Philosophical semantics requires an ontology that includes negative as well as positive states of affairs as truth-makers and truth-breakers. Theories that try to do without negative states of affairs while interpreting propositional truth as positive correspondence with existent states of affairs are inherently inadequate and incomplete. A semantics and ontology of negative states of affairs can also do justice to positive states of affairs, since the iterated negative state of affairs that a negative state of affairs exists (...) describes a positive state of affairs, but the iterated positive state of affairs that a positive state of affairs exists never describes a negative state of affairs. Negative states of affairs are not only essential to semantics, but to a complete description of the world; they include phenomena of presence in absence and the metaphysics of gaps, lacks, holes and interstitia. The conceivability of an empty or null universe as consisting of nothing but negative states of affairs recalls a famous problem of Parmenides. (shrink)

Abstract:For many people, the media is the main source of their knowledge and understanding about policing and crime. As a result, a common thread running through content analysis of television police shows is the gap between the “reality” of police work, crime, criminals, and the justice system and the picture painted by media representations. I argue, however, that all representations of social reality are partial and that commercial imperatives, working processes, ideological frames of the makers, and format of individual shows (...) shape and constrain the stories told. Given that police shows can never be totally authentic, I argue that scholars should be exploring the symbolic value of these shows, the types of discourse produced, and whether such shows habituate viewers into ways of thinking about crime and punishment that may be excessively simplified. (shrink)

Philosophical semantics requires an ontology that includes negative as well as positive states of affairs as truth-makers and truth-breakers. Theories that try to do without negative states of affairs while interpreting propositional truth as positive correspondence with existent states of affairs are inherently inadequate and incomplete. A semantics and ontology of negative states of affairs can also do justice to positive states of affairs, since the iterated negative state of affairs that a negative state of affairs exists (...) describes a positive state of affairs, but the iterated positive state of affairs that a positive state of affairs exists never describes a negative state of affairs. Negative states of affairs are not only essential to semantics, but to a complete description of the world; they include phenomena of presence in absence and the metaphysics of gaps, lacks, holes and interstitia. The conceivability of an empty or null universe as consisting of nothing but negative states of affairs recalls a famous problem of Parmenides. (shrink)

Saltman and Goodman show how corporate-produced curricula, films, and corporate-promoted books often use depictions of family love, childhood innocence, and compassion in order to sell the public on policies that ironically put the profit of multinational corporations over the well-being of people. In doing so, the authors reveal the extent to which globalization depends upon education and also show how battles over culture, language, and the control of information are matters of life, death, and democracy.

Dans la période actuelle où prolifère la création artistique, mais aussi, où s’accélèrent les mutations et où tout devient consommation ; dans cette immense casse qu’est la postmodernité, les musées sélectionnent les éléments matériels ou immatériels jugés suffisamment significatifs pour mériter d’être conservés et transmis aux générations futures, comme le témoignage de la culture d’une époque. Nous défendons que dans le domaine de l’art contemporain, les musées jouent un rôle essentiel, sublime, qui confère à l’œuvre une aura extraordinaire. Dès lors, (...) la problématique essentielle est d’ordre épistémologique. Par-delà le débat enflammé auquel se livrent les défenseurs ou les détracteurs de l’art contemporain officiel, deux questions essentielles demeurent, celle des processus par lesquels l’institution muséale construit la vérité esthétique, et celle des processus par lesquels les artistes accèdent à l’espace sacralisant du musée.In our time of proliferating artistic creation, but also of accelerating change and an all-pervading consumer culture, museums are trawling though the vast, sprawling breaker’s yard of post-modernism to select the material or immaterial items they consider significant enough to be preserved for future generations as reflections of the culture of our time. We argue that in the field of contemporary art, museums have an essential role that adds an aura of the sublime to works of art. The essential question then becomes epistemological. Over and above the impassioned debates between those for and those against what is officially labelled as contemporary art, two essential questions remain: what are the processes through which the museum as an institution constructs aesthetic truth, and what are the processes whereby artists attain the sacrament of a museum exhibition? (shrink)

In recent years organisational and management discourse has been akin to a battle-ground. Open challenges to the foundations of these fields and competing truth claims have arisen from the plurality of interpretation that is possible from the variety of new paradigms that has emerged. This proliferation of paradigms seems to undermine the possibility of a single unambiguous voice to guide management practice. The variety of competing voices that has produced this discordant chorus is described. The work of Thomas Barr (...) Greenfield offers a useful circuit breaker. What emerges is a discourse not anchored in rationality, as it has in the past, but anchored in values and a morally concerned scepticism. (shrink)

In Mandel'tam's writing, artistic creativity is described as based on the indispensable yet contradictory modes of compliance and deviation. The artist, by his artistic nature, must be an obedient disciple to the tradition that inspires him, and, at the same time, a violator who renders what inspires him in an individual form. Thus, art implies iterability through novelty. In the totalitarian state, this double nature of art acquires a sinister context and brings the artist to an unavoidable conflict with the (...) state. He has a choice between a servile compliance with the state's command and artistic independence. If the artist complies, he loses his ingenuity; if, on the other hand, he has the courage to break away from the established order, his fate is martyrdom. The criteria of truth and falsehood, the issue of loyalty, of compromise and collaboration or resistance become most relevant. Such words as outcast or non-contemporary acquire the meaning of non-collaborationist or enemy of the people. In the totalitarian state a genuine artist is viewed as a law-breaker, and his art leads him to crime. The notions of compliance and deviation cease being merely aesthetic terms and assume in Mandel'tam's poetry complex, subtle and tragic overtones. (shrink)

In Mandel'štam's writing, artistic creativity is described as based on the indispensable yet contradictory modes of compliance and deviation. The artist, by his artistic nature, must be an "obedient disciple" to the tradition that inspires him, and, at the same time, a "violator" who renders what inspires him in an individual form. Thus, art implies iterability through novelty. In the totalitarian state, this double nature of art acquires a sinister context and brings the artist to an unavoidable conflict with the (...) state. He has a choice between a servile compliance with the state's command and artistic independence. If the artist complies, he loses his ingenuity; if, on the other hand, he has the courage to break away from the established order, his fate is martyrdom. The criteria of truth and falsehood, the issue of loyalty, of compromise and collaboration or resistance become most relevant. Such words as "outcast" or "non-contemporary" acquire the meaning of "non-collaborationist" or "enemy of the people". In the totalitarian state a genuine artist is viewed as a "law-breaker", and his art leads him to "crime". The notions of compliance and deviation cease being merely aesthetic terms and assume in Mandel'štam's poetry complex, subtle and tragic overtones. (shrink)

We investigate Maker–Breaker games on graphs of size $\aleph _1$ in which Maker’s goal is to build a copy of the host graph. We establish a firm dependence of the outcome of the game on the axiomatic framework. Relating to this, we prove that there is a winning strategy for Maker in the $K_{\omega,\omega _1}$ -game under ZFC+MA+ $\neg $ CH and a winning strategy for Breaker under ZFC+CH. We prove a similar result for the $K_{\omega _1}$ -game. (...) Here, Maker has a winning strategy under ZF+DC+AD, while Breaker has one under ZFC+CH again. (shrink)

Written in the 1960s, TRUTH AND METHOD is Gadamer's magnum opus.

When involved in a disagreement, a common reaction is to tell oneself that, given that the information about one’s own epistemic standing is clearly superior in both amount and quality to the information about one’s opponent’s epistemic standing, one is justified in one’s confidence that one’s view is correct. In line with this natural reaction to disagreement, some contributors to the debate on its epistemic significance have claimed that one can stick to one’s guns by relying in part on information (...) about one’s first-order evidence and the functioning of one’s cognitive capacities. In this article, I argue that such a manoeuvre to settle controversies encounters the problem that both disputants can make use of it, the problem that one may be wrong about one’s current conscious experience, and the problem that it is a live possibility that many of one’s beliefs are the product of epistemically distorting factors. I also argue that, even if we grant that personal information is reliable, when it comes to real-life rather than idealized disagreements, the extent of the unpossessed information about one’s opponent’s epistemic standing provides a reason for doubting that personal information can function as a symmetry breaker. (shrink)

In an earlier Dissecting Bioethics contribution, Debra J. H. Mathews, Joseph J. Fins, and Eric Racine challenge standard ways of thinking about the therapeutic misconception in the context of consent for research participation. They propose that instead of demanding “rational congruence” between how researchers and participants conceive of a given protocol, we should accept a less stringent standard of “reasonable coherence.” While Mathews, Fins, and Racine (MFR) provide some important insights, their proposal needs refinement. There is room for a wide (...) but not unlimited range of participant hopes and motivations. However, their model of reasonable coherence is too weak a standard for whether participants have adequate understanding of the scientific goals of a protocol. By the time participants are recruited for medical research, the goals of the protocol, having been set and agreed to through accepted scientific processes, are no longer open for alternate interpretations. This paper discusses this and other objections to MFR’s proposal. It then suggests that a concept of “deal breakers” might be useful in this context. (shrink)