We characterize a type of functional explanation that addresses why a homologous trait originating deep in the evolutionary history of a group remains widespread and largely unchanged across the group’s lineages. We argue that biologists regularly provide this type of explanation when they attribute conserved functions to phenotypic and genetic traits. The concept of conserved function applies broadly to many biological domains, and we illustrate its importance using examples of molecular sequence alignments at the intersection of evolution and cell biology. (...) We use these examples to show how the study of conserved functions can integrate knowledge of a trait’s causal effects on fitness and its history of natural selection without invoking adaptation. We also show how conserved function provides a novel basis for addressing objections against evolutionary functions raised by Robert Cummins. (shrink)

In the spirit of praxis, I connect Lacanian theory with the practice of making a video. Lucky in Savannah, which is an experimental adaptation of “Lucky’s speech” from Samuel Beckett’s masterpiece, Waiting for Godot —"[t]he prototype of a modernist text” according to Slavoj Žižek. For Žižek, Beckett—rather than Shakespeare—is “a kenotic writer, a writer of utter self-emptying of subjectivity, of its reduction to a minimal difference”. Will Greenshields argues that Žižek goes further than Lacan, and even performs an (...) anti-Žižekian move when choosing Beckett over Joyce: “While for Joyce the beginning and end were so close as to be indistinguishable…for Beckett there is such a thing as a beginning, a bare minimum, and if the truly revolutionary act is to be achieved, one must return to it”. For these reasons, it is certainly worthwhile to consider Beckett avec Žižek and others. In my video, I employ a Beckettian aesthetic informed by Lacanian psychoanalysis, which leads me to the following question: Is Lucky's speech an example of “full speech” par excellence, or is it a Real manifestation of the sinthome as "the meaningless letter that immediately procures jouis-sense, ‘enjoyment-in-meaning,' 'enjoy-meant'"? (shrink)

Witnessness posits a universal ethics based neither on rational mental structures nor on moral principles, but on the extra-rational powers of the imagination. Harvey pursues this ethics by staging a speculative reading of Samuel Beckett's "untranslatable" text, Worstward Ho, alongside Dante's Purgatorio and Primo Levi's The Drowned and the Saved and If This Be a Man. Many of the thirty concise chapters that compose Witnessness are built upon notions whose names (e.g. dimness, lessness) take inspiration from Beckett's unique (...) and precise vocabulary. Harvey explores the particular experience of the witness as recounted in Dante and Levi-for signs of a general, common, and innate witness-like attitude that protects the other and that we see expressed in Beckett's penultimate prose piece. (shrink)

Throughout its ten related essays, Imagining the Real contrasts our abstract imaginings about the human world with the imaginative insights provided by art and experience. It questions, variously, the relevance of game theory and sociobiology to politics the supposed intrinsic values of liberal freedom, cultural change, and democratic action and the claims of Marxism, deconstruction and "Theory" generally to be non-ideological. More positively, it reinterprets fiction as a specific invitation to imagine, and celebrates Shakespeare, L.H. Myers and Beckett as (...) truly critical, because truly imaginative, exponents of ideas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Charles AltieriRobert B. PippinIam very grateful to Charles Altieri for his attentive reading of and thoughtful critique of Philosophy by Other Means: The Arts in Philosophy and Philosophy in the Arts.1 Let me proceed immediately to his main and quite important criticism of the approach defended there. It is this: "My one huge problem with Pippin's perspective is that I cannot accept his insistence that the (...) distinctive form of thinking elicited by works of art is best treated as a mode of knowledge." And he offers a contrasting perspective: "Instead I propose that art should matter to society primarily as the achievement of constructed, specific, individual experiences that embody resonance and authority. Then we can claim that their capacities to engage audiences in particular imaginative situations dramatically stage responses to the historical conditions on which Pippin dwells." This is a densely stated alternative, and I am not sure I fully understand it or why stating it this way thereby shows why art "should matter to society" (art may do this, but why is that important?), but I have much to say by way of clarification before getting to the alternative.First, I meant the title to be as dialectical and so as paradoxical as it sounds. If the means are "other," then we have left philosophy altogether; if the other means are still philosophical, then they can't count as "other." By dialectical I mean simply the avoidance of such dualisms, while not collapsing distinctions through some sort of resolutive reductionism. The idea is to avoid two terrible examples of philosophical approaches to the arts that putatively avoid such dualisms: either provocative or illustrative. The former sees literature especially as embodying issues like moral dilemmas that can be understood to pose, to provoke, philosophical [End Page 249] questions that traditional philosophy should then take up and discuss on its own. (Examples are the way Samuel Beckett's plays, or Albert Camus's The Stranger, are sometimes taught.) The latter, the illustrative, sees literature, again paradigmatically, as providing something like the flesh and blood of abstract philosophical issues, instantiating and illustrating a particular philosophical approach, like moral sentimentalism. (Charles Dickens is often cited.)These are surely examples of what Altieri cites as, and quite rightly rejects, as "appropriating those [aesthetic] experiences for philosophical explanation." I want to reject such "appropriationism" too. In my first chapter, on philosophical criticism of the arts, the idea I defended was that attention to the philosophical value of literature (I will stay with this art form for a while) is attention to literature as a form of reflective thinking itself, in no need of appropriation by philosophy—even though, I claim, there can be a form of philosophical criticism. The point of such criticism is to illuminate that dimension of the work itself, something philosophically significant that the work can do but traditional philosophy cannot.This is couched within several qualifications. Such attentiveness can be valuable, but not for just any work of great literature. Some literature is great without being concerned with any aesthetic modality of "thinking." One can surely admire Samuel Richardson or Anthony Trollope or William Makepeace Thackeray and admit that their value stems from other qualities in the prose, plotting, and psychologically astute portrayal of characters. And for many other reasons, any of the arts can be said to be valuable even if a case can also be made for their bearing on philosophy.And finally, the concept of "philosophical knowledge" is quite complicated. Surely some philosophers, like G. W. F. Hegel, believe in such a thing, but I don't. As Altieri rightly points out, no Absolute exists. What interests me is the relevance of Hegel's claim that a sensible and affective modality of collective self-knowledge can be embodied in many great works. But the collective self-knowledge embodied in fiction is not like discursive or analytic or even speculative knowledge. I see no strict distinction between the object of interrogation and the interrogation itself. That is, the "self" in question (e.g., who have we become?) is what it is by virtue of its own self-interpretation. Self-knowledge in... (shrink)

Aesthetic form is a figure moving through a rain storm, an image perhaps from Susanne Langer, one illuminatingly apposite to Theodor W. Adorno’s concept of form, drawn from the idea of determinate negation—though Adorno never would have provided so open-handed an image. But Langer and Adorno’s thinking in any case derives ensemble from what is a secret to no one who has ever thought about it, as is easily documented in a pinch by thousands of years of Neoplatonists. And if (...) that one insight is commonly given with or without philosophical qualification, the problem of the perception, presentation, and comprehension of that movement—which is anything but a fact, except in the etymological sense of being a deed, and may not be there to be seen at all—its critical discernment, hardly amounting to yea or nay, inevitably runs up against the puzzle that it can neither be imitated or simply discussed. Though without an element of each, and not as if they might just be stirred together, what is at stake is failed. But whatever the difficulties involved, and they are necessarily insuperable, what is first of all important, so far as this commentary on Samuel Beckett’s What Where is concerned, is that Beckett himself found this, his last work for the theater, on stage a failure. All the same, the sense in which this work is Beckett’s Tempest is the reason for this close commentary of the work’s stage script. The intention here, then, is the reverse of Adorno’s essay on Beethoven’s Missa solemnis, which was a labor in the disillusionment of a reputed masterpiece (Alienated Masterpiece). It should be noted, incidentally, that the discussion of the Westminster Chimes, which here figures centrally, is not a claim to establish the work’s origins but an aspect of that problem of presentation, already mentioned. So far as the origin of this essay goes, however, it is written in memory of Rolf Tiedemann (1932–2018) in appreciation of his magisterial editions of the collected works of Adorno and Walter Benjamin, his life work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Recuperation of the Theory-Death of the Avant-GardeRobert Radin (bio)Paul Mann. The Theory-Death of the Avant-Garde. Bloomington: Indiana UP, 1991.It is difficult to respond to an essay that so thoroughly lays bare (and thereby challenges) what it is we do when we respond to another writer’s writing. I find it hard to begin, caught somewhere in that terminal state between speech and silence, that moment Beckett captures at (...) the end of the The Unnamable: “I can’t go on, I’ll go on.” Should I follow every word I write with “[sic],” at once quote myself and distance myself from what I have just written, indicate that I am aware of what it is I’m doing even as I’m doing it? I’ll go on.The fact that Paul Mann’s The Theory-Death of the Avant-Garde has received relatively little critical response since its publication in 1991 may in fact be a measure of its success. Nevertheless, this lack of response seems worthy of attention, given that Mann devotes so much of his essay to making the point that art’s (and theory’s) raison d’être is to generate further discourse, to keep the discursive economy going, however resistant to dominant culture that art or theory may appear to be.After repeatedly, painstakingly pointing out the status of his own essay in the discursive economy he describes—the discourse of the avant-garde—Mann anticipates the likely response to his work:It is not difficult to imagine whatever little response this essay is liable to. For the most part dismissals of what will be taken as its nihilism, its cynicism, its defeatism, its adherence to this or that dubious theory, its outmoded obsession with recuperation. But the essay was not written for those who reject an insistence on recuperation only in order to conceal from themselves the extent of their own recuperation.[141]And further on in the same passage: “it [the essay] was also written precisely so that it could be dismissed” [141]. Mann, to varying degrees, has correctly diagnosed the critical reception of his work thus far. When the essay is dismissed in reviews it is because it is seen as both passé and nihilistic. Even in one of the favorable reviews of Mann’s essay the question of nihilism arises. It is this “specter of nihilism” that I want to take up here—after first reviewing some of the more salient features of Mann’s argument—as I think it is a response most readers will have to struggle through (as Mann correctly points out), and it might tell us something about the larger discursive economy of which The Theory-Death of the Avant-Garde is now a part. That Mann’s position is seen as outmoded is less of an issue for me. It may be that his essay was already “old” by the time it was published, [End Page 41] his position already dismissable under the aegis of other names: Baudrillard, Barthes, Derrida. But that his essay is no longer new, that his position has exhausted its discursive currency, only further makes his point: in the discourse of the avant-garde, and in the discursive economy generally, the new supersedes all other values. More important, Mann’s position in particular must exhaust itself quickly if the discursive economy is to continue to thrive.In The Pleasure of the Text Roland Barthes delineates what he calls the “versus myth”:Art seems compromised, historically, socially. Whence the effort on the part of the artist himself to destroy it.... Unfortunately, this destruction is always inadequate; either it occurs outside the art, but thereby becomes impertinent, or else it consents to remain within the practice of the art, but quickly exposes itself to recuperation (the avant-garde is that restive language which is going to be recuperated). The awkwardness of this alternative is the consequence of the fact that destruction of discourse is not a dialectic term but a semantic term: it docilely takes its place within the great semiological “versus” myth (white versus black); whence the destruction of art is doomed to only paradoxical formulae... (shrink)

The anti-metaphysical kind of philosophy known as Deconstruction, associated with the name of Derrida, has done much to trouble the conventional distinctions between philosophy and literature. Its project of "textualizing" metaphysical works in order to expose their rhetorical components and reliance on metaphor, their groundless erection of fundamenta inconcussa, has radically affected, among other things, literary criticism. Even where literary critics dissociate themselves from the deconstructive enterprise, their activity betrays an increasing involvement with issues that once belonged to the domain (...) of philosophy alone. Eugene Kaelin's book on "The Poetic Plight of Samuel Beckett" is an example of this relatively recent and problematical marriage between philosophy and literary analysis. (shrink)

Theodor W. Adorno construeix la modernitat com la fase final d'un procés d'emancipació que ha conduït justament al contrari del que es pretenia. L'alliberament del mite ha portat a una situació històrica en la qual l'encobriment ideològic del món és total. Això té conseqüències per a un pensament que vol ser crític, ja que haurà de trobar un lloc des d'on es pugui interpretar la història per tal de salvar la veritat d'un possible món diferent. En el moment de màxima (...) ocultació ideològica i de màxim absurd -és conegut que Adorno es refereix al món contemporani com al temps després d'Auschwitz- Adorno intentarà entendre què ha passat amb aquest subjecte que s'ha preocupat excessivament per la seva identitat. Mitjançant l'aplicació del model psicoanalític d'interpretació a textos de Beckett i Kafka reconstruirà la història de l'emancipació fallida del subjecte modern. Amb aquestes interpretacions Adorno se situa no només molt a prop de la pràctica psicoanalítica, sinó també de la tradició hermenèutica clàssica. (shrink)

Theodor W. Adorno construeix la modernitat com la fase final d'un procés d'emancipació que ha conduït justament al contrari del que es pretenia. L'alliberament del mite ha portat a una situació històrica en la qual l'encobriment ideològic del món és total. Això té conseqüències per a un pensament que vol ser crític, ja que haurà de trobar un lloc des d'on es pugui interpretar la història per tal de salvar la veritat d'un possible món diferent. En el moment de màxima (...) ocultació ideològica i de màxim absurd -és conegut que Adorno es refereix al món contemporani com al temps després d'Auschwitz- Adorno intentarà entendre què ha passat amb aquest subjecte que s'ha preocupat excessivament per la seva identitat. Mitjançant l'aplicació del model psicoanalític d'interpretació a textos de Beckett i Kafka reconstruirà la història de l'emancipació fallida del subjecte modern. Amb aquestes interpretacions Adorno se situa no només molt a prop de la pràctica psicoanalítica, sinó també de la tradició hermenèutica clàssica. (shrink)

Beckett and Philosophy examines and interrogates the relationships between Samuel Beckett's works and contemporary French and German thought. There are two wide-ranging overview chapters by Richard Begam (Beckett and Postfoundationalism) and Robert Eaglestone (Beckett via Literary and Philosophical Theories), and individual chapters on Beckett, Derrida, Foucault, Deleuze, Badious, Merleau-Pointy, Adorno, Hebermas, Heidegger and Nietzsche. The collection takes a fresh look as issues such as postmodern and poststructuralist thought in relation to Beckett studies, providing (...) useful overview chapters and original essays. (shrink)

Whatever we choose to call Beckett’s series of disjunctive and repetitive paragraphs , Ill Seen Ill Said surely has little in common with the short story or the novella. Yet this is how the editors of the New Yorker, where Beckett’s piece first appeared in English in 1981, evidently thought of it, for like all New Yorker short stories, it is punctuated by cartoons and, what is even more ironic, by a “real” poem, Harold Brodkey’s “Sea Noise” . (...) Notice that the reader immediately knows—or is supposed to know—that Brodkey is a poet and Beckett a fiction writer, not only because “Sea Noise” is designated a poem in the issue’s table of contents, but also because its placement on the page, framed by white space, distinguishes it from Ill Seen Ill Said, which is printed in standard New Yorker columns. Yet if we examine the sound structure of Brodkey’s poem, we find that the rhythm of recurrence is, if anything, less prominent here than in the Beckett “prose.” The four stanzas are of irregular line length ; the stress count ranges from one to five ; rhyme occurs only once, at the end of the poem ; and alliteration and assonance are not marked. Unless we assume that poetry is defined by the sheer decision of its maker to lineate the text, or unless we want to call “Sea Noise” a poem because it is built around a single extended metaphor , there is no rationale for the classification the New Yorker has implicitly adopted.4The meaning of this classification is worth pondering, for it represents, in microcosm, the orthodoxy of every major literature textbook and literary history as well as of most classrooms in the United States and Britain, which that Beckett is a writer who, like the young Joyce or the young Faulkner, wrote in his dim youth some negligible, clotted lyric poems but whose real work belongs to drama and fiction. As such, we don’t teach Beckett in our poetry courses or include him in discussions of contemporary poetry and poetics. The index of any major book on the subject—say, Robert Pinsky’s The Situation of Poetry—will bear this out. And yet the irony is that contemporary poets are increasingly using forms that cannot be properly understood without the example of Beckett’s astonishing “lyrics of fiction”—to use Ryby Cohn’s apt term5—or, as I shall call them, his “associative monologues.” Perhaps, then, it is time to rethink our current procedures of canon making. In what follows, I shall use Ill Seen Ill Said as an example.4. Contemporary prosodists, perhaps because they must account for the difficult case of free verse, generally do equate verse—and hence implicitly the poem—with lineation. For example, Charles O. Hartman, in his recent Free Verse: An Essay in Prosody , observes that, difficult as it is to define the word “poetry” “rigorously and permanently,” verse can be distinguished from prose quite readily:Verse is language in lines. This distinguishes it from prose…. This is not really a satisfying distinction, as it stands, but it is the only one that works absolutely. The fact that we can tell verse from prose on sight, with very few errors…indicates that the basic perceptual difference must be very simple. Only lineation fits the requirements. [P.11]But, as I have just shown in the case of Beckett and Brodkey, what looks like verse may sound like prose and vice versa. The “basic perceptual difference” between the two is surely not as simple as Hartman suggests. I discuss this question from a somewhat different angle in “The Linear Fallacy,” Georgia Review 35 : 855-69.5. See Ruby Cohn, Back to Beckett , chap. 5, “Lyrics of Fiction.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Beautiful Soul:From Hegel to BeckettDrew Milne (bio)The "beautiful soul," lacking an actual existence, entangled in the contradiction between its pure self and the necessity of that self to externalize itself and change itself into an actual existence, and dwelling in the immediacy of this firmly held antithesis—an immediacy which alone is the middle term reconciling the antithesis, which has been intensified to its pure abstraction, and is pure (...) being or empty nothingness—this "beautiful soul," then, being conscious of this contradiction in its unreconciled immediacy, is disordered to the point of madness, wastes itself in yearning and pines away in consumption.—G. W. F. Hegel, Phenomenology of SpiritThe figure of the beautiful soul marks out a limit of representation. Its persistence is that of a literary fiction which cannot be actualized, but whose imaginative lure is no less powerful for being so resistant to embodiment. The beautiful soul emerges in a shift from philosophical reflections on moral beauty into the romantic novel, but for Robert E. Norton, the history of the beautiful soul is brought to a close by Hegel [139]. Nevertheless, the way this figure stands between philosophy and literature, and between moral agency and the literary imagination, casts shadows over contemporary thought. Unreconciled immediacy, disordered by consciousness of its contradiction and proximity to pure abstraction, becomes the sign of modern art, perhaps most explicitly in the writings of Samuel Beckett. In The Broken Middle, Gillian Rose projects the beautiful soul out of Hegel and Goethe into a speculative account of modern thought's ethical equivocations. For Allen Speight, Hegel's recourse to the awkward literary and novelistic status of the beautiful soul reveals how "inescapable questions discernible in the products of modern literary artists are ones that concern the account we give of our freedom as modern agents" [135]. This essay seeks to unravel some of the contemporary relevance of the beautiful soul, exploring the instability of this figure as a mediation between philosophy and literature, in particular as a tension in the interpretation of Hegel's Phenomenology of Spirit.The difficulties posed by the beautiful soul for interpreting Hegel can be gleaned from Terry Pinkard's impressively lucid survey German Philosophy, 1760-1860. Pinkard notes how Hegel's discussion of the beautiful soul in the Phenomenology of Spirit "makes oblique reference to Goethe, Friedrich Schlegel, Fichte, Fries, Novalis, perhaps Rousseau, and maybe even Hölderlin" [240n19] before ascribing centrality in Hegel's discussion to Jacobi's novel Waldemar. Oblique reference folds into a structure whose indeterminacy concerns both the freedom claimed by literary representations of the beautiful soul, and the inability of this freedom to amount to more than a confession of conceptual paralysis or impotence. The beautiful soul proves resistant to interpretation, a literary-philosophical compound that destabilizes conventions of referentiality. The beautiful soul threatens to dissolve philosophy from the perspective of an inward delicacy of moral feeling, claiming [End Page 63] [Begin Page 65] the authenticity of a subjectivity that will do no wrong and knows no other as an object on which to act. Philosophical interpretations are often too brusque with the reflexive irony through which the beautiful soul is represented, or insufficiently literal-minded to capture its content as form. In turn, the self-critical claims of literary representation often dissolve into an ironic indifference to determinate consequences.The beautiful soul, however, can hardly be said to have existed outside its representation in writing. It recurs in manifold guises more as an aspiration to be, or appear, morally sensitive but incapable of action. Donald Phillip Verene sketches its background in the Romantic movement but suggests that: "The beautiful soul is not difficult to understand, as Hegel sketches it in the several pages he devotes to it. We are familiar in ordinary experience with types of persons that approximate to the stance of the beautiful soul, that is, if we keep polite company and associate from time to time with delicate people" [100-01]. Anyone who has spent time with aesthetes or poets who claim a delicacy of moral insight without feeling the need of justification or labor to actualize their insights knows the ills this shape of... (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.

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

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)

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)

We introduce a new type of pluralism about biological function that, in contrast to existing, demonstrates a practical integration among the term’s different meanings. In particular, we show how to generalize Sandra Mitchell’s notion of integrative pluralism to circumstances where multiple epistemic tools of the same type are jointly necessary to solve scientific problems. We argue that the multiple definitions of biological function operate jointly in this way based on how biologists explain the evolution of protein function. To clarify how (...) our account relates to existing views, we introduce a general typology for monist and pluralist accounts along with standardized criteria for judging which is best supported by evidence. (shrink)

What are the prospects for a monistic view of biological individuality given the multiple epistemic roles the concept must satisfy? In this paper, I examine the epistemic adequacy of two recent accounts based on the capacity to undergo natural selection. One is from Ellen Clarke, and the other is by Peter Godfrey-Smith. Clarke’s position reflects a strong monism, in that she aims to characterize individuality in purely functional terms and refrains from privileging any specific material properties as important in their (...) own right. I argue that Clarke’s functionalism impairs the epistemic adequacy of her account compared to a middle-ground position taken by Godfrey-Smith. In comparing Clarke and Godfrey-Smith’s account, two pathways emerge to pluralism about biological individuality. The first develops from the contrast between functionalist and materialist approaches, and the second from an underlying temporal structure involved in using evolutionary processes to define individuality. (shrink)

It is time to escape the constraints of the Systematics Wars narrative and pursue new questions that are better positioned to establish the relevance of the field in this time period to broader issues in the history of biology and history of science. To date, the underlying assumptions of the Systematics Wars narrative have led historians to prioritize theory over practice and the conflicts of a few leading theorists over the less-polarized interactions of systematists at large. We show how shifting (...) to a practice-oriented view of methodology, centered on the trajectory of mathematization in systematics, demonstrates problems with the common view that one camp straightforwardly “won” over the other. In particular, we critique David Hull’s historical account in Science as a Process by demonstrating exactly the sort of intermediate level of positive sharing between phenetic and cladistic theories that undermines their mutually exclusive individuality as conceptual systems over time. It is misleading, or at least inadequate, to treat them simply as holistically opposed theories that can only interact by competition to the death. Looking to the future, we suggest that the concept of workflow provides an important new perspective on the history of mathematization and computerization in biology after World War II. (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)

My aim is to propose affectivity as a criterion for personal identity. My proposal is to be taken in its weak version: affectivity as _only one_ of the criteria for personal identity. I start by arguing for affectivity being a better candidate as a criterion for personal identity than thinking. Next, I focus on synchronic vs. diachronic and on ontic vs. epistemic distinctions (my proposal will concern diachronic ontic personal identity) and consider the realm of affectivity in its temporal dimension. (...) In my argument, I rely on the genuineness of affectivity and I exploit chiefly long- or everlasting feelings (or emotions) and those which involve the feeling subject more rather than less. I conclude by stating that genuine long-lasting feelings (or emotions) are constitutive of diachronic ontic personal identity. (shrink)

The idea that ambiguity can be productive in data science remains controversial. Efforts to make scientific publications and data intelligible to computers generally assume that accommodating multiple meanings for words, known as polysemy, undermines reasoning and communication. This assumption has nonetheless been contested by historians, philosophers, and social scientists, who have applied qualitative research methods to demonstrate the generative and strategic value of polysemy. Recent quantitative results from linguistics have also shown how polysemy can actually improve the efficiency of human (...) communication. I present a new conceptual typology based on a synthesis of prior research about the aims, norms, and circumstances under which polysemy arises and is evaluated. The typology supports a contextual pluralist view of polysemy’s value for scientific research practices: polysemy does both substantial positive and negative work in science, but its utility is context-sensitive in ways that are often overlooked by the norms people have formulated to regulate its use, including prior scholars researching polysemy. I also propose that historical patterns in the use of partial synonyms, i.e. terms with overlapping meanings, provide an especially promising phenomenon for integrative research addressing these issues. (shrink)

Criticism of big data has focused on showing that more is not necessarily better, in the sense that data may lose their value when taken out of context and aggregated together. The next step is to incorporate an awareness of pitfalls for aggregation into the design of data infrastructure and institutions. A common strategy minimizes aggregation errors by increasing the precision of our conventions for identifying and classifying data. As a counterpoint, we argue that there are pragmatic trade-offs between precision (...) and ambiguity that are key to designing effective solutions for generating big data about biodiversity. We focus on the importance of theory-dependence as a source of ambiguity in taxonomic nomenclature and hence a persistent challenge for implementing a single, long-term solution to storing and accessing meaningful sets of biological specimens. We argue that ambiguity does have a positive role to play in scientific progress as a tool for efficiently symbolizing multiple aspects of taxa and mediating between conflicting hypotheses about their nature. Pursuing a deeper understanding of the trade-offs and synthesis of precision and ambiguity as virtues of scientific language and communication systems then offers a productive next step for realizing sound, big biodiversity data services. (shrink)

Contemporary biology has inherited two key assumptions from the Modern Synthesis about the nature of population lineages: sexual reproduction is the exemplar for how individuals in population lineages inherit traits from their parents, and random mating is the exemplar for reproductive interaction. While these assumptions have been extremely fruitful for a number of fields, such as population genetics and phylogenetics, they are increasingly unviable for studying the full diversity and evolution of life. I introduce the “mixture” account of population lineages (...) that escapes these assumptions by dissolving the Modern Synthesis’s sharp line separating reproduction and development and characterizing reproductive integration in population lineages by the ephemerality of isolated subgroups rather than random mating. The mixture account provides a single criterion for reproductive integration that accommodates both sexual and asexual reproduction, unifying their treatment under Kevin de Queiroz’s generalized lineage concept of species. The account also provides a new basis for empirically assessing the effect of random mating as an idealization on the empirical adequacy of population genetic models. (shrink)

The analysis presented in this article shows that overarching conceptual systems, such as the metaphor “NATIONS ARE A FAMILY,” often bring together expressions with dissimilar intentions, ideologic...

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.

Kenneth Burke, arguably the most important American literary theorist of the twentieth century, helped define the theoretical terrain for contemporary literary and cultural studies. His perspectives were literary and linguistic, but his influences ranged across history, philosophy, and the social sciences. In this important and original study Robert Wess traces the trajectory of Burke's long career and situates his work in relation to postmodernity. His study is both an examination of contemporary theories of rhetoric, ideology, and the subject, and (...) an explanation of why Burke failed to complete his Motives trilogy. Burke's own critique of the 'isolated unique individual' led him to question the possibility of unique individuation, a strategy which anticipated important elements of postmodern concepts of subjectivity. Robert Wess's study is both a timely and judicious exposition of Burke's massive oeuvre, and a crucial intervention in current debates on rhetoric and human agency. (shrink)

The collection and classification of data into meaningful categories is a key step in the process of knowledge making. In the life sciences, the design of data discovery and integration tools has relied on the premise that a formal classificatory system for expressing a body of data should be grounded in consensus definitions for classifications. On this approach, exemplified by the realist program of the Open Biomedical Ontologies Foundry, progress is maximized by grounding the representation and aggregation of data on (...) settled knowledge. We argue that historical practices in systematic biology provide an important and overlooked alternative approach to classifying and disseminating data, based on a principle of coordinative rather than definitional consensus. Systematists have developed a robust system for referring to taxonomic entities that can deliver high quality data discovery and integration without invoking consensus about reality or “settled” science. (shrink)

What does it look like when a group of scientists set out to re-envision an entire field of biology in symbolic and formal terms? I analyze the founding and articulation of Numerical Taxonomy between 1950 and 1970, the period when it set out a radical new approach to classification and founded a tradition of mathematics in systematic biology. I argue that introducing mathematics in a comprehensive way also requires re-organizing the daily work of scientists in the field. Numerical taxonomists sought (...) to establish a mathematical method for classification that was universal to every type of organism, and I argue this intrinsically implicated them in a qualitative re-organization of the work of all systematists. I also discuss how Numerical Taxonomy’s re-organization of practice became entrenched across systematic biology even as opposing schools produced their own competing mathematical methods. In this way, the structure of the work process became more fundamental than the methodological theories that motivated it. (shrink)

We argue that the mathematization of science should be understood as a normative activity of advocating for a particular methodology with its own criteria for evaluating good research. As a case study, we examine the mathematization of taxonomic classification in systematic biology. We show how mathematization is a normative activity by contrasting its distinctive features in numerical taxonomy in the 1960s with an earlier reform advocated by Ernst Mayr starting in the 1940s. Both Mayr and the numerical taxonomists sought to (...) formalize the work of classification, but Mayr introduced a qualitative formalism based on human judgment for determining the taxonomic rank of populations, while the numerical taxonomists introduced a quantitative formalism based on automated procedures for computing classifications. The key contrast between Mayr and the numerical taxonomists is how they conceptualized the temporal structure of the workflow of classification, specifically where they allowed meta-level discourse about difficulties in producing the classification. (shrink)

Biodiversity science is in a pivotal period when diverse groups of actors—including researchers, businesses, national governments, and Indigenous Peoples—are negotiating wide-ranging norms for governing and managing biodiversity data in digital repositories. These repositories, often called biodiversity data portals, are a type of organization for which governance can address or perpetuate the colonial history of biodiversity science and current inequities. Researchers and Indigenous Peoples are developing and implementing new strategies to examine and change assumptions about which agents should count as salient (...) participants in scientific projects, especially in projects that build and manage large digital data portals. Two notable efforts are the FAIR (Findable, Accessible, Interoperable, Reusable) and CARE (Collective benefit, Authority, Responsibility, Ethics) Principles for scientific data management and governance. To characterize how these principles influence the governance of biodiversity data portals, we develop an account of fit-for-use data that makes explicit its social as well as technical conditions in relation to agents and purposes. The FAIR Principles, already widely adopted by biodiversity researchers, prioritize machine agents and efficient computation, while the CARE Principles prioritize Indigenous Peoples and their data sovereignty. Both illustrate the potency of an emerging general strategy by which groups of actors craft and implement governance principles for data fitness-of-use to change assumptions about who are salient participants in data science. (shrink)

Evolutionary conceptions of species place special weight on each species having dynamic independence as a unit of evolution. However, the idea that species have their own historical fates, tendencies, or roles has resisted systematic analysis. Growing evidence from population genomics shows that many paradigm species regularly engage in hybridization. How can species be defined in terms of independent evolutionary identities if their genomes are dynamically coupled through lateral exchange? I introduce the concept of a “composite lineage” to distinguish species and (...) subspecies on the basis of the proportion of a group’s heritable traits that are uncoupled from reproductive exchange. (shrink)

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)

"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.

If the world itself is metaphysically indeterminate in a specified respect, what follows? In this paper, we develop a theory of metaphysical indeterminacy answering this question.

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)