Gorgeous black and white photographs of machines built to unlock the secrets of the universe.

Bernard Harcourt, Against Prediction: Profiling, Policing, and Punishing in an Actuarial Age Chicago: University of Chicago Press, 2006, 336pp.

Who blows the whistle — a loner or a well-liked team player? Which of them is more likely to lead a successful opposition to perceived organizational wrongdoing? The potential influence of co-worker pressures to conform on whistle-blowing activity or the likely effects of whistle-blowing on the group have not been addressed. This paper presents a preliminary model of whistle-blowing as an act of nonconformity. One implication is that the success of an opposition will depend on the characteristics of the whistle-blower (...) and how the complaint is pursued. Specific hypotheses and general suggestions for future research and practice are offered. (shrink)

This book offers a theoretical and practical overview of the specific ethical and legal issues in pediatric organ transplantation. Written by a team of leading experts, Ethical Issues in Pediatric Organ Transplantation addresses those difficult ethical questions concerning clinical, organizational, legal and policy issues including donor, recipient and allocation issues. Challenging topics, including children as donors, donation after cardiac death, misattributed paternity, familial conflicts of interest, developmental disability as a listing criteria, small bowel transplant, and considerations in navigating the media (...) are discussed. It serves as a fundamental handbook and resource for pediatricians, transplant health care professionals, trainees, graduate students, scholars, practitioners of bioethics and health policy makers. (shrink)

The accounting profession is concerned with the ethical beliefs of its members. To this end, the authors surveyed public accountants, questioning them about the AICPA''s Code of Professional Conduct and their perceptions of how potentially unethical behaviors impact the firm. The paper focuses on respondents'' perceptions of the impact on the firm''s practice, image and degree of concern.Public accountants appear to agree with the AICPA''s Code of Professional Ethics. Their mean responses indicate they believe the Code components are important and (...) extremely important. Some Code components were significantly more important than others, especially demonstrating professionalism and maintaining independence while performing independent audits. Gender, role and organizational level all had significant effects on the importance of the Code. Males, non-auditors and upper management all expressed stronger beliefs in the importance of the overall Code and its components. (shrink)

Music can reduce stress and anxiety, enhance positive mood, and facilitate social bonding. However, little is known about the role of music and related personal or cultural variables in maintaining wellbeing during times of stress and social isolation as imposed by the COVID-19 crisis. In an online questionnaire, administered in 11 countries, participants rated the relevance of wellbeing goals during the pandemic, and the effectiveness of different activities in obtaining these goals. Music was found to be the most effective activity (...) for three out of five wellbeing goals: enjoyment, venting negative emotions, and self-connection. For diversion, music was equally good as entertainment, while it was second best to create a sense of togetherness, after socialization. This result was evident across different countries and gender, with minor effects of age on specific goals, and a clear effect of the importance of music in people's lives. Cultural effects were generally small and surfaced mainly in the use of music to obtain a sense of togetherness. Interestingly, culture moderated the use of negatively valenced and nostalgic music for those higher in distress. (shrink)

David Chalmers has proposed several principles in his attack on the ‘hard problem’ of consciousness. One of these is the principle of organizational invariance , which he asserts is significantly supported by two thought experiments involving human brains and their functional silicon-based isomorphs. I claim that while the principle is an intelligible hypothesis and could possibly be true, his thought experiments fail to provide support for it.

David Chalmers has proposed several principles in his attack on the ‘hard problem’ of consciousness. One of these is the principle of organizational invariance , which he asserts is significantly supported by two thought experiments involving human brains and their functional silicon-based isomorphs. I claim that while the principle is an intelligible hypothesis and could possibly be true, his thought experiments fail to provide support for it.

Greenberg restructures the history of modern Jewish thought comprehensively, providing first-time English translations of Reggio, Krokhmal, Maimon, Samuel Hirsch, Formstecher, Steinheim, Ascher, Einhorn, Samuel David Luzzatto, and Hermann Cohen. The availability of these sources fills a gap in the field and stimulates new directions for teaching and scholarly research in modern Jewish thought.

This chapter examines eighteenth-century British discussions of human freedom, which focused on the question of whether the will is a self-determining, or active power, or whether the will is determined, or necessitated, by motives. The chapter begins with a consideration of the libertarian position of Samuel Clarke, which was taken up by the later libertarians Richard Price and Thomas Reid. It considers two necessitarians: David Hartley and Joseph Priestley. Although David Hume was taken to be a necessitarian, both (...) by his contemporaries and recent commentators, the chapter suggests that Hume challenged assumptions about the nature of the very problem of liberty and necessity shared by his contemporaries, libertarians and necessitarians alike, although this challenge remained unanswered, because ignored, in the eighteenth century. (shrink)

In 'The Standard Picture and its Discontents', Mark Greenberg remarks that the typical way that legal theorists think about legal obligations does not sit well with the way the common law works. I argue that Alexander's and Sherwin’s Rule Model of precedent can deal with all the problems that Greenberg accuses the Standard Picture of having. Nonetheless, I further argue that combining the Standard Picture and the Rule Model ultimately leads to another problem: the inability of the Standard (...) Picture – Rule Model to separate rule from dicta. (shrink)

In “How Facts Make Law” and other recent work, Mark Greenberg argues that legal positivists cannot develop a viable constitutive account of law that meets what he calls the “the rational-relation requirement.” He argues that this gives us reason to reject positivism in favor of antipositivism. In this paper, I argue that Greenberg is wrong: positivists can in fact develop a viable constitutive account of law that meets the rational-relation requirement. I make this argument in two stages. First, (...) I offer an account of the rational-relation requirement. Second, I put forward a viable positivist account of law that I argue meets this requirement. The account that I propose is a version of Scott Shapiro’s Planning Theory of Law. The version of Shapiro’s account that I propose combines (1) the account of concepts and conceptual analysis put forward by David Chalmers and Frank Jackson with (2) the account of the concept LEGAL INSTITUTION (and its conceptual connections to the concept LEGAL NORM) that we get from a certain reading of Shapiro’s Planning Theory. In addition to providing a compelling response to Greenberg’s argument in “How Facts Make Law,” I argue that the explanation for why my response to Greenberg works underscores one of the central problems facing legal antipositivism: namely, its lack of a convincing account of the nature of legal institutions. (shrink)

This book examines the life and work of American historian Alan Brinkley, with a focus on his areas of expertise, including the critical periods of the Great Depression and World War II and their i...

In lieu of an abstract, here is a brief excerpt of the content:Context Building and Educating Imaginative EngagementDavid E. W. Fenner (bio)IntroductionIn my experience—with students, colleagues, friends, myself—I find that most people view aesthetic objects and art objects (which sometimes overlap but not always) through a variety of "lenses": subjectively located, psychologically based perspectives or "contexts" through which the object is viewed, considered, appreciated, and many times even criticized. I believe that many times the depth and richness of aesthetic reward (...) depends on the perspective through which the subject attends to an object or event. While a part of aesthetic perspectival context is objective—such as the physical conditions surrounding and history concerning the aesthetic object—the majority of it is subjective, and I want to take another step and say that the majority is psychological.1 Aesthetic attenders bring to aesthetic experiences thick sets of background beliefs, personal associations, taste preferences, attitudes, and values—and this is not to mention the more temporal items like how they feel on the day or whether they are attending alongside friends, relatives, or colleagues. Hundreds of psychological factors result in differences in aesthetic experience; this is most likely true of all experiences, but it is even more the case in aesthetic experience and those kinds of experiences that set the occasions for attenders to think, feel, consider, spend time with, introspect, and be in a relationship—subject and object—that is distinct from the ordinary and the routine.Attenders can employ a single lens or multiple ones. It is entirely possible to attend in the absence of the employment of any lens—a purely disinterested or purely formalist perspective would be such a thing—but the vast majority of aesthetic attenders bring with them layers of lenses through which they naturally, nontheoretically (which is not to say noncognitively) view objects. On different occasions, given particular objects and particular subjects, the subject may view an aesthetic object from an art historical [End Page 109] perspective (whether or not the object is an art object); a moral perspective; a cultural, political, or national perspective; a social, class, race, ethnic, or gender perspective; a religious or spiritual point of view; an emotional point of view; a point of view colored by personal associations, personal history, personal identification, personal preference; and on and on.2 Sometimes the employment of lenses is distracting, and sometimes the experience is less than positive given such employment. But (1) many times—I want to say most times—the employment of such lenses results in a richer and more meaningful experience, and (2) it is the natural stance. Adopting a noncontextualized perspective requires conscious volitional effort. Seeing through particular psychological lenses is the default.I want to focus in this paper on a kind of perspective, a kind of psychological context, that has not been much discussed: I will call it aesthetic engagement preparation. Essentially, this has to do with the level of readiness that the subject possesses for engaging with particular objects aesthetically. To engage in a way that will provide a good return on her investment of attention, the subject must be open to the object, must be comfortable with the objective context, must be ready to enter into a relationship with the object—a relationship that may be psychologically associational in all sorts of ways (affectively, cognitively, and so forth)—and must be ready to employ a range of lenses, like the ones described above, to get the most out of her experience. Again, those who advocate noncontextualized (disinterested or formalist) approaches—Shaftesbury, Hutcheson, Addison, Kant, Schopenhauer, Wilde, Whistler, Wimsatt, Greenberg, Brooks, Wolfflin, Bell, Moore, Bullough, Hanslick, Ortega y Gassett, Fry, Hampshire, Stolnitz, and Zangwill, just to name a few—will find aesthetic engagement preparation not only unnecessary but counterproductive. However, given its efficacy for enhancing actual aesthetic experience, I take this as a sign that these noncontextualists may have been on the wrong path. But of course this is an empirical question, and certainly there are cases—though rare, I claim—where employment of aesthetic lenses results in a less positive experience than otherwise.What I will try to do in this paper is to demonstrate (1) the scope of aesthetic engagement preparation on... (shrink)

Nick Zangwill has done more than any person recently to resuscitate aesthetic formalism. I say "resuscitate" because formalism has not been in favor for several decades. Zangwill writes that "Aesthetic Formalism has fallen on hard times. At best it receives unsympathetic discussion and swift rejection. At worse it is the object of abuse and derision." The reasons many today believe aesthetic formalism is not viable have been the subject of discussion since the pendulum swing away from New Criticism, via the (...) work of William Wimsatt, Cleanth Brooks, Clement Greenberg, André Levinson, and Heinrich Wolfflin. Most of these reasons have been discussed thoroughly, and those that I will review here that have been discussed I will spend little time reconsidering. I believe, though, that there are a few more reasons why formalism has fallen on hard times, reasons that have not been much discussed, or at least not directly. They are the subject of this article. (shrink)

Adrian Stokes , long admired by a small, highly distinguished, mostly English circle, was the natural successor to Pater and Ruskin. But though his place in cultural history is important, what is of particular interest now to art historians is his theory of the presentness of painting, a theory which offers a challenging critique of the practice of artwriting. From Vasari to the present, the most familiar rhetorical strategy of the art historian is the narrative of “the form, prophet-saviour-apostles,” in (...) which the first artist poses some problem that his successors develop and their successors solve.1 Such very different books as Art and Illusion and Art and Culture deploy that plan. The three periods of naturalism in E. H. Gombrich’s narrative—antiquity, Renaissance religious narrative, nineteenth-century landscape—function like Clement Greenberg’s sequence—old master art, early French modernism, American abstract expressionism. Gombrich and Greenberg disagree about how to narrate art’s history and about which works to include in that narrative—Gombrich asserts that cubism closes the canon while for Greenberg analytical cubism anticipates Jackson Pollock—but in each case, the art historian aims, as the novelist does, to tell a satisfying story and achieve narrative closure, and so how we think of the artworks the historian discusses depends in part upon the structure of the narrative. In a certain mood, we may find this fact intolerable. Why should a mere text tell us how to see the painting we may stand before?Stokes’ attempt to respond to this mood belongs to a tradition of early twentieth-century antihistorical thinking. For Rainer Maria Rilke, Rodin’s sculpture aimed to “refer to nothing that lay beyond it.” For Ezra Pound, an image “is real because we know it directly”; Henri Gaudier-Brzeska could read Chinese ideograms without knowing that language because those ideograms are transparently meaningful images. For Wyndham Lewis, a musical piece is inferior to a statue, “always there in its entirety before you.”2 Such an artwork need not be interpreted because it contains “within itself all that is relevant to itself.”3 All art is accessible to the gifted observer, and time is, in an interesting double sense, irrelevant. We see directly the meaning of works even from distant cultures; the visual artwork is experienced all at once, outside of time. If these claims are correct, what is the artwriter to do? Speaking of the Tempio Malatestiana, Hugh Kenner points to this issue:There is no description of the Tempio in accordance with good Vorticist logic: one art does not attempt what another can do better, and the meaning of the Tempio has been fully explicated on the spot by Agostino di Duccio with his chisel.4 1. Michael Baxandall, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition 1350-1450 , p. 75.2. Rainer Maria Rilke, Rodin, trans. Jessie Lemont and Hans Trausil , p. 19; Ezra Pound, Gaudier-Brzeska: A Memoir , p. 86; Wyndham Lewis, Time and Western Man , p. 174.3. Frank Kermode, Romantic Image , p. 107.4. Hugh Kenner, The Pound Era , p. 428. David Carrier, associate professor of philosophy at Carnegie-Mellon University, is coauthor, with Mark Roskill, of Truth and Falsehood in Visual Images and author of the forthcoming Artwriting, a study of recent American art criticism. He is working on a history of art history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators (...) to make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators (...) to make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

For about the last three decades, postmodernists have exposed the weaknesses of modernist formalism. Western modernist formalism effectively locates art’s meaning in its formal qualities. Clive Bell’s twentieth-century significant form aesthetic theory, Clement Greenberg and abstract art, and art educators’ preoccupation with design elements and principles typify this modernist tendency.1 In contrast, postmodernists generally insist that sociocultural context supplies art’s meaning. Within contemporary art education, postmodernist theory relies strongly on semiotics, neopragmatism, and social constructivist theories of culture; these tend (...) to reduce form to being an arbitrary vehicle for content supplied by cultural.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Artforum, Andy Warhol, and the Art of Living:What Art Educators Can Learn from the Recent History of American Art WritingDavid Carrier (bio)When around 1980 I began writing art criticism, Artforum was much concerned with historical analysis.1 When presenting the work of younger painters and sculptors, it seemed natural to explain artists' accomplishments by identifying precedents for their work. Much of my criticism published in the 1980s presented post-formalist accounts (...) of abstract painting. Seeking precedents for the painting I admired, I looked to the history of art. But such pleas for the value of tradition were doomed. Commentators preaching the values of tradition lost out to the writers emphasizing a break with the past. Much of interest for art education can be learned by studying the history of this very influential, small circulation journal.Only in retrospect did the urgency of this felt need for a break with the past become apparent. The history of responses to Abstract Expressionism suggested a different way of thinking about moments of change. HaroldRosenberg's conception of "action painting" implied that Pollock broke dramatically with the past. Clement Greenberg, by contrast, in a famous phrase said: "I do not think it exaggerated to say that Pollock's 1946-1950 manner really took up Analytic Cubism from the point at which Picasso and Braquehad left it...in their collages of 1912 and 1913."2 Greenberg's counter-intuitive analysis, asking us to see very different looking paintings as essentially similar, had prevailed. So it was not unreasonable to expect that after Greenberg, concern with tradition would remain important. But that was not what happened.Demand for a break with the past often carries political overtones. Historians debate whether the French Revolution broke with the past, or merely developed trends of the old regime. The idea of a complete break with tradition can seem attractive, but of course such dramatic ways of thinking underestimate real continuities. Struggle among post-Greenbergian artwriters to define a new critical paradigm mimics conflicts among artists to define the [End Page 1] leading post-Abstract Expressionist tradition. Once a critical paradigm has been established, debate may proceed peacefully. But when defining a period style is at issue, the stakes are high, and so conflicts are ferocious. Of course, struggle is always accompanied also by co-operation, but failing to grasp the real role of conflict leads to all-too-pious visions of what is possible.Greenberg developedthe most influential critical approach, and so when his way of thinking was rejected, a radically different approach was of most interest. Here we are dealing with what Harold Bloom famously called the anxiety of influence. Just as the most interesting painting after Abstract Expressionism deconstructed that tradition, so in criticism no ways of thinking too similar to Greenberg's stood a chance of being important. I think it interesting to reconstruct the process rationally in which an individual obtains such power. A totem, Freud explains, is "an animal (whether edible and harmless or dangerous and feared) and more rarely a plant or a natural phenomenon (such as rain or water), which stands in a peculiar relation to the whole clan."3 The communion bread and wine are just bread and wine, but for the believer they become Christ's body and blood. Rationally speaking, a representational painting is just pigment on canvas; and a minimalist sculpture, just shaped metal. But in what Arthur Danto calls the "transfiguration of the commonplace," "a work of art...has qualities to attend to which its untransfigured counterpart lacks...We are dealing with an altogether different order of things."4 Greenberg became a totem. He was not just an important writer whose arguments entitled him to reasonable respect. The mere mention of his name invoked irrational fears.Greenberg was obsessed with tradition. Abstract Expressionism was rooted in early modernism, so that the era from Manet through Pollock defined a period style. Greenberg's historiography may seem inescapable. How can a young painter be understood except by seeking precedents for her achievement? Cannot the now famous artists who emerged in the 1980s be understood in these terms? Barbara Kruger comes out of John Heartfield and dada... (shrink)

In honor of Daniel Greenberger's 65th birthday, I record for posterity two superb examples of his wit, offer a proof of an important theorem on quantum correlations that even those of us over 60 can understand, and suggest, by trying to make it look silly, that invoking “quantum nonlocality” as an explanation for such correlations may be too cheap a way out of the dilemma they pose.

Orthodox Judaism is one of the fastest-growing religious communities in contemporary American life. According to the 2013 Pew Center Survey on American religious life, Orthodox Judaism is poised to surpass all other denominations of Judaism in the United States by 2050. Anyone who wishes to understand more about Judaism in America will need to consider the tenets and practices of Orthodox Judaism: who its adherents are, what they believe in, what motivates them, and to whom they turn for moral, intellectual, (...) and spiritual guidance. Among those spiritual leaders none looms larger than Rabbi Joseph B. Soloveitchik, heir to the legendary Talmudic dynasty of Brisk and a teacher and ordainer of thousands of rabbis during his time as a Talmud teacher at Yeshiva University from the Second World War until the 1980s. Soloveitchik was not only a Talmudic authority but a scholar of Western philosophy. While many books and articles have been written about Soloveitchik's legacy and his influence on American Orthodoxy, few have looked carefully at his disciples in Torah and Talmud study, and even fewer at his Jewish thought and philosophy. "Soloveitchik's Children: Irving Greenberg, David Hartman, Jonathan Sacks, and the Future of Jewish Theology in America" is the first book to study closely three of Soloveitchik's major disciples in Jewish thought and philosophy: Rabbis Irving ("Yitz") Greenberg, David Hartman, and Jonathan Sacks. These three figures hold unique places in modern and contemporary American Jewish life. Each has been highly influential not only within American Orthodoxy but within American Judaism more broadly; each has contributed significantly in the development of Jewish philosophy and theology in the postwar era; each has founded and presided over institutions of their own. David Ross Goodman narrates how each of these three major modern Jewish thinkers learned from and adapted Soloveitchik's teachings in their own ways, even while advancing his philosophical and theological legacy. Goodman highlights the approaches taken by Greenberg, Hartman, and Sacks to some of the most critical religious and philosophical issues of our time: Jewish-Christian relations and interfaith theology; the proper religious response to the Holocaust; the place of creativity in religious life; and the primacy of life in the Jewish tradition. The story of religious life and Judaism in contemporary America is incomplete without an understanding of how three of the most consequential Jewish thinkers of this generation adapted the teachings of one of the most consequential Jewish thinkers of the previous generation. "Soloveitchik's Children" tells this gripping intellectual and religious story in a learned, and engaging manner, shining a light on where Jewish religious thought in the United States currently stands-and where it may be heading in the coming generations. (shrink)

Title: The Modernization of Sex: Havelock Ellis, Alfred Kinsey, William Masters & Virginia JohnsonPublisher: Cornell University PressISBN: 0801495393Author: Paul RobinsonTitle: The History of Sexuality: An IntroductionPublisher: VintageISBN: 0679724699Author: Michel FoucaultTitle: The Construction of HomosexualityPublisher: University Of Chicago PressISBN: 0226306283Author: David Greenberg.

It has been suggested that a reporting channel administered by a third-party may represent a stronger procedural safeguard of anonymity and avoids the appearance of impropriety. This study examines whistleblowing intentions among lower-tier employees, specifically examines whether an externally-administered reporting channel increases whistleblowing intentions compared to an internally-administered one. In contrast to the findings of an earlier study by Kaplan et al. :273–288, 2009), our results suggest that whistle-blowing intentions are higher when the reporting channel is administered externally than when (...) it is administered internally. We also find that an externally-administered reporting channel mitigates the negative effect of bystanders on whistleblowing intentions. Implications are discussed. (shrink)

This paper develops a theory of belief and belief ascription which retains the core of the received Propositionalist theory but which, unlike the Propositionalist theory, is compatible with both Direct Reference and Individualism about belief. The focus is on developing an alternative analysis of belief ascriptions, drawing out its implications, and applying it to some standard problems. On that analysis, ascriptions involving directly referential embedded terms are seen as roughly characterizing, but not specifying, the contents of beliefs. This feature is (...) what makes it possible to maintain both Direct Reference and Individualism. (shrink)

Psychologists debate whether mental attributes can be quantified or whether they admit only qualitative comparisons of more and less. Their disagreement is not merely terminological, for it bears upon the permissibility of various statistical techniques. This article contributes to the discussion in two stages. First it explains how temperature, which was originally a qualitative concept, came to occupy its position as an unquestionably quantitative concept (§§1–4). Specifically, it lays out the circumstances in which thermometers, which register quantitative (or cardinal) differences, (...) became distinguishable from thermoscopes, which register merely qualitative (or ordinal) differences. I argue that this distinction became possible thanks to the work of Joseph Black, ca. 1760. Second, the article contends that the model implicit in temperature’s quantitative status offers a better way for thinking about the quantitative status of mental attributes than models from measurement theory (§§5–6). (shrink)

El presente trabajo de investigación tiene como objeto el estudio de la legislación penal en la República de Colombia desde 1890 hasta la actualidad con la ley 599 de 2000, este último conocido como el vigente Código Penal. Lo anterior, conforme a la siguiente pregunta problémica ¿se ha dado un desarrollo oportuno de la legislación penal colombiana que otorgue soluciones fehacientes a las necesidades de una política criminal sólida desde sus inicios hasta la actualidad? Con ello, se pretende analizar las (...) diversas escuelas que han influido en los legisladores a la promulgación y tipificación de los delitos y sus penas en el marco jurídico penal colombiano. Se destaca ante todo, el análisis que a lo largo del desarrollo del ordenamiento jurídico colombiano abarca el contexto constitucional, doctrinal y jurisprudencial, los cuales, han logrado evidenciar el carácter de un óptimo “derecho penal” a lo largo del contexto histórico del país en mención. Se destaca así, la gran influencia de las Escuelas Clásica, Positivista y Finalista, que a hoy han venido a establecerse con fuerza en Colombia a lo largo de su codificación, desde 1980 hasta la actual ley 599 del año 2000. (shrink)

A sample survey of members of the Association of Environmental and Resource Economists (AERE) found relatively low rates of obvious ethical misconduct, such as data fabrication and falsification, and higher rates of dubious behaviors, such as deliberate overstatement of positive and understatement of negative results. AERE members reported that job-related pressures-including competition with peers, pressure due to professional implication and on-the-job pressure-were the most important causes. The most effective preventive measures, according to respondents, were discussion of ethics in existing classes, (...) codes of ethics, and short courses at professional meetings. The vast majority of AERE members were against government audits and regulations. (shrink)

Various scientists and philosophers have heavily criticized what they see as problematic forms of ‘nutritional reductionism’ or ‘nutritionism’ whereby studying food–health interactions at the level of isolated food components produces largely misguided science and misleading interpretations. However, the exact target of these diverse criticisms remains elusive, and its implications are overstated, which may hinder scientific understanding. To better identify the types of flaws supposedly hindering reductionist research, we disentangle three types of reductionist claims to better determine what the debate is (...) about and to propose ways to move it forward. We then present a qualified defence of the reductionist programme that hinges on the ability to identify nutritional causes that make a difference, which we illustrate through central examples in the history of nutrition. This defence is taken further by using insights from the philosophy of mechanisms to analyse how the field of nutritional ecology offers a synthetic framework to explain, generate, and test predictions about nutrient–organism interactions, which is premised on the biological mechanisms of nutrient-specific appetite regulation. The result, which we call ‘synthetic reductionism’, avoids many, though perhaps not all, of the challenges raised by anti-reductionists, and also highlights the potential of reductionism to identify nutritional difference makers. (shrink)

Arguments concerning divine conservation and concurrence often assume that actions of certain descriptions would be superfluous if God were to perform them, and it is then concluded that God does not perform such actions. In particular, it often seems that atomic actions cannot be the result of cooperative activity between God and creatures since there is no apparent way to divide the labor between the two. However, the actions that are atomic in one model of divine action may not be (...) atomic on another. On fine-grained models there may be unexpected prospects for nonredundant divine action. (shrink)

This chapter argues that the principle of nationality offers a perspective on the secession issue that avoids condoning a secessionist free‐for‐all without forcing us to defend existing state boundaries regardless. It suggests the need for a contextual approach to secession, examining the extent to which different groups have or have not evolved separate national identities, how minorities are likely to fare under various possible regimes, and whether partial autonomy regimes might be more justified than secession.

A key philosophical feature of Peter Jackson’s film interpretation of J.R.R. Tolkien’s The Lord of the Rings is its use of fantasy to inspire a “recovery” of the actual or, in other words, a reawakening to the beauty of nature and the many possible ways of living in healthier ecological relation to the world. Though none of these ways is perfectly achieved, this pluralistic view is demonstrated in the various lifeways of Hobbits, Elves, Men, and Ents. All of the positive (...) relationships embodied in the films—to trees, mountains, horses, and vegetable gardens—involve loving care and attention, receiving nourishment and livelihood without instrumentalization, or reducing nature to mere resource. The films also vividly display a variety of ugly and destructive ways of using the land to accrue power and wealth. These noxious ways, specifically because they actively destroy the lands that they use, always need more. They will thus eventually annihilate the beautiful ways of being if they are not actively resisted. Some of those who would rather be tending their own trees, gardens, or horses or even wandering in the wild forests must therefore turn their attention to struggle and resistance instead. This is a struggle full of grief, and at times even verging on despair, but it is marked by the refusal to give up hope. Indeed, what Jackson and Tolkien have to say about hope is as important in responding to the ecological crisis as anything they have to say about nature, inasmuch as they help to remind us that even in our own times, “there is still hope.”. (shrink)

A sustainable supply chain management strategy reduces risks and meets environmental, economic and social objectives by integrating environmental and financial practices. In an ever-changing environment, supply chains have become vulnerable at many levels. In a global supply chain, carefully tracing a product is of great importance to avoid future problems. This paper describes a self-updating smart contract, which includes data validation, for tracing global supply chains using blockchains. Our proposal uses a machine learning model to detect anomalies on traceable data, (...) which helps supply chain operators detect anomalous behavior at any point in the chain in real time. Hyperledger Caliper has been used to evaluate our proposal, and obtained a combined average throughput of 184 transactions per second and an average latency of 0.41 seconds, ensuring that our proposal does not negatively impact supply chain processes while improving supply chain management through data anomaly detection. (shrink)

In this paper, I develop two criticisms of L. Jonathan Cohen's influential a priori argument that human irrationality cannot be experimentally demonstrated. The first is that the argument depends crucially on the concept of a normal human but that no such concept suitable for Cohen's purposes is available. The second is that even if his argument were granted, his thesis of an unimpeachable human capacity for reasoning is not a defense of human reasoning, but rather amounts to the claim that (...) we cannot make any meaningful evaluative claims about human reasoning whatsoever. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Part I Introduction -/- Passion at a Distance (Don Howard) -/- Part II Philosophy, Methodology and History -/- Balancing Necessity and Fallibilism: Charles Sanders Peirce on the Status of Mathematics and its Intersection with the Inquiry into Nature (Ronald Anderson) -/- Newton’s Methodology (William Harper) -/- Whitehead’s Philosophy and Quantum Mechanics (QM): A Tribute to Abner Shimony (Shimon Malin) -/- Bohr and the Photon (John Stachel) -/- Part III Bell’s Theorem and Nonlocality A. Theory -/- Extending the Concept of an (...) “Element of Reality” to Work with Inefficient Detectors (Daniel M. Greenberger) -/- A General Proof of Nonlocality without Inequalities for Bipartite States (GianCarlo Ghirardi and Luca Marinatto) -/- On the Separability of Physical Systems (Jon P. Jarrett) -/- Bell Inequalities: Many Questions, a Few Answers (Nicolas Gisin) -/- B. Experiment -/- Do Experimental Violations of Bell Inequalities Require a Nonlocal Interpretation of Quantum Mechanics? II: Analysis a la Bell (Edward S. Fry, Xinmei Qu, and Marlan O. Scully) -/- The Physics of 2 = 1 + 1 (Yanhua Shih) -/- Part IV Probability, Uncertainty, and Stochastic Modifications of Quantum Mechanics -/- Interpretations of Probability in Quantum Mechanics: A Case of “Experimental Metaphysics” (Geoffrey Hellman) -/- “No Information Without Disturbance”: Quantum Limitations of Measurement (Paul Busch) -/- How Stands Collapse II (Philip Pearle) -/- Is There a Relation Between the Breakdown of the Superposition Principle and an Indeterminacy in the Structure of the Einsteinian Space-Time? (Andor Frenkel) -/- Indistinguishability or Stochastic Dependence? (D. Costantini and U. Garibaldi) -/- Part V Relativity -/- Plane Geometry in Spacetime (N. David Mermin) -/- The Transient nows (Steven F. Savitt) -/- Quantum in Gravity? (Michael Horne) -/- A Proposed Test of the Local Causality of Spacetime (Adrian Kent) -/- Quantum Gravity Computers: On the Theory of Computation with Indefinite Causal Structure (Lucien Hardy) -/- “Definability,” “Conventionality,” and Simultaneity in Einstein–Minkowski Space-Time (Howard Stein) -/- Part VI Concluding Words -/- Bistro Banter: A Dialogue with Abner Shimony and Lee Smolin -/- Unfinished Work: A Bequest (Abner Shimony) -/- Bibliography of Abner Shimony. (shrink)

ABSTRACTConventionalism once seemed an attractive way to justify the viability of the positivistic social thesis. Subsequent criticism, however, has significantly lessened its attractiveness. This paper attempts to revive jurisprudential interest in conventionalism by claiming that positivists would profit more from the conventionalism of Ruth G. Millikan than that of David Lewis.Three arguments are proffered to support this contention. First, Millikan's conventionalism is not vulnerable to the major criticism leveled at conventionalism, viz its compliance-dependence, as this is not its defining (...) feature. Second, Millikanian conventionalism retains conventionalism's ability to explain how law emerges from social practices while avoiding the main disadvantage of Lewisian conventionalism, viz its inability to explain the normativity and contestability of law. Third, Millikan's conventionalism can more effectively repel Dworkin's and Greenberg's assaults on legal positivism than its Lewisian counterpart.To the memory of Maurice O'Brien. (shrink)

The year 2019 witnessed the 20th Jubileum of the Växjö conference series on quantum foundations and probability in physics. This has been the longest running series of conferences on the subject in history. Many old and new friendships were forged at Linnaeus University and the beautiful surrounding lakes of Småland, where once yearly everyone gathers to renew the debate and report their latest progress. 2019 also represents the Porcelain Anniversary—18 years—of the point of view on quantum theory known as QBism. (...) In this regard, the 2001 meeting in the series was pivotal in more ways than one. Not only did it instigate Fuchs’s break [1] from the earlier (Jaynes style) “objective Bayesianism” and neo-Copenhagen thinking of Caves et al. [2], but it was the first meeting at an international scale to indicate that the quantum information revolution might have something genuine to contribute to quantum foundational thought. That meeting set the pace far beyond Växjö by the participation of a number of luminaries of quantum information: The late Asher Peres, Daniel Greenberger, David Mermin, Herbert Bernstein, Carlton Caves, Rüdiger Schack, Richard Jozsa, Benjamin Schumacher, and John Smolin. One could almost hear a battle cry echo from the woods, “Quantum foundations from quantum information or die!” The foundations debate had turned so stale by the time, it would surely die without an influx of new thinking. (shrink)

In this paper, I investigate the role played by Quality of Will in Michael McKenna’s conversational theory of responsibility. I articulate and press the skeptical challenge against it, and then I show that McKenna has the resources in his account to deflect it.