therefore, the causality at work. (shrink)

The Vienna Circle was an influential group of philosophers in the early 20th century. Its members were dedicated to do philosophy and to conduct research in accordance with the guidelines of the scientific world-conception. For some of them, Oswald Spengler was a dangerous antagonist due to the success and influence of his metaphysical philosophy of history in Der Untergang des Abendlandes and other works. In this paper, I will explore systematically the Circle’s critical reception of Spengler regarding his methodological approaches, (...) ontological positions, and political philosophy. I will, thereby, also evaluate the criticism brought forth against Spengler. (shrink)

Since Benjamin Libet’s famous experiments in 1979, the study of the will has become a focal point in the cognitive sciences. Just like Libet the scien-tists Daniel Wegner and Thalia Wheatley came to doubt that the will is causally efficacious. In their influential study I Spy from 1999, they created an experi-mental setup to show that agents erroneously experience their actions as caused by their thoughts. Instead, these actions are caused by unconscious neural pro-cesses; the agent’s ‘causal experience of will’ (...) is just an illusion. Both the scien-tific method and the conclusion drawn from the empirical results have already been criticized by philosophers. In this paper, I will analyze the action performed in I Spy and criticize more fundamentally the assumption of a ‘causal experience of will’. I will argue that the I Spy study does not show that the agent’s causal experience of will is illusory, because it does not show that there is a causal ex-perience of will. Against Wegner and Wheatley’s assumption, I will show that it is unlikely that the participants in I Spy experienced their conscious thoughts as causally efficacious for an action, that they did not perform at all. It is more likely, that they experienced their own bodily movement as causally efficacious for a cooperative action, that they did not perform solely by themselves. (shrink)

In the 1980s, physiologist Benjamin Libet conducted a series of ex-periments to test whether the will is free. Whilst he originally assumed that the will functions like an immaterial initiator of cerebral processes culminating in actions, he later began to think that it rather works like an immaterial veto inhib-iting unwanted actions by preventing unconsciously initiated cerebral processes from unfolding. Libet’s veto was widely criticized for its Cartesian dualist and interactionist implications. However, in 2016, Schultze-Kraft et al. adopted Libet’s idea (...) of an action-inhibiting veto and conducted a new experiment. Its goal was to test until which moment agents can inhibit an action that they already intended to do. Despite insisting on the material nature of the veto, the researchers also described the function of the veto in interactionist terms, namely as an act of the agent performed against her own cerebral processes. The purpose of this pa-per is to explain in which sense the veto in Libet’s and in Schultze-Kraft’s study is interactionist, and to provide a non-interactionist reinterpretation of the test subjects’ action inhibition in Schultze-Kraft’s experiment. (shrink)

Die Zwischenkriegszeit des 20. Jahrhunderts war die Hochzeit der Kulturphilosophie. Ihre zentrale Forderung nach einer Trennung der Realwissenschaften in Naturund „Kulturwissenschaften“1 stand der Unternehmung zu einer Einheitswissenschaft des Wiener Kreises diametral entgegen. Auch Moritz Schlick sprach sich Zeit seines Lebens entschieden gegen die „mächtig emporgeblüht[e]“ Mode der „Kulturwissenschaften oder Geisteswissenschaften“ (Schlick, MSGA I/6, 535) aus. Dies geht beispielhaft aus seinem Vortrag über das Verhältnis von „Philosophie und Naturwissenschaft“ (Schlick, MSGA I/6, 521–545) hervor, in dem er ausführt, dass jene „Wissenschaften vom (...) Menschlichen“ schlechthin nicht über eigene Grundbegriffe verfügten und deswegen stets auf die „ausgezeichnete Stellung des naturwissenschaftlichen Denkens“ angewiesen (Schlick, MSGA I/6, 536–538) blieben, namentlich auf die Psychologie als die „Brücke zur Geschichte und zu den Geisteswissenschaften überhaupt“ (Schlick, MSGA I/6, 525f.). Insofern könnten sie für sich nicht den Anspruch erheben, eine vom naturwissenschaftlichen „Weltbild“ verschiedene „Weltanschauung“ spekulativ zu entwerfen (Schlick, MSGA I/6, 541f.). Die Gegenstände der Kulturwissenschaften, so zeigt sich Schlick auch später noch überzeugt, seien letztlich psychologisch zu ergründende Handlungen von Menschen und stünden daher „nicht im absolutem Gegensatze […] zu den Gegenständen der Naturwissenschaften“. (shrink)

Diese Textbesprechung soll aus drei Abschnitten bestehen. Im ersten Abschnitt werde ich allgemein darauf eingehen, wie Kraatz die ersten beiden Charakterzüge der formalen Anzeige erschließt und definiert. Im zweiten Abschnitt werde ich kritisch beleuchten, wie laut Kraatz die Angst mit dem dritten Charakterzug der formalen Anzeige zusammenhängt und warum sie dem Verstehensprozess formal-anzeigender Begriffe zugrundeliegen soll. Im letzten Abschnitt werde ich noch kurz auf Teil V des Buches eingehen, worin es um die Einbettung der formalen Analyse in Heideggers allgemeine Bedeutungs- (...) und Begriffstheorie geht. (shrink)

The ethical theories employed in health care today assume, in the main, a modern Western philosophical framework. Yet the diversity of cultural and religious assumptions regarding human nature, health and illness, life and death, and the status of the individual suggest that a cross-cultural study of health care ethics is needed. A Cross-Cultural Dialogue on Health Care Ethics provides this study. It shows that ethical questions can be resolved by examining the ethical principles present in each culture, critically assessing each (...) value, and identifying common values found within all traditions, It encourages the development of global awareness and sensitivity to and respect for the diversity of peoples and their values and will advance understanding as well as help to foster a greater balance and a fuller truth in consideration of the human condition and what makes for health and wholeness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly the members (...) of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly the members (...) of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly the members (...) of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (shrink)

This paper explores the relationship between eugenics, disability, and dehumanization, with a focus on forms of eugenics beyond Nazi eugenics.

Doing Greek Philosophy conveys a vivid sense of dynamism and continuity of the Greek philosophical tradition and illustrates how interaction between Greek philosophers creates and sustains that tradition. It concentrates on a set of inter-related challenges and problems that emerged early in the tradition and moves on to the subsequent reactions to them.

The impressive variation amongst biological individuals generates many complexities in addressing the simple-sounding question what is a biological individual? A distinction between evolutionary and physiological individuals is useful in thinking about biological individuals, as is attention to the kinds of groups, such as superorganisms and species, that have sometimes been thought of as biological individuals. More fully understanding the conceptual space that biological individuals occupy also involves considering a range of other concepts, such as life, reproduction, and agency. There has (...) been a focus in some recent discussions by both philosophers and biologists on how evolutionary individuals are created and regulated, as well as continuing work on the evolution of individuality. (shrink)

Der Wandel der kulturellen Verhältnisse führt zu einer Zuspitzung des Verhältnisses von Gesellschaft und Rechtssystem. In diesem Prozess gestaltet New Political Ecology (NPE) Umwelt und Rechtssystem und ist zugleich evolutiv ausgerichtet. NPE erfährt Evolution in der Zeit als Überfluss und in eigenartiger Vernetzung als knappes Gut. Diese Verbindung basiert auf Zusammenhängen, die bisher noch nicht systematisch bearbeitet worden sind. Dabei geht es ganz wesentlich auch um das Verhältnis von Staat und moderner Risikogesellschaft. Wissenschaftlicher Fortschritt erweist sich vor diesem Hintergrund selbst (...) als ein evolutiver Prozess. (shrink)

Drawing on a passage from Ramsey's Truth and Probability, we formulate a simple, plausible constraint on evaluating the accuracy of credences: the Calibration Test. We show that any additive, continuous accuracy measure that passes the Calibration Test will be strictly proper. Strictly proper accuracy measures are known to support the touchstone results of accuracy-first epistemology, for example vindications of probabilism and conditionalization. We show that our use of Calibration is an improvement on previous such appeals by showing how it answers (...) or sidesteps problems that have been raised for previous work in this area. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 4-16 [Access article in PDF] Once More With Feeling Reconciling Discrepant Accounts of Musical Affect Bennett Reimer Northwestern University When I was sixteen, a junior in high school in Brooklyn, I auditioned for the All-City High School Band of New York and was placed as first chair clarinet. At the first rehearsal, a piece we played (I don't remember what it (...) was except that it was new to me) had a long, melodic clarinet solo, with accompaniment. When I finished playing it the director stopped the band and said, "Very nice, first clarinet. Let's do it again, this time with more feeling." Then he said, "Letter C," and we started again.I could not have known, then, that I was to spend much of my life in pursuit of some sort of clarification of what transpired in that episode, as in this paper, where I deal once more with feeling. I had no idea that his apparently simple instruction to me raised issues so complex that many of humankind's most important thinkers had struggled with them in search of a resolution, as I, infinitely more modestly, was also to do. I was unaware that philosophical blood, sweat, and tears had been spilled through the centuries in various contentions as to the relation, if any, of musical feeling to feeling outside musical experience. I knew nothing of metaphor, [End Page 4] of effability and ineffability, of embodiment and designation, of issues of authenticity of feeling, and semantic density, significant form, semiotics, the relation of feeling to emotion, to gender, to meaning, and on and on with seemingly endless and intractable debates centered on how and why and when music is related to feeling.Being unencumbered with any of this (how one longs, sometimes, to return to one's philosophical Garden of Eden), and having to play that solo again immediately, I did what my novice performer's instincts told me to do-the only thing I knew how to do-I placed more emphasis on what the notes of that melody seemed to want to do, where they seemed to want to go and how they got there. Feeling their melodic tendencies more concentratedly and making them more apparent by the way I sounded them, I felt in myself a deeper sense of union-of the music as part of my undergoing-than I had the first time. When I finished the director stopped the band again, looked at me for several seconds, and said, "Lovely, first clarinet. Very musical. Let's go on."I would not have been able at the time that event occurred to describe, as I just did, what I did and how I felt. I did not have the conceptual apparatus to do so, although I did have, luckily for me, enough intuitive musicianship to have survived that test. My description, or perhaps interpretation, of how I reacted and how I experienced it can only reflect who I am now, with the cognitive structure allowing me to understand what happened as I reflect about it. Nevertheless I believe that several important matters relating to musical feeling can be clarified in relation to how I now interpret what I experienced as a youth in that band.I am aware now that I did what I did in ignorance of the fact that I was not the first to have played that solo. If I had known about and studied previous performances by a variety of clarinetists I would have, without doubt, been influenced by their solutions to the challenge of expressive interpretation it presented. Especially if I had been guided by a sensitive teacher, I would have reflected those influences in my own sounding. Perhaps I would have imitated what seemed to me the most musical rendition. If I had done so, I am now aware, that would have been regarded, in my culture at any rate, as a sign of my novice status, a more mature stage of musicianship requiring that I both reflect... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy in the School Music ProgramBennett ReimerWho is philosophy of music education for? Several groups of people immediately spring to mind. First, it is for those of us in music education who produce it and consume it as a major or important responsibility in our work—people like members of our Special Research Interest Group at MENC. Second, teachers of music education courses at the undergraduate and graduate levels who (...) deal with it either in a full course or series of courses or seminars devoted to philosophy, or as one part of courses devoted to other topics (as I believe is most often the case.) Third, school music teachers, many of whom have taken or are taking such courses (and many who have not) who are expected to have some level of acquaintance, however rudimentary, with philosophical issues so as to be able to cope with them, as when writing curriculum guides, or explaining to other teachers, administrators, school boards, and parents why music education is valuable and deserves support. If we stretch it, we might include among those who need to be involved with philosophy of music and music education all educational professionals, since all, in one way or another, exert some sort of influence on the fortunes of music education. But that begins to strain a bit at the edges.No doubt there are other constituencies that can be identified. But one that has not been conceived as requiring substantive encounters with philosophical issues of music is that of students in schools, K-12. We all assume that philosophy can and should play a major role in determining what is most valuable for students to learn in their study of music. But seldom has it been argued, to my [End Page 132] knowledge, that philosophical issues should be addressed in all programs of music education intended to produce people who are, in any convincing sense, musically educated.My premise is that philosophical reflection relating to music and to the teaching and learning of music should be foundational in school music programs. Further, philosophy needs to be present in our programs in three distinctive ways, reflecting common practices of education in America and all over the world. That is, as integral in the general music education of all students, as a component of all elective offerings, and as one particular, focused offering among the electives available to all students.My position is that what we call "general music" (which, as we know, goes by a variety of names around the world including just "music") is not complete; in fact is invalid, if it does not provide philosophical challenges of the same level of complexity, and the same degree of authenticity, as everything else we believe all students should know and be able to do in music. What we call the "music elective program," or the "music specialization program," is incomplete, in fact is invalid, if philosophical matters are not addressed as they relate to the particularities of each elective offered. And, in addition, philosophy needs to be a standard elective offering, taught with the same level of expertise by specialist teachers as we now routinely make available in performance and in the meager smattering of other electives we manage to offer.What? Philosophical thinking for all children, even in the primary grades, and as electives starting perhaps at the middle school or high school level? Electives taught by music educators whose specialization is the teaching of philosophy of music to youngsters? Am I serious? After all, even those of us who are devoted to it as a major aspect of our professionalism are constantly at the edges of our competence given the deep challenges philosophy presents to our intellect. And I expect children—all children—to be able to deal with it authentically?Well, we could ask precisely the same questions about, say, mathematics, and science, and history, and social studies, all the ways of thinking which constitute the basic learnings in all grades of our schools. As educators we know better than to conceive the nature of those subjects as only apparent at the level of professional work in them. We recognize the obvious: while at... (shrink)

The paper offers an analysis of Protagoras’ fr. DK 80 B 1 and rejects the traditional reading of Protagoras as relativist. By considering the ipsissima verba that Protagoras makes use of in his passage, it is argued that alternative interpretations are possible, of which epistemological reism and psychological individualism are proposed. On a more general level, it is discussed to what extent Protagoras’ fragment contains descriptive rather than normative claim.

Initiated by Robert Wesson, _Evolution and Human Values_ is a collection of newly written essays designed to bring interdisciplinary insight to that area of thought where human evolution intersects with human values. The disciplines brought to bear on the subject are diverse - philosophy, psychiatry, behavioral science, biology, anthropology, psychology, biochemistry, and sociology. Yet, as organized by co-editor Patricia A. Williams, the volume falls coherently into three related sections. Entitled Evolutionary Ethics, the first section brings contemporary research to an (...) area first explored by Herbert Spencer. Evolutionary ethics looks to the theory of evolution by natural selection to find values for human living. The second section, Evolved Ethics, discusses the evolution of language and religion and their impact on moral thought and feeling. Evolved ethics was partly Charles Darwin's subject in _The Descent of Man._ The last section bears the title Scientific Ethics. A nascent field, scientific ethics asks about the evolution of human nature and the implications of that nature for ethical theory and social policy. Together, the essays collected here provide important contemporary insights into what it is - and what it may be - to be human. (shrink)

This article explores how ethics and religion interface in everyday life by drawing on a study examining the negotiation of religious and spiritual plurality in health care. Employing methods of critical ethnography, namely, interviews and participant observation, data were collected from patients, health care providers, administrators and spiritual care providers. The findings revealed the degree to which `lived religion' was intertwined with `lived ethics' for many participants; particularly for people from the Sikh faith. For these participants, religion was woven into (...) everyday life, making distinctions between public and private, secular and sacred spaces improbable. Individual interactions, institutional resource allocation, and social discourses are all embedded in social relationships of power that prevent religion from being a solely personal or private matter. Strategies for the reintegration of religion into nursing ethics are: adjusting professional codes and theories of ethics to reflect the influence of religion; and the contribution of critical perspectives, such as postcolonial feminism, to the understanding of lived ethics. (shrink)

Die Meisterwerke der Moralistik haben Millionen von Menschen als philosophische Lebensbegleiter gedient. Doch worum geht es in der Moralistik eigentlich? 0Die Moralistik befasst sich mit der Natur des Menschen und mit Möglichkeiten kluger, individueller Selbstbehauptung. Sie führt die antiken Ansätze einer philosophischen Klugheitslehre fort und besetzt damit einen in der neuzeitlichen Ethik vernachlässigten Teil der praktischen Philosophie. Ihre Meisterwerke vermitteln uns Menschenkenntnis und soziale Orientierung und stehen uns auf dem Weg eines gelingenden Lebens beratend zur Seite. In ihnen liegt der (...) Ursprung der modernen Philosophie der Lebenskunst. Das Buch stellt sowohl die Entwicklung der Moralistik als auch ihr philosophisches Anliegen anschaulich und gut lesbar dar. (shrink)

Patients with psychosis often have poor insight into their illness. Poor insight into illness is, at least among patients with psychosis, a good predictor of treatment non-adherence. This is no mystery, for as Xavier Amador asks, "Who would want to take medicine for an illness they did not believe they had?" What is curious is that some patients with psychosis do adhere to treatment despite a lack of insight. Why do these patients adhere to treatment, given that they do not (...) believe they are ill to begin with? In this paper, I attempt to answer this question. I do so by first considering cases of non-psychotic patients who adhere to treatment despite a lack of insight. I point out that these sorts of cases are commonplace, and attempt to explain why they arise. The explanation is given in terms of anticipated treatment benefits. However, these benefits are not conceptualized by the patient in terms of pathology. The patient does not, in other words, think of such benefits in terms of illness, symptoms, treatment, and so forth. I then argue that the proposed explanation can be extended to account for why psychotic patients without insight sometimes adhere to treatment. I conclude by drawing out some of the practical implications of the proposed view. I first argue, on practical as well as ethical grounds, that improving insight for purposes of treatment adherence is misguided. I then suggest that such adherence might be increased simply by explaining treatment benefits in language that does not presuppose that the patient is, in any sense, "ill," "diseased," "sick," "unwell," and so on. (shrink)

This paper offers an overview of "the species problem", arguing for a view of species as homeostatic property cluster kinds, positioning the resulting form of realism about species as an alternative to the claim that species are individuals and pluralistic views of species. It draws on taxonomic practice in the neurosciences, especially of neural crest cells and retinal ganglion cells, to motivate both the rejection of the species-as-individuals thesis and species pluralism.

In Talk About Beliefs, Mark Crimmins claims that de re belief reports are not nearly as common as they are generally thought to be. In the following paper, I take issue with this claim. I begin with a critique of Crimmins’arguments on behalf of the claim, and then follow with an argument on behalf of the opposing claim: that de re belief reports are indeed quite common. In defending this claim, I make some observations about the nature of tacit reference, (...) a phenomenon central to Crimmins’account of belief reports. (shrink)

In the good old days, when general philosophy of science ruled the Earth, a simple division was often invoked to talk about philosophical issues specific to particular kinds of science: that between the natural sciences and the social sciences. Over the last 20 years, philosophical studies shaped around this dichotomy have given way to those organized by more fine-grained categories, corresponding to specific disciplines, as the literatures on the philosophy of physics, biology, economics and psychology--to take the most prominent four (...) examples--have blossomed. In general terms, work in each of these areas has become increasingly enmeshed with that in the corresponding science itself, increasingly naturalistic (in at least one sense of that term), and in my view, increasingly interesting. (shrink)

We address the question whether there is an explanation for the fact that as Fodor put it the micro-level “converges on stable macro-level properties”, and whether there are lessons from this explanation for other issues in the vicinity. We argue that stability in large systems can be understood in terms of statistical limit theorems. In the thermodynamic limit of infinite system size N → ∞ systems will have strictly stable macroscopic properties in the sense that transitions between different macroscopic phases (...) of matter (if there are any) will not occur in finite time. Indeed stability in this sense is a consequence of the absence of fluctuations, as (large) fluctuations would be required to induce such macroscopic transformations. These properties can be understood in terms of coarse-grained descriptions, and the statistical limit theorems for independent or weakly dependent random variable describing the behaviour averages and the statistics of fluctuations in the large system limit. We argue that RNG analyses applied to off-critical systems can provide a rationalization for the applicability of these limit theorems. Furthermore we discuss some related issues as, for example, the role of the infinite-system idealization. (shrink)

"Among the foremost Catholic philosophers of his generation. He has utilized the fullness of the Catholic intellectual tradition to brilliantly take the measure of modern philosophical thought... This volume is an expression of Robert Wood's singular philosophical outlook." -Jude Dougherty, dean emeritus, school of philosophy, The Catholic University of America.

Are interpersonal comparisons of desire possible? Can we give an account of how facts about desires are grounded, that underpins such comparisons? This paper supposes the answer to the first question is yes, and provides an account of the nature of desire that explains how this is so. The account is a modification of the interpretationist metaphysics of representation that the author has recently been developing. The modification is to allow phenomenological affective valence into the “base facts” on which correct (...) interpretation is grounded. To use this extra resource within that theory to vindicate interpersonal comparisons, we will need to appeal rational connections between level of valence and level of desire, which this paper sets out and examines. (shrink)

Se resume en esta obra el vasto y complejo sistema teórico-jurídico de Hans Kelsen, el jurista más grande de nuestro siglo. La doctrina de Kelsen y en particular su Teoría Pura del Derecho han conocido muchas vicisitudes y ataques debidos más a prejuicios políticos y racistas que a una verdadera confrontación con sus tesis. El autor enfatiza en el hecho de que la doctrina jurídica de Kelsen no es una teoría terminada y archivada sino en permanente desarrollo, una teoría a (...) cuya ulterior construcción están convocados todos los juristas. (shrink)

Contribución de eruditos autores sobre aspectos trascendentales de la teoría pura del derecho. Esta obra debe verse como una expresión de esa renovada ocupación con los problemas de la doctrina de Kelsen.