"This reviewer had to be restrained from stopping people in the street to urge them to read it: They would learn something of the way science is done,...

There has been a long debate on whether demonstratives are directly referential as Kaplan originally argued, or indirectly referential like a definite description. I propose a new analysis of demonstratives that combines intuitions from both direct and indirect approaches. The demonstrative is analyzed as an indirectly referential expression with a binary maximality operator that takes two arguments, where the second argument can be a deictic pointing, an anaphoric index, or a relative clause. Direct reference is encoded not in the meaning (...) of the demonstrative but in the meaning contributed by the pointing gesture, thus capturing both direct and indirect uses. I further propose that some pronouns in English function as demonstratives, realizing the binary structure and competing with the demonstrative. The main advantages of this proposal include (a) deriving the distribution of pronominal and adnominal demonstratives systematically; (b) capturing the unique interaction that demonstratives have with a pointing gesture; and (c) locating English demonstratives against a larger, cross-linguistic picture. (shrink)

In a number of influential articles published since 1972, Dorothy Grover has developed the prosentential theory of truth. Brought together and published with a new introduction, these essays are even more impressive as a group than they were as single contributions to philosophy and linguistics. Denying that truth has an explanatory role, the prosentential theory does not address traditional truth issues like belief, meaning, and justification. Instead, it focuses on the grammatical role of the truth predicate and asserts that (...) “it is true” is a prosentence, functioning much as a pronoun does. Grover defends the theory by indicating how it can handle notorious paradoxes like the Liar, as well as by analyzing some English truth-usages. The introduction to the volume surveys traditional theories of truth, including correspondence, pragmatic, and coherence theories. It discusses the essays to come and, finally, considers the implications of the prosentential theory for other theories. Despite the fact that the prosentential theory dismisses the “nature of truth” as a red herring, Grover shows that there are important aspects of traditional truth theories that prosentential theorists have the option of endorsing. (shrink)

Book synopsis: Vagueness is currently the subject of vigorous debate in the philosophy of logic and language. Vague terms-such as "tall", "red", "bald", and "tadpole"—have borderline cases ; and they lack well-defined extensions. The phenomenon of vagueness poses a fundamental challenge to classical logic and semantics, which assumes that propositions are either true or false and that extensions are determinate. Another striking problem to which vagueness gives rise is the sorites paradox. If you remove one grain from a heap of (...) sand, surely you must be left with a heap. Yet apply this principle repeatedly as you remove grains one by one, and you end up, absurdly, with a solitary grain that counts as a heap. This anthology collects papers in the field. After an introduction that surveys the field, the essays form four groups, starting with some historically notable pieces. The 1970s saw an explosion of interest in vagueness, and the second group of essays reprints classic papers from this period. The following group of papers represent current work on the logic and semantics of vagueness. The essays in the final group are contributions to the continuing debate about vague objects and vague identity. (shrink)

Researchers have iterated that the future of synthetic biology and biotechnology lies in novel consumer applications of crossing biology with engineering. However, if the new biology’s future is to be sustainable, early and serious efforts must be made towards social sustainability. Therefore, the crux of new applications of synthetic biology and biotechnology is public understanding and acceptance. The RASVaccine is a novel recombinant design not found in nature that re-engineers a common bacteria to produce a strong immune response in humans. (...) Synthesis of the RASVaccine has the potential to improve public health as an inexpensive, non-injectable product. But how can scientists move forward to create a dialogue of creating a ‘common sense’ of this new technology in order to promote social sustainability? This paper delves into public issues raised around these novel technologies and uses the RASVaccine as an example of meeting the public with a common sense of its possibilities and limitations. (shrink)

Researchers have iterated that the future of synthetic biology and biotechnology lies in novel consumer applications of crossing biology with engineering. However, if the new biology’s future is to be sustainable, early and serious efforts must be made towards social sustainability. Therefore, the crux of new applications of synthetic biology and biotechnology is public understanding and acceptance. The RASVaccine is a novel recombinant design not found in nature that re-engineers a common bacteria to produce a strong immune response in humans. (...) Synthesis of the RASVaccine has the potential to improve public health as an inexpensive, non-injectable product. But how can scientists move forward to create a dialogue of creating a ‘common sense’ of this new technology in order to promote social sustainability? This paper delves into public issues raised around these novel technologies and uses the RASVaccine as an example of meeting the public with a common sense of its possibilities and limitations. (shrink)

In this research article I reconstitute portfolio assessment of my work as a new faculty member in the form of critical reflexive dialogue. I reassemble artifacts of my works-in-process in a vocational portfolioin order to signal that quality in my work is nuanced as a calling to serve. This metaphor entails portfolio assessment that does not isolate the adult learner and worker from self-assessment and others’assessment. I structure my portfolio dialogically so that my evaluators and I can respond critically to (...) the processes and products of my teacher, researcher, and service worker identities. My artifacts ofdialogical occasions denaturalize the feminine in work and disrupt the hierarchy of knowledge over service. I reassemble my quality moments to support my espoused theory and theory-in-use that servingothers in response-able relationship constitutes the linked resemblance of quality across the three traditional evaluative categories of teaching, research, and service. (shrink)

Benedict Spinoza is feted as the philosopher par excellence of the popular democratic multitude by Antonio Negri and others. But Spinoza himself expresses a marked ambivalence about the multitude in brief asides, and as for his thoughts on what he calls “the rule of multitude,” that is, democracy, these exist only as meager fragments in his unfinished Tractatus Politicus or Political Treatise. This essay addresses the problem of Spinoza’s multitude. First, I reconstruct a vision of power that is found in (...) the Ethics but that tends to be overlooked in the scholarly literature: power is not just sheer efficacy or imposition of will, but rather involves a capacity for being-affected; I call this the conception of power as sensitivity. The second part of my argument shows how, given Spinoza’s emphatic political naturalism, the conception of power as sensitivity can be extended to his political philosophy to shed light on what Spinoza calls potentia multitudinis, or “the power of the multitude”—a term found solely in the Political Treatise and nowhere else in his oeuvre. This juxtaposition reveals significant qualifications to the liberatory potential of the multitude currently claimed in the scholarly literature. (shrink)

Book synopsis: Philosophers have long been fascinated by the connection between cause and effect: are 'causes' things we can experience, or are they concepts provided by our minds? The study of causation goes back to Aristotle, but resurged with David Hume and Immanuel Kant, and is now one of the most important topics in metaphysics. Most of the recent work done in this area has attempted to place causation in a deterministic, scientific, worldview. But what about the unpredictable and chancey (...) world we actually live in: can one theory of causation cover all instances of cause and effect? (shrink)

This paper provides a methodological schema for interpreting Hume's Dialogues concerning Natural Religion that supports the traditional thesis that Philo represents Hume's views on religious belief. To understand the complexity of Hume's ‘naturalism’ and his assessment of religious belief, it is essential to grasp the manner in which Philo articulates a consistently Humean position in the Dialogues.

The human body is becoming hot property, a resource to be “mined,” “harvested,” patented, and traded commercially for profit as well as scientific and therapeutic advances. Under the new entrepreneurial approach to the body old tensions take on new dimensions—about consent, the fair distribution of tissues and products developed from them, the individual and cultural values represented by the body, and public policy governing the use of organs and tissues.

Christine Buci-Glucksmann’s__ _The Madness of Vision_ is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, (...) actually dazzles and distorts the perception of reality. In each of the nine essays that form _The Madness of Vision_ Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s _Saint Teresa_ and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s _Judith Beheading Holofernes,_ the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s_ El Criticón_; Monteverdi’s opera _Orfeo; _the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

Christine Buci-Glucksmann’s__ _The Madness of Vision_ is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, (...) actually dazzles and distorts the perception of reality. In each of the nine essays that form _The Madness of Vision_ Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s _Saint Teresa_ and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s _Judith Beheading Holofernes,_ the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s_ El Criticón_; Monteverdi’s opera _Orfeo; _the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)